Jul 29, 2026; St. Louis, Missouri, USA; St. Louis Cardinals second baseman JJ Wetherholt (26) throws out Chicago Cubs right fielder Seiya Suzuki (27) (not pictured) at first base in the sixth inning at Busch Stadium. Mandatory Credit: Joe Puetz-Imagn Images | IMAGN IMAGES via Reuters Connect It’s the end of the week here at BCB After Dark: the coolest spot for night owls, early risers, new parents and Cubs fans abroad. We’re glad that you could join us tonight. Everyone is welcome. There’s no cover charge. We still have a few tables available. Bring your own beverage.BCB After Dark is the place for you to talk baseball, music, movies, or anything else you need to get off your chest, as long as it is within the rules of the site. The late-nighters are encouraged to get the party started, but everyone else is invited to join in as you wake up the next morning and into the afternoon.Last night I asked you if the Cubs should try to bring back David Peterson next season. Most of you, 65 percent to be exact, thought that was a good idea.Here’s the part with the music and the movies. It’s my favorite part. Maybe it’s yours as well. But if it’s not, you can skip it. You won’t hurt my feelings.Tonight we have an All-Star tribute to Miles Davis at the Hollywood Bowl just last month. In this video, we have pianist Herbie Hancock and bassist Ron Carter, who are the two surviving members of the “Second Great Miles Davis Quintet,” along with Terence Blanchard playing the trumpet, Kenny Garrett on saxophone and Vinnie Colaiuta on drums. Garrett also played with Miles when Garrett was first starting out. Colaiuta played with Frank Zappa.This is Miles’ most-famous tune, “So What.” Rather than talk about any specific film tonight, I’m going to put on my old-man-yells-at-the-clouds hat and complain about the way so much modern movies and television are shot with muddled colors and low lighting. I’ve made no secret of the way that I love the bright, some would say unnatural, colors of the Technicolor films of old. To be clear, Technicolor cameras were bulky and difficult to work with. The process to develop the film was time-consuming and expensive. It also required a lot of light on the set, which made it impractical for some shot. That’s why only big-budget films before the mid-1960s used it. Eventually there were other color processes like Eastmancolor in the 1950s, but that process often gave the same kind of muddled and flat look that I’m ranting about today.But eventually Eastmancolor and other systems improved enough that directors abandoned the bulky Technicolor process. The Godfather Part II was the final major American movie to use it and the 1977 Italian horror classic Suspiria was the last feature film to employ it anywhere. But Suspiria likely wouldn’t be the beloved classic it is today without the rich color of the dye-transfer Technicolor process.So Technicolor is dead. Even if someone wanted to use it, there are
