Protected bike lanes aren’t in final proposal for traffic changes coming to Porter Square

Final plans for traffic safety improvements in Porter Square were presented Tuesday, updated from a form presented Jan. 18 but not erasing fully the strong opposition by residents and cycling activist groups.
The presentation had the square’s current five-phase traffic signal cycle (including one for pedestrians only, and another to leave the mall parking lot) still being replaced by a simpler three-phase cycle.
A left exit from the Porter Square shopping plaza through a zebra-striped pedestrian pavilion will remain; the January plan showed it being eliminated, with the exit blocked by cement planters – a proposal called cheap and ugly by many in attendance.
In addition, a pedestrian island between lanes of traffic where Somerville Avenue meets Massachusetts Avenue will remain, shifted a bit toward the T stop and widened some. The move is meant to better distribute motor vehicle traffic and allow for implementation of buffered bike lanes, which have gridded white paint separating bicycle and motor vehicle traffic. The buffered lanes are planned for both sides of Somerville Avenue.
“We want to move forward with this plan,” said Joseph Barr, director of the city’s Traffic, Parking & Transportation Department, to a crowd of about 75 at Lesley University’ University Hall, “but that does not preclude future safety enhancements.”
The project would run “over the next few months [during] construction season,” he said.
Barr said plans were altered based on input from the community and an April 26 protest by the Cambridge Bicycle Safety Group, but he still received criticism from cycling activists who felt their message went unheard.
“Worthless,” is what one angry attendee called the plan, and city councillor Quinton Zondervan asked senior traffic engineer Patrick Baxter repeatedly why there could not be plastic flex posts – the primary demand of the April protest – where the city planned to put buffered bike lanes. An April 30 council order, though passed with some debate, also hoped for more extensive steps toward bike safety.
Baxter said trucks coming trough the snaky area would shear off posts in the curves, drawing criticisms from one upset cyclist that the city was “prioritizing trucks over bikes.” As part of the April protest, people formed a human wall in the Somerville Avenue bike lane buffer area to prove protected lanes were possible – and cars and bikes passed by without incident, using the lanes on either side of them.
Changes to the square were spurred by two deaths in 2016: Psychotherapist Marcie Mitler, 63, was hit by a car at 5:56 a.m. Feb. 18 while walking at Somerville Avenue and White Street, and died later at Massachusetts General Hospital; Ironwood Pharmaceuticals employee Bernard “Joe” Lavins, 60, was hit by an 18-wheel truck at 8:08 a.m. Oct. 5 while bicycling on Massachusetts Avenue across from the shopping plaza and pronounced dead at the scene.
If you’re wondering if any of this seeming free associations has a payoff, it does – sort of – as “Little Pink House” shares the trappings of “Erin Brockovich,” another true-life tale about an iron-willed woman who fights the good fight, taking on bureaucracy and big money against all odds. That 2000 film garnered Roberts a Best Actor Oscar.
“Wah!” you might think, but a quick walk through IMDB shows myriad actors employed by the Marvel universe have signed up for a mysterious “Untitled Avengers Movie.” I can help all the people at Disney and Marvel: Your untitled film’s title is “Infinity Wars, Part Deux.”
On the outside Séverine (Catherine Deneuve) has it all: a spacious flat in a nice neighborhood and a classic, good-looking husband by the name of Pierre (Jean Sorel) who works long hours as a surgeon. Everything’s perfect, yet there’s an aloofness and conflict behind her wide, luminescent eyes. The film begins with Pierre and Séverine in a horse-drawn carriage ambling though the countryside when Pierre orders its driver to halt and his assistants to assail her. It’s one of the many fantasies we get from Séverine’s point of view. In another she’s dressed in a virginal white gown and men throw mud and perhaps worse at her – thoughts of Pasolini’s “Salò” well up.
If that sounds like the boilerplate to “Taken” or “Taxi Driver,” you’d be right to think so – at least on paper – but for Ramsay, getting at her protagonist’s state of mind and backstory is anything but a linear exercise. In wisps we catch Joe (Joaquin Phoenix) in military fatigues within the confines of a desert encampment feed a candy bar through a chain-link perimeter to a youth who is promptly shot dead by a surprising source. Later, ostensibly in the FBI or some investigative law enforcement unit, Joe uncovers a van full of dead bodies. And then there are the flashbacks to a highly abusive father and Joe’s attempts at suicide via asphyxiation (dry cleaning bags being the impermeable of choice). These images are littered throughout, giving brushstrokes of insight to the enigmatic Joe, bearded, burly and employing the peen end of a hammer to bash his way through his first assignment. To save the senator’s daughter (Ekaterina Samsonov), he employs the same implement – a new one of course, selected carefully from the hanging racks of a Home Depot, Ace Hardware or the like – working his way through the Manhattan brownstone in a more “Old Boy” style than Travis Bickle might consider. 
“A Quiet Place” drops you into a post-calamity spot that feels all too close, given the current state of division and fear in the country and creeping need to think about how to survive a civilization-crumbling war or sweeping, sudden natural disaster. We catch up with a family out on a scavenging mission to get medicine and supplies. Inside a ransacked pharmacy, they’re all barefoot and don’t speak to each other as they go about their task. Mom (Blunt) picks up and puts down pill vial after vial with all the deliberate care of one of the silent thieves in Jules Dassin’s great heist film, “Rififi” (1955). The lack of spoken communication and the worry etched on the faces of the nuclear-plus family ratchets to a nerve-racking tic. Wandering about on his own, the youngest boy reaches for a toy space shuttle that lights up and beeps, but dad (Krasinski) is fast on the take and in sign language sternly tells him “No.” Outside, they remain silent and walk single file, never veering from the painted white center line of the road. Along their amble through a rural country-scape we see no other humans and soon learn why – after a noise emitted unwittingly by one of the party draws something formidable and fast out from the woods, and the family is suddenly one less.
What Curran and screenwriters Andrew Logan and Taylor Allen have done smartly, much like the makers of
Co-written by Anderson, Roman Coppola, Jason Schwartzman and Kunichi Nomura, the action takes place in the aptly if generically named fictional city of Megasaki, where an outbreak of snout fever (dog flu) strikes and the metro’s Mayor Kobayashi (voiced by Nomura with abrupt, macho intonations suggestive of indelible Japanese cinematic icon Toshiro Mifune), banishes all dogs to a “trash island” where waste is carted by unmanned trams across the watery expanse and processed through a series of “Wall-E”-esque automation facilities. The result is an ever-rising mass of neatly stacked cubes of rubbish that take on the effect of tiered stadium seating. No humans, unless in hazmat suits, visit.
In the year 2045, gaming has become the opium of the masses. Everyone suits up, dons virtual-reality goggles and enters a place in the cloud known as the Oasis, a platform breathed to life by a master game creator named James Halliday (Academy Award winner Mark Rylance), who’s recently passed but has left an Easter egg (apt that it’s being released on the eve of the Paas egg-dyeing holiday) tucked away somewhere in his worldwide video game. The lucky one who finds it takes over Halliday’s Amazon-like empire.