Actually, much- and justly-maligned font Papyrus is perfect for director James Cameron's zillion-dollar remake of Disney's Pocahontas, the tech-tacular Avatar.

The logo is a tinkered Papyrus, but the in-movie subtitles are also in Papyrus, which was the most jarring to me. Dude. Seriously. Big blue humanoids aren't weird enough? You have to pseudo-weird it further with Papyrus?

While its technology is cutting edge, its story is so old and trite that it goes back  . . . almost to the Egyptians.

Cameron's tired Hollywood narrative formula for "exotic coolness" is exactly as tired as  . . .  well . . . the "exotic coolness" of the font Papyrus.

Would a film made in New York have used the font Papyrus? Paris? Amsterdam? Berlin?

This may be a reminder that, despite the virtual omniverse, the anywhere-workplace, geography still matters . . .  and LA tends to be a little podunk in its music tastes and in its graphic design. No offense to the great designers out there fighting the good fight. But part of the reason movies can innovate --- technically --- so wildly is that the mainstream west coast tends to be a little slim on its sense of cultural history.