Zachary Pincus-Roth.com

Robin Hood Psychology

Published in Slate

Most summer movie heroes have an uncontroversial moral mandate: Beat the bad guys; save the city; "With great power comes great responsibility." Robin Hood's crusade is more divisive: He steals from the rich and gives to the poor, redistributing wealth in favor of a more equitable society.

On opening weekend of Ridley Scott's film adaptation (starring Russell Crowe and Cate Blanchett), the climate for Robin Hood's moral brand seems bleak—"socialism" has become a dirty word in America. But while Robin Hood's ideals are politically controversial, researchers in psychology and related fields are finding that humans seem inclined to engage in Robin Hood-like thinking, which they often call "egalitarian motives," "inequity aversion," or "variance reduction." In fact, there's a growing body of evidence that, despite appearances, we're Robin Hoods at heart.

To measure our attitudes toward inequality, researchers conduct "ultimatum games," a form of experimental economics frequently cited by journalists and pop psychologists to debunk the idea that we always act rationally. In an ultimatum game, the first test subject is given money that he must divide between himself and a second subject. The second subject then gets the opportunity to take the deal or to reject it—leaving both subjects with nothing. It turns out that people are inclined to reject the deal when the split is very unequal, even though they'd be better off taking what they can. The conclusion: People are willing to sacrifice their own income to punish those who don't distribute incomes equally.

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Avatar in Spanish, or French, or German: How dubbing works

Published in Slate

James Cameron's Avatar has earned over $440 million at the domestic box office but has raked in more than twice that much internationally. The viewing experience in many non-English-speaking countries is naturally quite different—since audiences hear dubbing artists read Sam Worthington and Sigourney Weaver's lines. While Americans generally associate dubbing with out-of-sync martial arts B-movies, the technique is no joke for audiences around the world, where most of the big-budget films are from the United States. How does dubbing work?

First, pick your languages. Big Hollywood movies are always dubbed into French, German, and Spanish, since those respective countries all have sizable film-going communities. There are often two Spanish versions, one for Spain and one for Latin America. Otherwise, the decision depends on the type of film and its perceived market value in a given country. Animated films are dubbed into more languages than live action, since animation is primarily aimed at children who may not be able to read subtitles. Disney's The Princess and the Frog, for instance, will be dubbed into 38 languages, while the studio's live-action offering The Sorcerer's Apprentice is only scheduled for nine.

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Is The Hangover Really The Most Successful R-Rated Comedy Ever?

See my new post at Slate's culture blog, Brow Beat, by clicking here.

Best Weekend NeverWhy journalists don't account for inflationwhen they report box office records.

Published in Slate

(Update: This piece has been linked to by The New York Times, The Atlantic, Chicago Tribune, and MediaBistro, among others.)

When The Dark Knight earned $158 million in its opening weekend last summer, journalists went gaga over the possibility that it would unseat Titanic as the all-time domestic box office leader. But the race was utter bunk. Accounting for inflation, the true record holder is Gone With the Wind, which—in 2009 dollars—earned over 50 percent more than Titanic and almost three times as much as The Dark Knight. Rhett Butler doesn't give a damn about Jack Dawson, let alone Bruce Wayne.

Every summer, journalists engage in this brand of misleading speculation. Even when there isn't an all-time contender like The Dark Knight, other records trip us up. For instance, in 2007, journalists proclaimed The Bourne Ultimatum the top August opening ever, but when you account for inflation, it's surpassed by 2001's Rush Hour 2 and 2002's Signs. While this summer's Star Trek ($247 million-plus) seems light-years beyond its predecessors, it actually only inched by 1979's Star Trek: The Motion Picture, which made $235 million in 2009 dollars.

The problems with our growing fixation on box office figures—they don't account for costs of the film, they don't include home-entertainment revenue, etc.—have been chronicled in the past. But as long as we continue to indulge this obsession, shouldn't journalists at least factor in inflation, instead of pretending that it doesn't exist?

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Break a Leg!

My first article in Slate. Check it out by clicking here.