The lies are in the dialogue, the truth is in the visuals.
Another brilliant bit of advice.
This was quite a journey! I spent the better part of a day going back and forth with a guy that I was not entirely sure was for real at first, then I absolutely got fooled, and then I realized I got fooled. It was fun. The guy said some LEGITIMATELY funny stuff when he was “in character.” And it all ended in a way that I felt good about.
It’s pretty much all laid out in the screencaps, But let me elaborate here:
HEY YOUNG MEN! I know it seems like women complain a lot about how they are represented in media, including fiction, and how it seems like they want entertainment tailored specifically to them, and how they seem to want ALL of pop culture to be politically correct or feminist-ized or whatever it is you think they want, but really, what’s happening is that women are tired of seeing garbage women characters in most of our entertainment. And they’re wondering, Would it really be so much trouble to make more realized female characters? You could still have all your CGI and action and science fiction and drama and swords and stuff, but the female characters could be a little more fleshed out and interesting. And the entertainment would still be good and would, in fact, be better.
Guys, instead of thinking, “Hey, not everything has to be politicized,” try thinking, “I wonder what it would be like for me if the situation were reversed, and how I’d feel if in the vast majority of the entertainment I consumed, the male characters were few and far between and then mostly used as talking props & plot devices. I wonder if I’d get kinda tired of that and occasionally I’d say something, even a little joke, just to ease the annoyance a little.”
Fellows. Listen to the women in your lives. Ask them questions. It will change your perspective for the better. Years ago, I got into a brief argument with two female friends of mine about a movie— it does not even matter which movie— that they viewed as sexist and I did not. I couldn;t even fathom how they could see it that way. I tried to argue that it was not sexist. In recounting our discussion to another party, it was pointed out to me that they might have a different viewpoint based on their life experiences, and that it was not for me to tell them that their interpretation was incorrect. And that I was probably getting defensive about it because if the movie was sexist, it followed that my liking it would make me appear sexist. And that’s when I realized that none of this was about me, and maybe I should shut up and listen and try to understand. And also to be more aware of things like this and develop not just my sympathy, but my empathy.
I will only ever be able to empathize so much with women, because my experience as a white male in America is vastly different from that of anyone who is not that. But I can relate to:
- not being taken seriously
- not being listened to
- being dismissed
- being condescended to
- having something explained to me that I already understand
And I having had those experiences, I am now more inclined to TRY to understand where someone is coming from if they are telling me they are having a similar experience with our culture.
So guys: just try. You don’t even really have to dig that deep. Think about your own experiences as a person, then apply that to someone else. It gets easier the more you do it, and it makes your life better.
Anyway, I hear Dawn of The Planet of The Apes is pretty good!
"Who wants to take a spin with Crabtree?"
It took me a good number of years before I put the words on paper because I was worried if it turned out I couldn’t write. Then it took me fully 30 years before I directed a film because I didn’t think I knew what I needed to know, which was also bullshit. I think this is something women do more than men, but definitely self-doubt and this desire to judge yourself before you even start and to think there’s only one way to do when in fact, the best stuff is done by people who don’t have any idea how you’re supposed to do it and are following their own instincts and taking risks.
- Naomi Fone (via bachelorette-pad)
SHERLOCK Series 3 - High-speed photography
Look, without our stories, without the true nature and reality of who we are as People of Color, nothing about fanboy or fangirl culture would make sense. What I mean by that is: if it wasn’t for race, X-Men doesn’t make sense. If it wasn’t for the history of breeding human beings in the New World through chattel slavery, Dune doesn’t make sense. If it wasn’t for the history of colonialism and imperialism, Star Wars doesn’t make sense. If it wasn’t for the extermination of so many Indigenous First Nations, most of what we call science fiction’s contact stories doesn’t make sense. Without us as the secret sauce, none of this works, and it is about time that we understood that we are the Force that holds the Star Wars universe together. We’re the Prime Directive that makes Star Trek possible, yeah. In the Green Lantern Corps, we are the oath. We are all of these things—erased, and yet without us—we are essential.
Orphan Black must pay for its Helena chicanery — and it must pay in clone blood. Sooner or later. By the end of the season, for sure. We need a real death — to properly define what life and death means to its world; to reset the stakes of the drama. Now, the show could kill any of its clones to achieve this goal. But whose death would be best? Which clone croak would have the most impact — emotionally and narratively — on Orphan Black?
The answer, of course, is Sarah. She’s been the central figure since the start. Her concerns — fighting for survival; insuring the welfare and safety of her daughter and her foster brother, Felix; exploring the mystery of her very existence — have driven most of the story and produced most of its emotional resonance. Deleting our heroine from the Orphan Black matrix would be a radical game-changer for the show and everyone in it. Kira, Felix, and Mrs. S, for sure. Other clones, like Alison, Cosima, and Helena would move more center stage — unless, of course, the show gives us a new clone (or two) to become the central figure(s) of the drama.
I recognize Sarah’s loss could upset Orphan Black’s marvelously balanced mix of tones. She embodies the gritty grounding of the drama. She provides a kind of baseline of clone character that helps us appreciate even more the different variations of clones, especially the extreme ones. She is our emotional surrogate — a helpful dramatic tool for shows like these. She’s our Helena horror, our Alison eye-roll.
But I would argue that Cosima — cool, reasonable, ethical — could perform Sarah’s function, and give you a bit more, too. She’s funnier than Sarah. She’s smarter than Sarah. She’s as emotionally invested in understanding her mystery of personhood as Sarah, if not more so. She’s certainly more naturally curious about it, being a scientist and all. (Also an interesting flaw, as it has contributed to her risky, potentially compromising working relationship with Dyad.) And let’s not forget Cosima’s most conspicuous point of difference: She’s got cooler hair than Sarah.
And she’s a lesbian, too, and while that does not totally define her — a note that show has verbalized — the show has made it one of her most compelling aspects of her identity. Cosima certainly has the show’s best and only true romance in the form of her relationship with Delphine. And she embodies the ideas of variation and difference — shaping up to be core themes this season — better than Sarah. She might not be able to throw a punch like Sarah — but she doesn’t need to. Not with Helena around. Again. And she doesn’t have Sarah’s same pissed-off want for justice and self-determination that makes Sarah an appealing protagonist — but that can get it. I suspect Sarah’s death, if she was to be killed by the same Dyad devils she now works for, would be a good catalyst for it.
In short: Cosima could execute the job of protagonist-in-chief quite well and represent a provocative face for the franchise.
This is such BS.
Complete bullshit. I love that these people pull this shit out of their ass and get paid for it. I was saying this on another post, Sarah is the narrative thread of the show, without that, you just have a collection of quirky clones. smh
Hahahaa, I cannot stop laughing at this! I expected to go down to the bottom and read that this was some ignorant ass comment some moron had left on a serious article only to find out that it *was* the article. WHAT? This is possibly the dumbest thing I’ve read in a hot minute. They basically wrote a propaganda/stan piece and published it.
Sarah isn’t just our surrogate, she’s the humanizing factor. Cosima’s scientific rationality when it comes to her work and her irrationality when it comes to Delphine still operate within two extremes. Alison’s endearing and amusing, but I tend to view her more as the comedic relief than anything else, the respectability element. Sarah manages to fully embrace all of her complexities, all the sides of her between punk rock ho and chameleon and street-wise survivor and fierce mama bear and protective sister to the clones. Sarah is the center and there’s something so effortless? about her. When I’m watching her story, it feels the most natural of them all and I imagine that speaks to my own objective experience than anything else, but I’ve seen others say similar things so I don’t think I’m alone.
Also, I don’t much care for Cosima x Delphine. Outside of the relationship between the clones themselves, the most meaningful relationship is between Sarah and Kira. That relationship affects all of them in really interesting ways.(via theswordskissed)
Reblogging to say yes to the comments. EW — get it together over there. You wouldn’t kill Alicia on The Good Wife or Olivia on Scandal. You can’t kill off your protagonist just because the others look the same.
The Grand Budapest Hotel (2014) Directed by Wes Anderson.
"So, hey I’m sitting down to write your story"
"And you see, here’s an outline for the story…"
"So I was thinking maybe you would… I don’t know… follow it?"
Welcome to my world.
Candor could not be more crucial to our creative process. Why? Because early on, all of our movies suck…Pixar ﬁlms are not good at ﬁrst, and our job is to make them so—to go, as I say, “from suck to not-suck.”
Think about how easy it would be for a movie about talking toys to feel derivative, sappy, or overtly merchandise driven. Think about how off-putting a movie about rats preparing food could be, or how risky it must’ve seemed to start WALL-E with 39 dialogue-free minutes. We dare to attempt these stories, but we don’t get them right on the ﬁrst pass. This is as it should be. Creativity has to start somewhere, and we are true believers in the power of bracing, candid feedback and the iterative process—reworking, reworking, and reworking again, until a ﬂawed story ﬁnds its through line or a hollow character ﬁnds its soul.