Watching the world watching the bomb in Radio Bikini puts Bruce Conner's 1976 film Crossroads in perspective. Footage of the explosion, shot from land, air and sea-based cameras, is repeated obsessively, at normal speed, in slow motion and super-slow motion. The result is wondrous and frightening, elegiac and maniac; the bomb, at once theater and sculpture-in-time. The implications of this aestheticism are serious: the filmmaker catches us in the act of learning to love the bomb.