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#Aggregate Films
darkmovies · 7 months
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Hell Of A Summer (2023) Date de sortie : Prochainement Réalisateur : Billy Bryk, Finn Wolfhard Scénario :  Billy Bryk, Finn Wolfhard Avec : Finn Wolfhard, D’Pharaoh Woon-A-Tai, Fred Hechinger Pays : États-Unis / Canada
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tv-moments · 2 years
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Ozark
Season 4, “A Hard Way to Go“
Director: Jason Bateman
DoP: Eric Koretz
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bkenber · 9 days
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Melissa McCarthy on Playing a Con Artist in 'Identity Thief'
WRITER’S NOTE: This article was originally written in 2013. Ever since she first found recognition for her character of Sookie St. James on “Gilmore Girls,” Melissa McCarthy has left an indelible impression on us all. After watching her breakthrough role as the abrasive and shamelessly raunchy Megan in “Bridesmaids,” a role which earned her a deserved Oscar nomination for Best Supporting…
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unproduciblesmackdown · 8 months
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since summer stock's Official like press opening was wednesday, there's a couple reviews i've found (without extra digging) and they don't have a world of relevant information but a tiny bit
nyt made it a critic's pick so that's as a rule helpful for the show, says orville "has a secret — no, not that one" in an unisolated and unsurprising instance of prioritizing the critic's own general savviness over actually giving the reader info. i'm assuming this Quip means to imply "his secret is not being closeted (gay style)" but there's nothing further on this point. also says that gloria's character is "beefed-up" which like, you figure all the roles, plotlines, themes are, but one might especially hope for it for gloria b/c really that's who the film is meanest to, and the review says that she has involvement in like created backstory/explanation for aesthetic elements of the "get happy" number (also present in the film's of course) which is truly great and generally encouraging for the role, who in the film despite being responsible for bringing about the whole premise of "her sister discovers following her passions. which are also gloria's passions btw" really only gets the role in that finale of "staying out of jane's way" so, already knew the musical was handling these things v differently but confirmation is nice. the review also mentions will's performance, among others', is always funny.
and that review and the also positive one from the hartford courant also provide the lore that margaret wingate "wants to own all the land in the region. The Falbury farm is in her way, and forcing a marriage between her son Orville." the sentence, surely erroneously, cuts off there: i'm guessing it's like "and Is forcing a marriage between Jane And her son Orville." explains the mystery of "hmm what's that possible map framed on the wingate house set panel" (and maybe what orville's got rolled up underarm in that next gif) and also does help kind of enhance the film's points where like, it doesn't seem like orville and jane Don't like each other or anything, they Are already engaged (probably not the case in the musical), but also orville's dad is pushing it and getting in the way b/c this is like [the town is implicitly named after both wingait and falbury] but no particular Practical reason given. like how he mentions like "yknow jane your great great great grandfather falbury was the one who made Acting illegal here" (like lmao what?????) and this is not explained further nor reckoned with further b/c nobody actually tries leveraging this lol. and he's also like got this shop and presumed local influence and is well off while jane is in some financial straits and that's relevant but like, all via the tractor that they absolutely did not want to put in this stage show (as everyone agrees with lol) and this would make things more direct. and it also says the show within the show is partly a fundraiser for the farm which also makes everything work better with more cohesion and relevant stakes lol
and also everything (even via reading between the lines of a [not officially published] review where they didn't happen to like it much) saying what was also what i figured (based as well as like, what people involved were just telling via interviews) that like nothing's really trying to "subvert" the movie even as they're being completely flexible with reworking it; "book writer Cheri Steinkellner stuck to the movie’s spirit rather than its letter" as the nyt review says. with the review that didn't like it pointing to that the person did not like that spirit lol like well yeah then that adds up. but that's what i've learned from that press opening so far: Orville's Secret and Margaret's Land Scheme
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drbatsponge · 1 year
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I don't think Marvel fans would've survived being DC fans back in 2016 because the cope over the Ant-Man Rotten Tomatoes score is giving me flashbacks.
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reimenaashelyee · 5 months
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The Creator's Guide to Comics Devices is OPEN!!! comicsdevices.com
An online library of visual-narrative devices that are used in the medium of comics and other sequential art.
Happy Halloween! I'm really excited to be finally launching* what is maybe one of my most ambitious, largest work yet. This online library is the next phase of a research project that began in May 2020, when I first mused on how comics as a field doesn't have a resource that catalogues devices used in the medium. Like, theatre has devices, so does literature, and film! So why shouldn't comics? I always had an interest in comics studies and analysis. I love reading, making and thinking comics. However most of my knowledge was intuitive - I learned comics from osmosis and experience. This is true for many of my peers. Speaking about comics as a creator is hard, because we don't have a robust system of language. When we had to speak, many of us tend to reach for the language developed for film by film practitioners. If there is language specific to comics, it's either scattered in multiple blogs or hidden away in academic journals. The Comics Devices library is meant to aggregate everything and everybody into a single hub! After exploring some multiple resources, alongside some original, independent research, here is the first edition! * The Comics Devices project is still a work-in-progress! It's not final, nor will it ever be. This is why I am seeking contributors to help build this library. Translations, comics examples, etc. There is a lot of work to do! If you are interested, reply to this post or submit an expression of interest on this page.  Have fun everyone!! (Now time for me to melt x_x)
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gael-garcia · 3 months
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PALESTINE FILM INDEX
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Palestine Film Index is a growing list of films from and about Palestine and the Palestinian struggle for liberation, made by Palestinians and those in solidarity with them. The index starts with films from the revolutionary period (68 - 82) made by the militant filmmakers of the Palestine Film Unit and their allies, and extends through a multitude of voices to the present day. It is by no means a complete or exhaustive representation of the vast universe that is Palestinian cinema, but is only a small fragmentary list that we hope nontheless can be used as an instrument of study & solidarity. As tools of knowledge against zionist propaganda and towards Palestinian liberation.
The century long war against Palestinians by the zionist project is one waged not only militarily but also culturally. The act of filmmaking, preservation, and distribution becomes an act against this attempted cultural erasure of ethnic cleansing. The power inherent in this form as a weapon against the genocidal project of zionism is evidenced in the ways it has been historically & currently targeted by the occupation forces: from the looting & stealing of the Palestine Cinema Institute archives during the siege of Beirut in 1982, through the long history of targeted assassinations of Palestinian filmmakers, journalists, artists, & writers (from PFU founder Hani Jawharieh, to Ghassan Kanafani, Shireen Abu Akleh, Refaat Alareer, and the over 100 journalists killed in the currently ongoing war on Gaza).
It is in this spirit of the use of film and culture as a way of focusing & transmitting information & knowledge that we hope this list can be used as one in an assortment of educational tools against hasbara (a coordinated and intricate system of zionist propaganda, media manipulation, & social engineering, etc) and all forms of propaganda that is weaponized against the Palestinian people. Zionist media & its collaborators remain one of the most effective fronts of the war, used to manufacture consent through deeply ingrained psychological manipulation of the general public agency. Critical and autonomous thought must be used as a tool of dismantling these frameworks. In this realm, film can play a vital roll in your toolkit/arsenal. Film must be understood as one front of the greater resistance. We hope in some small way we can help to distribute these manifestations of Palestinian life and the struggle towards liberation.
This list began as small aggregation to share among friends and comrades in 2021 and has since expanded to the current and growing form (it is added to almost every day). We have links for through which each film can be viewed along with descriptions, details such as run time, year, language, etc. We also have a supplemental list of related materials (texts, audio, supplemental video) that is small but growing. We have added information on contacts for distributors and filmmakers of each film in order to help people or groups who are interested in using this list to organize public screenings of these films. The makers of this list do not control the rights to these films and we strongly urge those interested in screening the works to get in touch with the filmmaker or distributors before doing so. This list was made with best intentions in mind, and in most cases with permission of filmmaker or through a publically available link, but if any film has mistakenly been added without the permission of a filmmaker involved and you would like us to remove it, or conversely if you are a filmmaker not included who would like your film to be added, or for any other thoughts, suggestions, additions, subtractions, complaints or concerns, please contact us at [email protected]. No one involved in this list is doing it as a part of any organization, foundation or non-profit and we are not being paid to do this, it is merely a labor of love and solidarity. From the river to the sea, Palestine
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play-now-my-lord · 6 months
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A funny thing about the attempt to make Scorsese into one pole of those "highbrow (actually middlebrow) vs. middlebrow (actually lowbrow) art" tastes-great-more-filling stealth advertising things - okay, let's start over, a funny thing about Disney/Marvel directors and Scorsese talking shit on each other is this:
Scorsese views himself mostly as a craftsman, his films primarily as a jobsite, and gets asked questions about movies as part of that (admittedly very weird) job. His admirers see him as a visionary artist, but that's ultimately secondary for him to getting shit like cinematography, casting, direction, etc right - the things a director does, not what they aspire to. This is all over how he talks about other directors, focusing primarily on craft; it's actually pretty rare for him to make blanket statements about such-and-such a genre being artless schlock, the sort of shit you'd hear from someone who is a film critic for a living rather than gladhanding producers for a living.
The Disney/Marvel directors view themselves mostly as artists, their films primarily as a form of self-expression (admittedly under tight limits imposed by the demands of money), and are strongly incentivized to engage in something we might call "counter-criticism" by a mix of ego and studio pressure. Their concerns are at the end of the day artistic concerns, prestige and respect for achieving finished films, which is measurable in part by box office returns and in part by aggregate critical reception - which skews absurdly positive to begin with! But negative reviews by people they can't brush off are something they have an incredibly difficult time tolerating.
This state of affairs is, to put it lightly, incredibly strange. Scorsese is globally admired as a filmmaker with a specific artistic vision, but his vocabulary and concerns in embodying that vision are technical. The various directors of Disney/Marvel films are a revolving door of hired hands who have, exercise, and seemingly desire close to zero creative control over their most noteworthy work - and yet their concerns are artistic.
This is a dialogue that takes place on a smaller scale in many forms of art; it's extremely commonplace for artists with outsized industrial-scale success (and let us diplomatically say significantly compromised fidelity to their stated desires as artists) to wear the brittle persona of a misunderstood visionary, and for the actual visionaries who have achieved some notoriety (and the nobodies who live in their shadow) to have primarily technical and economistic concerns, and for these two groups to frequently butt heads while talking completely past each other. Something something Walter Benjamin, I guess!
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seat-safety-switch · 8 months
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For a couple years, I worked in a video store in a small town. In many ways, this was the culmination of a childhood dream: routine, unchallenging labour. If you were a particularly annoying labour analyst, all I actually ever “did” was ring up rentals, restock returns in the morning, and clean the windows. Customer service has its own way of filling the space left by the actual work, though.
People who have worked retail are a sort of elite corps. For one thing, you’re never rude to another retail employee for the entire rest of your life. You’ve been in the trenches, too, and even if you somehow managed to escape, you’d still have had that shared trauma to know how bad that shift could get for that shelf-stocker at Maybe’s Drugs off I-40.
I have all the usual complaints, but there’s something else, too. My unique problem is this: I had this one customer who came in every Monday morning, asking for the same movie. We never had that movie, which is the crux of our conflict. He – and I can’t remember his name anymore, even if the electroshock therapy had been effective – never took “no” for an answer, and would come back the next week. He’d ask for the same thing, by title. No other details: no barcode, no publisher, no actors. Not even a description of the plot (he hadn’t seen it yet, obviously.) Now, this was before broadband internet was widely available, so I’d have to dial up after hours to America Online, and see if the movie had been added to their database. It never did, except one night I saw some folks talking about it in a video store chat room.
Their customers, too, were asking for this film. Insistently. After talking about it that night, we decided that we would form a bit of a trade union group. If any of us heard anything on this mysterious VHS, we would share the knowledge with the rest of the group. That retail-worker camaraderie at work again, you see. Nothing ever came of it, but I did end up becoming good friends with a manager at a Hobart’s Movies in Ames, Iowa, and we were even roommates for awhile before he got a new job at Seaworld. I moved on, too, making my slow, but inevitably in retrospect, drift towards the coast. Still, the whole thing bothered me. For years afterward, I would turn on my computer every Monday night, long after I had left the job, and search for any clue as to the existence of this film.
Once, on a day off, I called a librarian, who got pissy at me for even asking about it, and demanded to know who had put me up to calling her as a prank. I hung up in a panic, but she called back for hours. Obviously, she was also undergoing the same situation, and I felt shame at having brought a momentary pain to another proud Retail-American.
Now, video rental stores are a thing of the past. Even in small towns, they have been reduced to just a fond memory and an abandoned corner of a strip mall. Maybe my customer’s quest doesn’t matter anymore. The aggregation of the world’s knowledge into one hissing, unseen beast at the centre of our collective technological hallucination is complete. If they don’t have it, pick a different one. All I know is that, one day, someone will find a copy of this movie, and I’ll be able to go back to that town and shove it in the ground where the video store once stood. On that day, I can finally rest, freed from the slavedriver that is Mr. Magoo’s Christmas Carol.
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blythings · 2 months
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BAD IDEA RIGHT? | TOM BLYTH
— pairing: tom blyth x filmmaker!oc (fem.)
— summary: she thinks she is really, really smart unless it's about tom; and then she is really, really stupid.
— tags: exes-to-lovers, named oc, attempts at humour, mentions of other celebrities.
— notes: some parts were lifted from i-D mag's feature on emma seligman!
series masterlist | send me an ask →
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alexisnakamura support women's rights and women's wrongs by watching bottoms, out today in theatres across the us and canada! ❤️🥊
this movie is our baby and i feel so lucky to have been able to make it with some of my best friends 🥹 special thanks to @/mari.arai for letting me cover the walls of our nyu dorm with dick jokes and agreeing to play isabel 💞
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nicholasgalitzine So proud of you guys
↪ alexisnakamura nicky 🥺❤️
mari.arai 🫡😘❤️ LOVE YOUUUU
↪ alexisnakamura went a little too hard with the dorm room manifestations and now we made a movie together??? INSANE
guzzlingplastic1000 the best dick joke writer of all time
❤️ by alexisnakamura
↪ user ruby accept my follow request PLEASE
user THIS IS MY FIGHT CLUB
user do you have any pics of mari and ruby covered in blood it's not for anything weird i promise hahahahaaaaa
user omg tom blyth liked this post
↪ user who??
↪ user he's gna be in the new hunger games movie!
↪ user wait i think i've seen him on ali's insta before
↪ user where? i just checked her profile and he's not in any of her posts
↪ user maybe she deleted them????
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i_d Bottoms is a delight because it’s a rare breed of big studio production with a compelling original premise, following Josie (Ayo Edebiri) and PJ (Rachel Sennott), two queer teen dirtbags on their circuitous quest to get laid.⁠ ⁠
The movie been called “one of the most quotable films of the decade”, “blisteringly funny”, an “exercise in kamikaze feminism” and more, whilst holding a score of 96% on reviews aggregator Rotten Tomatoes.⁠ ⁠
But when we speak, director @/alexisnakamura only wants to lament on her new bangs. “Impulsively cutting your bangs at 5am is peak girlhood,” she says with the jittery intonation of a girl in her twenties.
Hit the link in bio to read Alexis's full interview with i-D on imposter syndrome, meeting friend and close collaborator Mari Arai in college, situating her bisexuality in her filmmaking and more.⁠
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user relatable queen
user she's so pretty 😩
user she sounds exhausting to be around LMAOO
↪ user ^^^ ↪ user fr it's not a good look considering she's relatively new to the industry ↪ user so she's meant to just be nice and likeable? give me a break 🙄 also "relatively new" is a stretch when bottoms is her 3rd movie
user "i feel like i'm constantly going through something" same
user is she dating tom blyth?
↪ user i think she used to but they broke up ages ago ↪ user they still like each other's posts tho ↪ user an amicable breakup then? ↪ user omg i want them to work together
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liked by user, user and others
nakamuraupdates ali's stories from this morning!
user not death by a thousand cuts
user someone check on our girl
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olderthannetfic · 3 months
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https://www.tumblr.com/olderthannetfic/737444069998051328/its-weird-how-obsessed-people-who-have-said-they
Anon as an artist who draws both f/f and m/m the simple answer is that femslash fandom has an earned reputation of being content policing harassing jerks and this is coming from a lesbian. I prefer m/m because the community isn’t respectability politics-ing at me. I can sexualize men without consequence but even as a LESBIAN I am attacked for expressing my own sexuality by sexualizing female characters.
Maybe femslash fandom needs to shun harassers instead of uplifting their ideals or handwaving the behavior as rare instances. They aren’t rare. Not if what you make isn’t wholesome and PG-13 at the most.
And when there are no creators after the rude leading comments, accusations, or outright harassment you’re surprised people avoid f/f shipping? It’s a self fulfilling prophecy but sure blame it on misogyny.
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Well, in the fanfic/art context I do think we can also blame it on the broad forces of misogyny that lead to the media that literal hundreds of millions of people watch being predominantly about men or maybe one lone woman with no female associates.
People like to endlessly point to outliers or to big media that doesn't have a big fandom, but the reality is that there is a broad correlation between audience size and fandom activity, and there is also a broad correlation between audience size and godlike advertising budgets controlled by shitty, sexist industries with massive amounts of entrenched misogyny and a belief that Chick Stuff Doesn't Sell. The MCUs of the world don't get around to their movies where women actually get to do things till a million films in when everyone's sick of them, if then. Meanwhile, the fandomy media that focuses on multiple women is more likely to be TV with a mid-size reach or books with quite a small reach comparatively. It may not hold true of every fandom, but it's true in aggregate.
I just wish fans would stop blaming other fans' individual tastes or making it about m/m, as if plenty of people aren't off enjoying f/m while ignoring f/f.
99% of questions like "Why is this discourse here?" can be answered by "Someone talked shit, and this is the inevitable consequence."
--
The judgy double standards for anything seen as more pure or diverse or whatever is epic, but I have come to think that a lot of the problem is just that smaller communities have a harder time repelling any given flavor of bully. Het circles are full of dramatic idiots with bad takes too, but there are enough places to go hide from them that people just carry on.
Morality policing really is the death of creativity and fun.
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darkmovies · 2 years
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tv-moments · 2 years
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Ozark
Season 4, “Trouble the Water“
Director: Amanda Marsalis
DoP: Shawn Kim
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ripleycano · 1 year
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The Illusion of Living: Sammy Lawrence Archive
 Long time no see, BATIM friends! In light of BATDR releasing soon, I’ve decided to buy The Illusion of Living and compile all the information we have about our favorite music director. I’ll also include information from sources other than TIOL for a more holistic aggregate of knowledge :)
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Full post under cut!
Appearance
 Let’s start with mentions of physical features and attire. We already knew from the Hot Topic takeover that he had a ‘flowing cascade’ of brown or blonde hair:
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TIOL adds onto this in Joey’s description of Jack Fain and Sammy Lawrence at the evening party:
“Though I suppose his (Sammy’s) hair could have been slicked back a bit more, not quite so long and floppy on the top as it was. As it still is.”
It looks to be the case that his hair was indeed on the longer side, and it remained that way during his time at the studio. (Personally, I’m a big fan of the idea of his having messy, unkempt hair that’s a little long for the standard of his era.)
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DCTL describes Sammy as looking like a bird or insect, TIOL does the same:
“Sammy stepped toward me out of the dark. His angular face was highlighted now from the lights of the party, throwing sharp shadows that only made him look more insect-like.”
In addition to this, TIOL confirms my assumptions that Sammy is both younger than Joey and looks permanently exhausted:
“He was a couple years younger than me but seemed like a fellow who had lived several lifetimes already.”
Keep in mind Joey thinks this on the eve of his thirtieth birthday, meaning Sammy was likely somewhere in his twenties when he started working at the studio.
We already know suspenders were part of his closet, but what else? TIOL portrays Sammy in stark contrast to his musical partner, Jack Fain. This is seen not only in their personalities, but also in their attire.
“The man (Jack Fain) tipped his bowler in our direction. I understood now why he was still wearing it even indoors. His whole outfit was a kind of costume in a way. He wasn’t in a tux or a dinner jacket either. Instead he was in dark gray wool trousers with red suspenders, a white button-up shirt beneath an orange vest and brown bow tie. He fit the description of “a character” to a tee. Sammy Lawrence on the other hand was in a neat simple black evening suit and looked totally appropriate for an opening night party.”
Looks like Jack prefers to dress in bright, flashy clothes, while Sammy’s style of choice is plain, smart, and occasion-appropriate. Unfortunately for him, he is eventually fated to wear only ink-soaked suspenders for the remainder of his life :,)
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Past
With TIOL, we finally have some insight into Sammy’s life before the studio! Joey mentions he had already seen Sammy prior to their meeting at Chapter 6′s opening night party.
"I hadn’t realized right away when I met him properly on the eve of my thirtieth birthday that I’d seen him before. Only in that first conversation was it revealed he’d worked for the Grand Cinema as a teenager. I remembered him then easily. I’d been so impressed by the quality of the music that I’d hardly noticed the film.”
Sammy had already been working in the film industry before taking up Joey’s job offer-- looks like his job was to play live music scores to accompany film visuals.
“The music he (Sammy) made felt effortless but what was just as striking was his focus. The way he stared at the screen before him, watching the film as keenly as any of us in the audience.”
"It was an incredible show and I remember the audience applauding at the end of the film, which didn’t happen all the time.”
Not only was Sammy skilled at his job, but it looks like he had a deep predilection for cinema. I wonder how things would’ve turned out for him if he’d continued his path in the film industry.
Personality (oh boy)
Pre-ink
All the information prior to TIOL (audio tapes, DCTL, etc.) point to Sammy being adherent to a specific archetype: the tortured artist. He’s artistic, sensitive, and immensely talented-- however, he’s also irritable and blunt. (“I just hope nobody tells Sammy. Because if he finds out I lost my keys again, I’m out of here!”)
Luckily, TIOL adds more nuance to his characterization! Before becoming affected by the living ink of the studio, it seems that Sammy was fairly quiet and very much introverted.
“’Sammy!’ called out one of the supporting actors in a low baritone. The man at the piano shook his head. He seemed annoyed. I thought it was funny, I didn’t realize that it wasn’t an act. That Sammy was not a fan of attention and definitely didn’t like putting on a show like this.”
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When conversing with Joey, he speaks in a curt, brief manner, never bothering with hollow pleasantries. He’s not one to sugarcoat his questions, consequently offending one very ego-driven Mr. Joey Drew. (He only gets away with it since Joey is so enamored with the idea of hiring him, but we’ll expand on that later.)
“”I’d like to talk to you two,” I said, smiling as warmly as I could. I wanted them to know I was a friend. But of course Sammy just stared back at me. “About what?” he asked curtly.”
“Sammy reluctantly nodded. I had no idea then why he was making such a fuss, honestly still don’t know to this day what makes him a grouch, but if being a grouch means beautiful music, I have no problem with that, I’ll tell you.”
““Joey Drew, owner of Joey Drew Studios,” I replied. “And what’s a Joey Drew Studios?” asked Sammy, lighting a cigarette from the darkness by the stone wall at the edge of the terrace. Yes, he said it in that dismissive tone. I didn’t understand why he needed to talk to me like that. I didn’t respect it. I was starting to doubt my own judgment. Did I really want to offer the opportunity of a lifetime to someone so extreme in their indifference?” (Side note: “What’s a Joey Drew Studios” absolutely knocked me out. Joey being incredibly offended about it didn’t help.)
““That was me, I remember you now. You are quite the talent,” I replied. “I know,” he said.”
Being a man of (very) few words, it seems that Sammy doesn’t express his thoughts much, either. Oftentimes, he’ll simply drift off in the middle of a conversation to ponder something with no additional context given. (Essentially, he just throws things out there and expect people to understand exactly where he’s coming from)
““Joey Drew Studios,” he said again, mulling it over. “So like film?” I nodded. “Sure, like that,” I replied. ... “You like movies,” he said, nodding back. Was he imitating me now? “I do.””
““Can we watch a movie?” asked Sammy. “A movie?” Sammy always had and still does have a way of surprising you with what he’ll say or do next."
What Sammy doesn’t say with words, he conveys with the occasional bemused facial expression. Joey finds this especially fascinating, often scrutinizing him closely in an attempt to figure him out. I imagine he treats it as some kind of game.
“Jack was duly impressed, Sammy was unreadable. Typical Sammy.”
““Why do I know you?” he asked then. He was looking at me carefully now. Not in the same suspicious manner. He was truly trying to figure out the answer to his question.”
“Jack on the other hand seemed to love it. “You can feel the creativity!” he said. Sammy said nothing, of course."
“Jack looked at Sammy, then back at me with an expression of “I have no idea what he’s thinking.”"
In fact, Joey has an incredibly unhealthy obsession with trying to read Sammy which begot this... fascinating passage:
“He (Sammy) leaned back on both elbows on the stone wall. Beneath him Fifth Avenue roared and certain death would come to anyone who toppled over the edge down onto it. The man definitely had confidence in that wall. I had a sudden urge to give him a shove. Not push him over, but just to see his reaction. This might sound strange, but I needed to see a human moment from him, I needed to see the man he was hiding from me.”
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A mysterious guy for sure.
As if his lack of willingness to verbally communicate wasn’t difficult enough, Sammy is shown to be very, very stubborn and demanding. (Artists, am I right?)
When asked to work for Joey, he first demands that he receives a tour around the studio. Before Joey can even start to schedule a date, Sammy pulls a Sammy:
““How do I know it’s real?” Sammy asked. “Oh it’s real,” I replied. Sammy stepped toward me out of the dark ... “Show me.” I nodded. “Of course, let’s schedule a tour for some time this week,” I said. ... “No,” he said, inching toward me. “Now.” “Now?” “Now.”” (Now I know for one that Joey’s heart DEFINITELY skipped a beat there)
Upon visiting the studio, Sammy kindly (?!) gives his unsolicited input on a group of characters he’s never seen before:
““Do you have other characters?” asked Sammy, not turning around. “A wolf,” I replied. “Boris,” I added. “Good name!” said Jack, turning in his seat and grinning at me. “You need a girl,” said Sammy.” (No maidens???)
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Thanks, buddy.
Finally, Joey manages to win him over, to which newly hired Sammy Lawrence responds:
“Finally Sammy spoke again. “I want full creative control over my department. I want to hire my own people. And if the money isn’t good, I’m not signing the contract.” ... “Ol’ Sammy, a man who knows his own mind,” said Jack with a laugh."
It’s a very bold move to speak to your boss like this, but I fully support it. It’s no secret that Sammy is very talented and fully aware of this fact-- I’m very glad he knows his worth :) (Although signing that contract did lead to him becoming a cultist stuck in a time loop)
Post-Ink (I’ll likely touch on his post-ink self and descent into insanity on another post once I find my copy of DCTL!)
That’s all I have the energy for now, but there is one more thing I’d like to touch on: Norman. 
Unfortunately, there is no mention (that I know of) of Norman in TIOL. Perhaps this is because he was hired later on, partly thanks to our very own Sammy Lawrence :)
“Sammy looked around the room. “I’ll need a projector,” he said. “A projector?” I asked. He nodded. “To play with the movie.” Of course, I realized then. Of course. That was what he did best, improvise as the movie played. “Yes! A projector booth, of course, that will be our top priority.” I added it to the mental list I’d started months ago.”
Looks like Sammy was indirectly responsible for the projection booth in the music department! I love the unexpected eye for detail he has when it comes to the video side of the production process. His enthusiasm shows in his insistence on watching the films he plays to, which I find very sweet.
I’ll probably follow this up with posts about Sammy’s in-studio relationships and one focused on his post-ink ‘prophet’ self. Thanks for sticking around for so long!
As for my final thoughts on Sammy, Joey says it best: “I’d never trade Sammy Lawrence for anything.”
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songoftrillium · 4 months
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Meet The Writing Team
Hello Kinfolks! These last two months have been quiet for y'all in terms of updates, but BUSY in terms of the work being done by the sept of contributors to this project!
At the start of October I put out the call for help, saying that this project cannot succeed without the help and support of the Werewolf fandom. I'm happy to report that you as a fandom have responded phenomenally, and production on this series is now underway! These last few months have been dedicated to recruiting team members, and researching our book framework. We've about filled in the main core of the team, but are always looking for more help.
October through November has been dedicated entirely to research, both putting together a collection of citations we'll be using in this first book, and passing out initial writing assignments. This list is sure to grow in time, but for now we have plenty of work to do!
With that all said, I'd like to introduce you to the team that are showcasing the Gaians. Look under the cut to meet them!
Amy Waller (she/her)
Bluesky Page
Ms. Waller is a freelance writer and massage therapist based in not-quite Northern Virginia, and is a contributor to D.W.A.R.V.S. . Werewolf the Apocalypse was her first RPG, and she loves the themes of shapechanging as self-actualization and of trying to balance instinct and wisdom.
Amy has joined the team to depict the journals of Cryptobiologist Esme "Leaping Ghost".
Bek Andrew Evans (He/They)
Linktree Page
Mx. Evans is a freelance writer and illustrator from Jackson, Mississippi. He explores themes of mental illness, disability, abuse, poverty, queer themes and the intersection of these statuses. He uses body and psychological horror, meticulous attention to medical details, and deep character dives as some of his favorite methods to achieve those goals.
Bek has been indispensible in book research, and will be taking his experience with M20 Sorcerer and writing for the Hearthbound, and fictitious news article citations.
Excelgarou (She/Her)
Carrd Page
She's been described as a Werewolf: The Apocalypse academic, and wears this title proudly. She labors at all hours on resources for Werewolf fans - particularly as regards aggregating otherwise obscure information - such as the Build-a-Veteran tool or (especially) the Werewolf Index Project.
Excelgarou is our lead researcher, ensuring our book citations and narrative voices remain consistent through all editions. She has also been conscripted to write the introductory passage on the World of Darkness, and to redraft the Children of Gaia.
James "Jim" E. Deeley (He/Him)
Linktree Page
Jim has been playing, running, and writing for tabletop roleplaying games since he was first introduced to them over twenty years ago. Jim has presented on the subject of writing for games since 2010, and has been contracted to write mechanics and to do character design by the likes of High Level Games, Lostlorn Games, and Renegade Game Studios, but is equally skilled at writing lore and narrative, skills honed over two decades of running roleplaying games and medieval studies, lending a deep historical context to his writings.
Jim will write the Western Concordat, showcasing the Silver Fangs, Fianna, Get of Fenris, and Glass Walkers.
Mórag (it/its)
Mòrag is a writer and botanist from Te Wai Pounamu. It writes both botanical articles and horror stories, the former to raise awareness of ecological issues and the latter to explore what it means to be human, represent trans and autistic experiences, and addiction. It's horror writing is best recognized for its use of visceral first-person perspectives, body horror, and the grotesque. It is influenced heavily by works such as the Hellraiser films and the philosophies of Georges Bataille.
It has joined our team to write the story portions of the Song of Trillium, showcasing the legend of Tawatuy.
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t00thpasteface · 2 months
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Hiiiii₍⁠₍⁠◞⁠(⁠ ⁠•⁠௰⁠•⁠ ⁠)⁠◟⁠₎⁠₎
Could you explain the hipster Vs fandom war. I've been on here for like four years and I never knew that existed lol and btw I really really love your art and you are one my biggest inspos for how I imagine and draw my Clark.
i'm not sure i can explain it in a way that makes sense, and certainly not in a way that makes you say "i understand why this was such a big deal", but gl'bgolyb knows i can try.
first, let me take you on a sensory experience... picture in your mind the following things... skinny jeans... nerd glasses... a weirdly dapper fashion sense in a time where everything is baggy and neon... boom, you have 2010-2014 online tumblr hipster culture. and also 70s elvis costello, oddly enough.
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although admittedly i don't know his stance on pumpkin spice lattes.
anyway. now that that's burned into your brain, consider a significant population of this exact type of person that has already been well-established on this microblogging platform around the turn of the decade. tumblr doesn't really have an app yet because smartphones haven't taken over everyone's life yet, and online fandom culture is still largely dominated by deviantart as the main "fandom hub". most people, myself included, are getting their main meme fixes from facebook (which your parents were not yet on) or the icanhazcheezburger image-aggregator network. THEN EVERYTHING CHANGED WHEN THE FANDOM NATION ATTACKED.
somehow, a huge crowd of people who considered their favorite books/movies/games to be core personality traits began to set up shop on this fair slate-blue isle. i number myself among this crowd, having been lured here by google-image-searching for miscellaneous fanart in 2011. the "old guard" largely belongs to, and continuously attracts new bloggers within, a burgeoning subculture that 100% defines itself by bucking popular trends and social expectations... whether or not this is actually accomplished by purchasing beverages from starbucks and putting old film filters on every photo, i cannot say.
you may be seeing an issue already arising: hey, if the hipsters hate everything that's popular and gatekeep all their interests, and the fandom bloggers are obsessed with extremely popular franchises and are hell-bent making them even more popular, isn't that going to cause a little friction?
well, yes. it caused a fuck ton of friction. a division arose early on between "the fandom side of tumblr" and "the hipster side of tumblr." some people, like myself, played both sides. others abstained from the rigid dichotomy and considered themselves to be on another "side," like the science side of tumblr, known for explaining relatively straightforward STEM concepts in large essays that began with something like "listen up fuckers."
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ahhh, unfriendable. such a narrow little window in time where cheezburger sites and facebook had equal sway in the online zeitgeist.
interestingly, as someone who trawled a LOT of aesthetic tags, the most popular of which was simply #aesthetic (it was shockingly consistent in there), i never actually saw hipster bloggers complaining about fandom bloggers. it was always the other way around, with fandom bloggers bragging about how much they're freaking out the squares to get cool points with other fandom bloggers, all while never actually engaging with the hipster bloggers because their tags rarely overlapped.
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hi, marge! we're freaking out the hipsters!
regardless of whether there was any material reality to it, or if it was simply a Minitrue level of entirely fictional warfare, this concept entrenched itself into the fandom bloggers, likely as a way to still feel "edgy" and unique while, again, obsessing over extremely popular and mainstream things like doctor who, pokemon, avatar the last airbender, the brand-new mcu, and other decidedly non-counterculture media. even with things it felt like no one irl had heard of, like hetalia and homestuck, those were online juggernauts nonetheless, the former of which had dominated deviantart for years and the latter of which prompted hotels and convention centers across the world to implement very strict rules about unsealed body paint. people treated fandoms like they were some sort of exclusive country club with membership fees and a dress code. and dunking on hipsters became an entire genre of Fake Internet Story, which were already pervasive on this website.
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what's the point of being in a clique if there's no outgroup to flex on? #swag
this whole phenomenon ran concurrently, even symbiotically, with other tumblrisms like "tumblr university" and those horrendous "not like other girls" memes...
which means, of course, it was absolutely dead in the fucking water once DashCon happened in 2014. i don't need to tell you what happened at DashCon (there's a million essays and videos about it if you're one of today's lucky ten thousand who's never heard of it), but all across the fandom side of tumblr, it felt like finding out your parents lied about santa claus. turns out the fandoms you're in don't actually say anything about who you are as a person, a bunch of tumblrinas can't just will a fully functional micronation into existence just by wearing tacky merchandise in a public venue, and magic probably isn't real.
i wish i had some grand way to end this story, but really the moral is the same as it ever was: online drama is eternal, inescapable, and completely fucking worthless. if you only post to get mad at shit, especially if you're just making up a guy to get mad at, cut that out. touch grass. look at images of cats. i don't remember any of the enemies i made from this era, but i fondly remember all the friends, and i'm richer for making those positive connections. that's all for today's episode of Tumblr History with Toothpaste Face... remember to tip your waitress and stay minty.
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