The death of the stick shift is almost here

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Until six months ago all of my vehicles had manual transmissions, going back to 2011 when I got my MINI Cooper. My mom taught me how to drive in a 1953 Plymouth with “three on the tree” and dad gave me a used Ford Falcon my second year of college. Also three-speed on the column.

To say the Land Rover had a manual transmission is something of an understatement. Ditto for the Jeep and the F-150. You needed two arms and two legs to drive them (three legs if you got stopped going up hill). I was borderline disdainful of manual transmissions (“That riding, not drive”).

After six months in the Ford Bronco I’m a changed man. Automatic transmission, AC, backup camera… I love it all. And I still drive the pickup and the Jeep but far less often. But according to an article in The Washington Post (by Dodd C. Frankel), “the death of the stick shift is almost here, A few excerpts:

Less than 1 percent of new vehicles in 2025 were manuals, a drop from 34.6 percent in 1980. The rise of automatic, electric and autonomous vehicles has contributed to this trend, with many automakers phasing out manual options.

The average new vehicle today comes with seven gears, thanks to computers, twice as many as in 1980

“The more the car becomes your couch, the less you’re going to want to shift your gears,” he said.

Ford CEO Jim Farley reassured journalists during a visit for the Australian Formula 1 Grand Prix earlier this year that he has no plans to make the Mustang automatic-only.

Drivers often feel the need to be more practical about car-buying than in the past because cars are so much more expensive today, with the average new car price reaching about $50,000. And the total cost of ownership is more than $1,000 per month for a new vehicle

Another problem for stick shifts is that only about 60 percent of Americans know how to drive a manual transmission

Land Rover’s new home

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Mr. Wolf: “The Rover’s new home is up in Jenner, which is a cute little village right where the Russian River flows into the Pacific. It’s not much of a town – a small gas station and a coffee shop – and Kamal’s place is really off the beaten path. You pass through “town”, go another ten minutes on the pavement, then about 20 minutes on dirt. Perfect Rover country. He has only driven the Rover once, across Redwood City, then he left the country for most of the summer. I’m excited for him to come back and get to know the Rover.”




Land Rover somewhere in northern California

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Mr. Wolf reports: “The Rover did about 200 miles over two days – about 30 on the freeway, the rest on gorgeous twisty roads through the valley and up the coast on Highway 1, with plenty of dirt roads mixed in. It never missed a beat.”

“With all windows open, cowl vents and “tropical” roof vents open, it’s like driving along in a very loud pergola. I even got to use the heater going through foggy SF and across the Golden Gate!”

“It was loud, the steering was vague, and there wasn’t exactly an abundance of horsepower… And I just couldn’t stop smiling.”

Scouting movie locations

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We had a visit from two young men in town scouting locations for a movie. They got Barb’s name through the garden club to which she belongs. If they decide to shoot here –we’ll know in a few days– at Rancho Barbara there would be a few exterior scenes. Not sure about interior. They told us a little about the storyline but I wasn’t paying close attention. Here’s the info provided by Gemini:

Mark Reichard has carved out a career in Hollywood working in production management, line producing, and assistant directing for prominent reality television, independent film, and streaming projects.

1. Television Production & Reality TV
Reichard has significant experience working behind the scenes on high-profile, intense unscripted and reality TV television series.

Key Work: He has been heavily involved in production work for major reality hits, most notably “Naked and Afraid” and its spin-off “Naked and Afraid XL” for the Discovery Channel. Producing and managing these types of shows involves massive logistical challenges, given the remote and extreme wilderness environments where they film.

2. Independent Film Production & Assistant Directing
In addition to unscripted television, Reichard works frequently in independent features and specialized streaming content, often stepping into roles as a producer or First Assistant Director (1st AD)—the person responsible for managing the daily shooting schedule, crew logistics, and on-set operations:

  • Darkness Reigns (2017): He served as a producer on this meta-horror film alongside director Andrew P. Jones.
  • The Mortuary Assistant: He worked as the First Assistant Director on the film adaptation of this popular horror concept.

Streaming & Comedy Production: He has lent his production expertise to major digital and streaming spaces, serving as a 1st AD for modern comedy platforms like Dropout (formerly CollegeHumor) on projects like Game Changer spin-offs.

3. Theatre Roots at SEMO
Before transitioning to the logistics of Hollywood sets, Reichard built his foundation on stage at SEMO. During his time at the Dobbins Conservatory, he was actively involved in both performing and the technical side of the theatre department, working on major university productions like the musicals Into the Woods and The Pajama Game. He effectively pivoted that classic theater training into a successful career keeping complex Hollywood and television sets running smoothly on schedule.

Ryan J. Sloan is an American independent filmmaker who transitioned from working as an electrician in New Jersey to directing.

Key Highlights & Background

  • Education & Career Transition: Sloan attended William Paterson University. He spent years working as a licensed electrician before shifting his focus to filmmaking.
  • Production Company: In 2021, he co-founded the New Jersey-based independent production company **Telstar Films** alongside creative partner and actress Ariella Mastroianni.

Directorial Debut: Gazer (2024/2025)

Sloan’s feature directorial debut is Gazer, a psychological mystery thriller/neo-noir shot on 16mm film. He self-funded the movie’s micro-budget of approximately $80,000, shooting on weekends over the course of two and a half years. Sloan took on multiple roles for the production, serving as director, co-writer, co-producer, and co-editor.

  • Premise: The film follows a young mother suffering from dyschronometria (a condition that impairs the perception of time) who takes on a risky job to support her family.
  • Release & Reception: Gazer premiered at the Cannes Film Festival (specifically in the Directors’ Fortnight section) on May 22, 2024. It was later distributed in the United States by Metrograph Pictures, releasing theatrically on April 4, 2025. The film received favorable reviews for its paranoid, Memento-style narrative and atmospheric, low-budget execution.

Bluer blues. Whiter whites.

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Pointless trying to describe this… sensation? Phenomenon? Can only be experienced.
Since my cataract surgery (two months ago) colors have gotten more intense. More so in the past couple of weeks? The feint yellow tint caused by the old lenses is gone. For some reason this is most noticeable with blues and whites. A clearer, brighter world awaits you.