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srattueba2b · 3 years

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Ideas for the Main Character and ‘Ethical Issues’

When coming up with ideas for the main character’s design, I began just by doodling whatever came to mind- sometimes trying to emulate Nick Cross’s style. However, I then remembered watching the short ‘Hair Love’ recently and how endearing the main character’s design was in that film, so I tried drawing a character using one of the hairstyles.

I found that I really liked the design and thought it could be fun changing her hairstyle in each stage of her life, maybe getting progressively more intricate and creative the more she learns to embrace her fascination for art and animation. So, I presented it to the rest of my group and it was received quite well.

However, Tiago brought up that they were concerned whether or not it would be ‘appropriate’ for our main character to be black, alluding to the fact that our group is predominantly white.

And this really surprised me. Whilst I understand that when creating characters who have a different culture or ethnicity to yourself, you won’t be able to share the same personal experience. But this is true of almost any character you create. Following this logic, am I limited only to creating white, female characters?

If this were a film specifically about black culture or what it means to be black then I would agree that that is not our film to make. But this is simply about a person who loves and is fascinated by animation. And I see no reason why that person can’t be black.

On another note, poc are severely underrepresented in TV animation as is, especially women. To quote Cree Summer (a voice actress who voices multiple black animated characters) from this 2018 interview:

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‘I do the voices of all the brown girls... There still ain’t that many. Because there is this really crazy belief that black girls don’t watch cartoons, and that we don’t collect comics, and that we don’t like sci-fi, and that’s BS man. We love it’.

(Cree, paraphrasing her fans) “You don’t know what it meant to me to see myself in a cartoon, I got one little black girl that I get to see that looks like me. Thank you so much”

Tyler the Creator raises a similar argument in this 2017 conference:

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Furthermore, I also recently watched this video analysis by ToonrificTariq of black characters in animation, and though it’s quite informally written and its sources often aren’t fully cited, it raises some valid points (and includes the above clips).

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‘there is no one black experience’ and ‘not every character with brown skin needs to be a political statement’.

However, he also raises the point (at 13:00 in the video) that in the birth of animation, film & media, the way black people were portrayed was dictated by predominantly white people, and more often than not with harmful stereotypical caricatures. Only recently have we been able to move away from these depictions, even I remember watching Tom & Jerry cartoons growing up and seeing Jerry with a shoe-polish blackened face and big red lips. So it is imperative that black characters be portrayed respectfully and that we listen to a range of opinions from people of colour- to do our research.

A successful example of this would be Craig of the Creek, an animated series that began airing in 2018. It was created by Matt Burnett and Ben Levin, two white men. The series revolves around Craig, an African American boy growing up in the suburbs. With the series’ Emmy nomination, Common Sense Media award, and upcoming spin-off series, it’s clear that the show is well-loved. And this is because Burnett and Levin hired a diverse group to work on the show and help to shape it:

“We worked hard to put together the team that would help shape the show, a very diverse group of voices to add something that we needed that we couldn’t do on our own,” Burnett says. “That was always our goal when we decided to create the show, to work with a huge range of people and get their voices heard on TV.”

“We saw first-hand [working on Steven Universe] how much representation mattered to people and how important it is for people to feel seen. And so when we had the opportunity to create a show, we wanted to make something fun that the kids would love but would also have a positive impact,” Levin says. “In animation, you’re creating the world from the ground up. So every character is a decision in its own way. So as we’ve gone through the show, we talk about ways that we can provide representation as we create characters.”

(quotes from Fast Company, Inside Cartoon Network’s Racially Groundbreaking Show “Craig Of The Creek” (2018) Available at: https://www.fastcompany.com/40551963/inside-cartoon-networks-racially-groundbreaking-show-craig-of-the-creek [Acessed 29/03/21])

White creators can make successful, relatable black characters, if they listen to black voices and take on their ideas and concerns.

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One of the main things that I take away from these videos, is that what is more important than simply including a black character, is portraying them as a character- giving them a personality, a story, a life. ‘There is no one black experience’ (ToonrificTariq). According to author Leye Adenle: ‘I believe that you can write any character as long as you have empathy.’

Fascination is a human experience, I have experienced it, anyone who has fallen in love with animation has experienced it. And with this idea at our film’s core, I think we can make a successful, relatable character, regardless of race.

What I draw from all of this is, whilst it is extremely important to be respectful of other cultures and ethnicities, and to do your research to avoid any stereotypical or insensitive pitfalls, being overly-cautious to the point of seeing it as ‘inappropriate’ to portray any race other than your own seems to be holding us back from creating actual, needed change.

So, learning and moving forward from this. I’d like to continue developing my take on the main character as a British black girl. Whether or not this becomes the final design for the film is up to the rest of my group. But, nevertheless I am going to look at sources from predominantly black artists such as Allen Fatimaharan, Vashti Harrison and Matthew A. Cherry as inspiration for my take on the main character’s design. And in the future, if we do decide to go forward with this design, I’d like to present our work to a diverse range of people to gather their opinions and make sure we are doing our due diligence.

#13th principle #Report Proposal

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recentanimenews · 3 years

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INTERVIEW: Jeff Trammell Speaks on Craig of the Creek and its Anime Influences

In celebration of Black History Month, Crunchyroll is releasing interviews with prominent Black figures across the anime world! Stay tuned for more announced features, or donate to Black Girls Code, which educates young girls of color to encourage careers in computer science and technology!

Anime has had and continues to have a huge impact across the globe, and that impact can be found more and more in Western animation! Kids who watched anime on Toonami are growing up and creating series of their own that take with them that seed of affection for the medium. One such creator is Jeffrey Trammell, the head writer of Cartoon Network's Craig of the Creek. Cameron Trentalange, our Associate Manager of Social Video, was lucky enough to talk with Jeff about his work on the series, his love of anime, and how the two are intertwined. See the video interview below, followed by a complete and uncut transcription of the full interview!

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Crunchyroll: Thank you for taking time to meet with us. We’re really excited to be chatting with you today. To get things started, if you could just introduce yourself to our audience, your name and what it is that you do.

Jeffrey Trammell: My name is Jeff Trammell and I am the head writer, as well as a voice actor, on Craig of the Creek.

How has anime influenced or inspired your work?

How hasn't anime influenced my work? It’s been such a big part of everything we do. Everything I do as a writer … We're constantly thinking back to the storytelling, the kind of one arc, one-off episodes, as well as arc-long stories ... it’s really allowed us to use anime as a bit of a blueprint for the stuff we wanna do on Craig. Anime is a big part of the show. A lot of people on the crew grew up watching things like Dragon Ball and Sailor Moon and Evangelion. Samurai Champloo gets brought up a lot, too. So, any chance that we can get to kinda pay homage to those classic shows as well as the other stuff we’re into, we kinda jump at the chance to do.

via Cartoon Network

That’s awesome. Are there any other specific elements that reflect your experience with anime in Craig of the Creek or your other works? I know the Elders of the Creek seem to be very pulled from people you might meet in the fandom.

I would say I'm a bit more of a casual fan. There's people on the crew that are certainly closer to the Elders of the Creek. I'm more like Craig in that I have my own certain fandoms that I'm into. But yeah, anime is such a big part of the show in the weirdest ways — every episode has something we're sneaking in. Our crew early on would meet to do anime nights, so we would watch The Castle of Cagliostro or Totoro ... stuff like that. It's very ingrained in our crew.

That’s awesome. That sounds like a super fun environment to be a part of.

It’s really great when your workday ends and you’re just hanging out watching anime and playing D&D. Like there’s no complaints on our end.

Craig of the Creek often dips its toes into referencing anime, whether it's a background gag or, as you mentioned, an entire episode-long narrative like "Bring Out Your Beast." It sounds like, as a community, you and the team are largely inspired by anime. Was that kind of a coincidence that everyone was into anime or was that intentional in the structuring of the team?

Our crew consists of a lot of younger writers and creators, so naturally the stuff we grew up watching included so much anime and the stuff aired on Toonami. Even the co-creators, Matt Burnett and Ben Levin are like, really big into this stuff. You go to their office and there's like the entire Evangelion set, or all of Dragon Ball. I think they really created a show full of people who they wanted to be around, who were all going to tell really fun stories. I think it just happened that anime was such a big part of everyone's life on the show.

It’s kind of amazing to see how much anime has influenced so many people throughout the industry. You mentioned that you guys would do different movie nights for watching anime. Do you have any specific anecdotes or moments from working with the teams where you intentionally wrote an anime reference into the script and someone pointed it out later, or maybe an animator just added something entirely without it even being in the script? Are they any fun little kind of instances like that?

Yes. There’s a lot of instances where I’ll write something in the script and then at the boarding stage, the boarders would take it so far out. We did an episode where the Elders get trapped under Elder Rock and there's a bit about them having a very cool replica shovel from an anime called Shovelmaster Gorobi Q that I put in there. Immediately, it just became this whole other thing where the basis of the show was that this person's soul is trapped in the shovel, so if you use it, you can tap into their spirit. One of the Elders is in love with the character who inhabits the shovel ... it's wild! I never expected that whole story to come out of this one line I wrote.

via Cartoon Network

That's incredible. One of my favorite little background gags is one of the posters for a show called Sadboy Pilotgeddon.

Yes.

Was that written into the script, or was it an element someone else wrote in?

That was our storyboard artist Ashley Tahilan who is usually the impetus for those crazy moments in the show. She put in Sadboy Pilotgeddon really early on, and I think she's also the reason Shovelmaster Gorobi Q became the absurd thing that it is.

I love it. In one of the very early episodes, there was a character who was holding up a volume of manga and says, "you read manga backwards." I feel like I have said that verbatim as a kid!

via Cartoon Network

That was a really fun moment. We were trying to introduce the ninja kids who just hang out and read manga. We thought when you're introducing someone to manga, you can't start without saying, "Well, ya read it backwards!" We decided we NEEDED to put that in the show.

It was very true to life. I love those little moments. Speaking more generally, what does it mean to be a head writer on a TV show?

Being a head writer means a lot of different things depending on the show. On Craig, it's nice because I get to be the link between the writing and the storyboard artists. Our show is very cohesive in that it's very storyboard driven. That means we take the premise and outline and then hand it off to the storyboard artists, and they draw everything, including dialog. Then we come back together and they'll pitch their work to us. We'll make sure that we pitch ideas and jokes, and really punch it up to make it stronger. We have this kind of cohesion where everyone gets to really leave their stamp on the episode. Being a head writer means overseeing that process, the writing room, recording, assisting with directing, sometimes getting in on editing. It's so much more than just running the room. It's been a really cool experience for me. I get to follow the stories not just from their initial creation, but all the way to their end, which has been really cool.

That sounds so incredible. So, how did you break into being a head writer, as opposed to different writing roles?

I actually have only been a writer here in LA for about five years. Before that, I was a security guard at Target, oddly enough. I've always had an interest in writing, and I wanted to break in, but I didn't know how. I was able to find out about a yearly contest called the Nickelodeon Writing Program, where you would enter scripts and, out of around 2,000 applicants, they choose up to four people every year. They move you out to LA, and you get to work at Nickelodeon as a writer. You get to learn, you get paid, and you get all these amazing perks. I got to take improv and sketch writing, just all of these incredible things. When I moved out here once I finished up at Nickelodeon, I eventually found my way to Cartoon Network. I started working with Matt and Ben on Craig of the Creek. I was a staff writer for the first year, and by the second season, I was promoted to head writer. I've been very fortunate, the way I got in. I think it was a lot of "right place at right time," but also luckily having the skills to back it up that led to this quick rise.

That's amazing, what an incredible journey!

Thank you!

To be selected from over 2,000 writers — I think that says a lot about the talent you have.

Thanks, that's really cool.

In addition to Craig of the Creek, I know you have also worked on shows like The Owl House, and you mentioned that you spent some time at Nickelodeon. What is it like to write specifically for animation?

Writing for animation is tough because there's a lot of visual storytelling you have to be aware of. You are also writing for someone else. I think if you're writing novels or similar stuff, you can write the story exactly as it is in your mind and someone else can read it and see where you're coming from. When you're writing for animation, though, you have to be aware that whatever you write, someone else has to draw. Someone else has to design. Everything you write is going to be on someone else, so it's tempering all of those expectations you have for your own writing. You have to tell a fun, captivating story without pushing it too far, or making every shot a crowd scene. Then people would have to animate 50 people running by in every shot. It's a very intricate level of storytelling where you have to really see what the most important parts of the story are and convey that.

That's an interesting point. I think there's this sense with animation of like, "Well the options are limitless because I can just draw it!" But then there's the realization of, "Ah, well that burden is laid on a bunch of people who actually have to animate the thing."

Yes.

I imagine there's a good amount of give and take there. Did you always want to break into animation, specifically? Has animation been a passion for you?

Yes and no. I mean, I've always wanted to work in animation because I've been a fan my whole life. A lot of people have that teenage phase where they think, "I'm too adult for cartoons," and they kind of move away from it, but I've never done that. I've always appreciated animation. But I also appreciate live-action. The first time I got to work on an animated show was Harvey Beaks at Nickelodeon, and I really got to work with that crew and see everything that went into creating 11 minutes of television. It's so much work from so many people. It's like watching a conveyor belt in action. Seeing those things really laying out in front of me gave me a brand new appreciation, even more so. Since then, I've known animation is definitely where I want to be.

via Cartoon Network

That's so cool. Craig of the Creek features such a wide cast of characters. How do you and the team approach writing for so many different voices from different backgrounds? I think the thing that's been really successful for us has been to reach beyond our writing room. At the end of the day, we only have so many experiences and can only write from so many perspectives. Our crew is dedicated to representing perspectives people may not have gotten to see growing up. So, we reach beyond our room to the crew. People are welcome to share their stories, welcome to pitch ideas for stories and characters. We really want to make sure that at the end of the day, we're making a show that people are not only proud to work on, but that they're excited to show it to their family and friends.

Is it common for writing teams to be structured in a way where they have opportunities to work across other departments, or is that harder to find?

It really depends on the show. I've been on shows where the writers only hang out with writers and the artists only hang out with artists. Coming from Harvey, which was a very closely connected group, I knew that was something I wanted when I was starting on Craig. Matt and Ben had come from Steven Universe, so I knew they wanted the same things. Early on, we really made an effort to make sure our group was close and our crew was excited to hang out, to talk and share ideas. It's kinda been ingrained from the very beginning of the show.

I love hearing about the kind of collaborative environment. So, I know you've lended your voice to one of the characters on Craig, and that you've done voiceover for other cartoons as well. Did you always have an interest in voice acting, too?

I've wanted to be a voice actor since I was a kid! I was definitely that one kid who recognized voices in shows. I was like, "Oh that's Phil LaMarr!" I immediately knew! I always thought it was cool — it was this way to embody a character. You really get to step into their shoes and become someone else in a way that's similar to writing. I've wanted to be a voice actor forever, so it was fortunate that I finally got that opportunity on Craig. It was really nerve-wracking, though! You go into the recording booth and it's really quiet, and you're immediately aware of every single noise, like the weird click your tongue makes when you speak. Everything is hyper-focused. But it's been really cool. I appreciate them giving me the opportunity to really get to do it on Craig. I was able to transition into other opportunities by doing voices on this show called The Fungies! at Cartoon Network. I have a blast every time!

You touch on something really interesting, which is how writing and voice acting both go hand in hand in terms of getting into the head of a character. What have you learned about writing through voice acting and vice versa?

The thing I've learned about writing from voice acting is that, even if I'm not sure of a joke while writing it, actors are so talented that they can usually deliver it in a way I wasn't expecting. They'll usually knock it out of the park every time. It's also really taught me to write to someone's strengths — just knowing that one actor is really good at these frantic moments lets me know that I can really play them up in the writing. Or maybe another actor is great at delivering heart and emotions, so we can make sure to nail their speech. Being in the booth really taught me that voice acting is so difficult, so I want to make sure we're setting up everyone who enters that booth for success with the best script we can give them, the best lines we can give them, and really set them up to knock it out of the park. It's this weird sort of symbiosis where you each try to prop one another up. Going from each side, from one side of the glass to the other, has shown me that I think we both just want to make sure we're. giving the actors the best material we can, and actors just want to provide us with the best performances that they can.

via Cartoon Network

It's really interesting to hear how that all comes together, and how both of those perspectives are sort of similar in some ways. I'm curious, how did the conversation about you voice acting in Craig of the Creek start?

I was able to find my way into the booth by begging a lot! Haha, not really, but it's one of these things I had to speak up early about and just say, "Just so you guys know, this is something I'm passionate about. This is something I've really wanted to do." I couldn't be afraid to take those risks, even in a room where I'm pitching a character, putting myself out there with a goofy voice, hoping that I'm impressing them with the passion I'm giving these characters. Luckily, it worked out, and I think they appreciated my drive and how much respect I have for the craft of voice acting. I was also taking voice acting classes as well, so I was really not shy in letting them know that this was something I seriously wanted to pursue.

I know on Rocko's Modern Life, one of the writers just kept inserting his voice audition in the pile, and finally, someone was like, "This one is really good, who is this?" and he was like "It's me!" I'm always curious about those little moments for everybody.

I wish I had known about that story, I might have gone that route!

The sneaky route!

Plan B, you know.

Another question I wanted to ask is, how does it feel to know that people resonate with your work? Your writing and acting contributions to the show are excellent, and the series is a lot of fun for both kids and adults. There's something about it that just captures the charming innocence of being a kid with a big imagination. Everything is whimsical, but there is a lot of grounded humor and references to pop culture we all love. What does it feel like to have your work reach so many people?

First, thank you for all of those kind words about the show, I really appreciate that. It means so much. I think it's one thing when you're working on something and you get caught up in it and think of it as a day to day gig. But Craig has never felt like that. Early on, it felt very special. The crew felt special, and we were all proud of what we were making. We were all hoping that people would relate to it and really have fun watching it. So, seeing everybody watch all of these moments where we have Sparkle Cadet and people really resonate with a black magical girl in a Western animated show ... Seeing people resonate with our various Slide the Ferret gags which may or may not be related to Sonic — I cannot say legally. Seeing the very heartfelt stuff, the family stuff, the stuff you don't see a lot, and watching people see those things and feel good and feel validated ... it's been incredible. It means so much, more than I can really put into words. It's just a really good feeling, and I feel proud of the stuff we're doing and continuing to do.

via Cartoon Network

You and the team are doing awesome work. One of my friends recommended the show to me a while ago, and once I started watching I was like, "Yeah, I get it." There's just something really nice about it. Also, Jeff Rosenstock's music is just great.

Jeff's the best! Jeff's the absolute best. Every time he sends some music in, I'm like, "How do you do it?"

Do you guys work together at all? Is there a "meeting of the Jeffs"?

Oh, all the time. I'm very fortunate to call Jeff a friend. He's one of the coolest people I know. I think we're constantly in awe of each other, which makes for an interesting friendship. He's so talented and so funny, and he makes everything look so easy. It's kind of unfair how talented he is, but I couldn't be a bigger fan of Jeff, he's great.

Something I was curious about is if you had any influence on the music. The music really makes the scene sometimes, and then you have the opening and ending songs. Do you work with the music at all as a lead writer, like finding the right vibes for a scene or writing lyrics with Jeff? There's an episode where Craig sings in front of a live crowd, and I was curious what the creative process was like on an episode like that.

Jeff and I worked together on a musical episode called "In the Key of the Creek," where Jeff came to town. He was living in New York at the time and came to town for a week, and would sit in the writing room while we were breaking the story. He would just write these songs or he'd go home and like three hours later send us a demo saying, "Yo! I came up with this today." And it's like ... how?! This is incredible! Usually, Ben Levin, one of the co-creators, works directly with Jeff, but he's been very open to working with the rest of the crew. The episode you mentioned, "Vulture's Nest" ... I believe Tiffany Ford, one of our directors, wrote that song with Jeff. He's very open and accessible to working with the crew for songs and different episodes, which has been really cool.

via Cartoon Network

I have to circle back to this ... you mentioned Slide the Ferret — who may or may not be related to any other legal entity — but UNRELATED TO THAT ... As someone who is a huge fan of Sonic the Hedgehog (and also ferrets, coincidentally), Slide the Ferret really speaks to me. I was like, "This rocks. I love everything about this." I'm curious, was Sonic a big part of your childhood? Or the childhoods of the rest of the staff?

Yes, Sonic 2 was the first video game I ever beat, actually. I would always get to the plane level and then have to hand it off to my sister. I remember when I finally beat Metal Sonic and Robotnik, and I felt like I was the greatest gamer in the world. So much of our crew has similar feelings about Sonic. Slide the Ferret came into the show very early. I think Matt and Ben came up with the character very early into the show. And then, I think the second the crew was like "oh, this is our Sonic and we can create all the lore?" it just got out of hand. There's like this show within the show loosely based on Dragon Ball where there's these things called the Chaos Orbs that you collect. They're like the Chaos Emeralds but we treat them like Dragon Balls.

It's been great! It's been so cool to watch our design team really take that world and expand it even more. There's this character named Claus the Badger who is the coolest looking character I've ever seen. I keep pestering them to let me voice him, so we'll see how that goes.

That sounds like so much fun! I always love whenever there's a Slide moment. I'm just like, "Yup! I'm here for it." I'd like to know, what are some of your favorite anime?

Oh man, okay. One of my favorites is My Hero Academia — shout out to my buddy Zeno who plays Hawks as well as The Green Pancho on Craig of the Creek. I've been enjoying Fire Force, The Promised Neverland, I love Dragon Ball Z, of course. What else ... Samurai Champloo — I used to watch that one every week with my dad, so it's special for me. I could name stuff all day, and I know I'm forgetting some. After I'm done, I know I'll be like, "Aw crap! Why didn't I mention this ..." But these are the ones I'll go with.

Is there any message you want to share with fans of your work?

Yes! If you want to see more, please find me on Twitter @MrJeffTrammell. I post about my work too much there. I would also say that there is so much more fun stuff on the way. If you are a fan of Craig of the Creek and you love anime, there may or may not be an episode coming up in which the Elders do an anime convention. It may also feature Slide the Ferret and a cavalcade of characters from that video game. Definitely keep your eyes peeled for that.

This has been wonderful! It's been really cool to hear about your background with the show and how you broke into the industry. Thank you.

Thank you so much to Crunchyroll for having me!

via Cartoon Network

You can follow Jeff Trammell on Twitter @MrJeffTrammell. Craig of the Creek airs on Cartoon Network and is available on HBOMax and Hulu.

By: Guest Author

#Anime #News #Latest in Anime News by Crunchyroll!

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the-apples-were-monitored · 3 years

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12.28.20

So. 10 years.

Yeah, today is the 10 year anniversary of me making this blog. I’d previously been an Amy Pond roleplay blog, but I tired of that after a few weeks and deleted that and made this instead. It marked the beginning of the end for my DeviantART, which I deleted a few months later.

I can’t believe I’ve been on this site for 10 years, but also can’t imagine being anywhere else. This place is part of my routine now, and I can’t imagine life without this outlet. This bastion of Old Internet Anonymity. Sure, my drafts have been broken for 2 years, but that’s Tumblr.

Thank you to everyone who’s been with me over the years, even if we’ve fallen out of touch. Special thanks to @robincrowe, @empathetic-vibrations, and my gf @super-skitty who migrated with me from DeviantART back when I was still 10nant-Fangirl. Thanks to people like @doll-frakking-house who’ve been here almost as long. Thank you all.

If you want more content from me, I post music news/trivia as well as a song each day over on my music blog, the-music-dealer.

I also post frequently on Archive of Our Own under the name the-red-rabbit. I post...

Good Omens:

“This Was Originally Called ‘Temptation Waits’, But the Title Was Left in the Car”

Ineffable Wives AU focusing on the 6000 years.

“Child in a Seacave”

Some time after the narrowly averted apocalypse, Crowley receives a message from God. But will he agree to answer her? Written because I have trauma with my own parents, but I was keeping my trans readers in mind when I wrote this one.

“Crimson and Clover”

Aziraphale tries chat-up lines.

Good Omens Series:

As Heaven is Wide Series:

Part 1: As Heaven is Wide

Aziraphale and Crowley decide to take a post-apocalypse road trip to see the world, but it gets cut short when they come upon a teenage girl who (despite her protests) needs to be rescued. Things get more complicated when they find themselves once again in direct opposition of heaven, and they have to wonder if it's worth upending their shaky peace with heaven to keep her safe.

There are trigger warnings on this multi-chapter series, but I don't go into real graphic detail because I don't think the story needs that. As someone with trauma, I don't think it's productive to be incredibly graphic. I deal more in implications and off-screen for that type of material. (If you've read some of my other stuff, this one is positively tame compared to that.)

Part 2: Perfect

While Aziraphale finds himself quite comfortable with the trials of parenthood, Crowley finds that raising a teenager is more challenging than he'd expected.

Part 3: Going to Hell (In Progress and Updating today)

Sending their daughter to her first day at school was always going to be a challenge for Aziraphale and Crowley. After all, she still hasn't got a grip on her magic and the thought of being apart from her causes them some portion of anxiety. They just want her to enjoy her new life and fit in, but that's a little hard to do when a lost ghost appears to ask her for help.

Yeah, this one's definitely inspired by Buffy the Vampire Slayer, except instead of metaphors for growing up as a general thing, it's specifically metaphors for obstacles for healing from trauma.

Community:

“And a (Short) Movie”

The study group tries to define the word 'himbo'.

“Community: The Movie (One By One They All Just Fade Away)”

It's been 5 years since Abed Nadir left for Hollywood to pursue a career in film. When he receives a call in the dead of night from Greendale, Colorado, it becomes his responsibility to deliver the news to the rest of his old study group. He embarks on an epic journey to track down Troy Barnes on his boat.

Dean-dong, the Dean is dead.

But is he?

Jeff Winger isn't so sure. He enlists the help of his old "study buddy" Annie Edison to use her FBI skills to find out what really happened to Craig Pelton.

When the study group returns to Greendale, they find that the school has been bought out by Hot Topic. Britta, who liked Hot Topic back "before it sold out", immediately channels her grief into protesting it. But when she meets a fellow anarchist who has vowed to take down the chain from the inside, she's forced to contend with the fact that shouting opinions isn't the same as creating meaningful change.

I have one Hannibal/Willy Wonka fic that I wrote for fun: “Lollirot”

Willy Wonka is a humble man with a dream of making candy for all the children of the world. When he starts running out of ideas for new confections, he seeks help for his depression. His doctor, Hannibal Lecter, is a strangely charming man with unorthodox ideas for how a factory should be run. Before long, Will starts to experience paranoid delusions about his competitors and loses his grip on reality as he sinks deeper into self-imposed isolation with nobody but his doctor to guide him.

A prequel to the show Hannibal.

One Grinch fic: “How the Grinch Got Therapy”

Epilogue to How the Grinch Stole Christmas empathizing with the Grinch. Because as a person with religious trauma, especially centered around Christmas, I think it's about time that we stop shaming people for not having fun during Christmas. Some people won't celebrate and it's weird how we're all expected to assimilate.

And my magnum opus, the fic I’ve been working on off and on for 10 years even since my DeviantART days...

Doctor Who Fic Series:

Am I...Ginger?:

Season 1: Am I...Ginger?

The Doctor swore off companions after Journey's End, believing himself too dangerous to be around them. But while looking for members of the Trickster's Brigade, he stumbled upon a child of Torchwood that made him question all that.

Of course, there's another problem. He was warned that the Trickster had a weapon, one that could defeat him once and for all. He follows the clues to London, where he finds a nameless woman whose love of history does not include sharing her own. Could she be the weapon he was warned about? Is he just interested in her as a distraction from his own mortality? Can she be saved this time? Can any of them? Or are they doomed to life the way it was written?

(Set between the Wedding of Sarah Jane Smith and the Waters of Mars.)

(There are trigger warnings, but as always it only applies to one specific chapter and potential mentions. But this will deal with issues that people might find distasteful.)

Season 2: Am I...Ginger? The Mourning After (In Progress and Updating Today)

Picking up right from where season 1 left off.

"The Doctor's dead."

That's where this story left off. Despite many attempts to contact him, he's been nowhere to be found. But DOES that mean he's dead? The ragtag group of misfits he left behind keep having conflicting thoughts on the subject. Is he dead? Held hostage somewhere in need of rescue? Just avoiding them?

Just when they give up hope, the Doctor decides to crash his own funeral. Two funeral crashings in a row, that has to be a record for him. But can he still fit in the world he left behind, or has he changed too much? Is it even a good idea to try?

Set when Amy and Rory are on their honeymoon (between "A Christmas Carol" and "The Impossible Astronaut"). This is also just after "The Death of the Doctor" episode of the Sarah Jane Adventures. As usual, I'm playing fill-in-the-blanks with unexplored parts of canon.

...

10 years flew by. You guys have been there with me through some of the toughest parts of my life. I made this blog when I was still a 15 year old in an abusive home and it’s been with me ever since. So let’s hope the next 10 years will be better lmao.

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pretendpapi · 5 years

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No Apologies for Queer White Tears

By Faith Cheltenham

Delivered as a keynote address to the 2016 BlaQOUT Conference at UC Riverside on April 9th, 2016.

White tears is a term that has a startling effect on white folks. Developed over time to describe the phenomenon of white people being upset at the very act of discussing race, it’s evolved into a funny yet, extremely effective way to describe white people’s discomfort in discussing the very racism they perpetuate. One of the earliest articles available online about white tears written by a person of color is the 2007 College Student Affairs Journal article “When White Women Cry: How White Women’s Tears Oppress Women of Color” by Mamta Motwani Accapadi. In the article, Accapadi describes a case study of a white woman bursting into tears when being pressed by a woman of color about diversity resources at the college that employs them both. Instead of working on the issues affecting students, the case study states that the rest of the meeting was spent consoling the white woman about her white tears. So it’s white tears I immediately thought of last July, as I sat talking to Kathryn Snyder about white folks interrupting Black people to tell us about their own racism, when what do you know? A young Tearful White Woman (let’s call her TWW for short) interrupts us to ask, “Can we talk? Just talk as people? About race?” Her friends tried to pull her back and whisper in her ear but TWW was inebriated and loudly whispered back “No! I get to ask! I get to ask!” I told her, “You can ask, but I am not required to answer you.”See, I’d never met this particular TWW before, and neither had Kathryn Snyder, an amazing Black bi+ queer organizer everyone should know (that’s her on the right with the triangle earrings). We were all of us, tearful white people included, at the 2015 Netroots Nation convention in Phoenix, back in July where a whole bunch of Black folks experienced a whole bunch of racism. You know, like they do most months.The kind of racism where white liberals you’ve never met before are suddenly touching your face without asking in their best petting paternalism, or the kind where you repeatedly turn a corner to find a Black girl sobbing but surrounded in love by other Black people. #YouOKSis? It was the kind of space where Black people were openly targeted, in this case mostly by Bernie Sanders supporters who were reeling from recent reports that Sanders wasn’t scoring well with Black voters. Shit was going down, so it made sense that many white people would immediately turn to any Black person they could find to assuage their white guilt, express their privilege and stump for their candidate too. Like “Black voters” were a product to obtain, instead of listen to, and to harp on, instead of hear from.An older, respected white LGBT advocate invited a number of LGBT people of color to his suite party and made it clear that people of color were welcome. So me and Kathryn showed up, and with a bunch of other people proceeded to have a great time. At one point we went on an excursion looking for supplies, and the elevator was really slow. As we waited, the full elevators would open and we would pose in different forms, much like we used to do when I was a young’un at UCLA. Once when the door opened, I saw a few Black women I had seen before but not yet talked to. I called out, “Hey now, we’re up in Rm 512 if you want to hang with some queer people of color and some Black folks!” The women locked eyes on me, and that moment happened, the one where they were no longer surrounded by oppressive whiteness, discomfort, tone policing, and silencing. The moment when you’re not thinking at all about white tears? You know, the moment when you’re free?#BlackLivesMatter co-founder Patrisse Cullors, Ferguson BLM activist Ashley Yates, and #NN15 QPOC Caucus co-organizers Faith Cheltenham, Eyad Alkurabi, Sommer Foster and Daniel Villarreal at Netroots Nation 2015. Photo Credit: Faith CheltenhamThe Black women in the elevator called back to us, “We’ll come back up” and we decided to skip going back downstairs. We went back to the suite and chilled, and Kathryn and I started talking about our Netroots Nation experience so far, in particular the ability of white folks to interrupt her at every moment to “talk about race” or tell her what Bernie Sanders had done for Black folks (#BernieSoBlack has more details). I was just telling her some of the things that had unfolded for me when I got a tap on the shoulder from the aforementioned Tearful White Woman. Even after I expressed that it wasn’t my responsibility to educate this tearful white woman, she persisted. Kathryn raised an eyebrow at me and I decided that TWW did need to know something from me after all. As I finished a custom hand roll, I looked up from licking the paper and said, “Listen to me OK? This is really important.” TWW nodded bravely, visibly squaring herself for a barrage of statements she really needed to hear, but I only had one. “I want you to imagine that every time you walk up to Black folks and interrupt their conversation, you are interrupting a conversation about Black folks being interrupted by white people.” As she opened her mouth to reply, I held up my hand and went all “you shall not pass”. Stoic, I handed her my most recent hand roll. “Listen”, I said gently, “that’s all I got for right now, but you take this with my best wishes. Goodbye.” Her friends dragged her out my space and one stayed behind. Kathryn raised another eyebrow, and I sighed. TWW’s friend quickly said, “Listen, I am SO SORRY her white privilege got all over you when you were just hanging out. We were on the elevator just now and she became convinced you were talking to her and telling her to come to room 512. We told her you were talking to the other women of color and told her about the need for safe space in oppressive white spaces, but she’s really new to social justice.”I had tears of laughter in my eyes, at the ridiculousness of those white folks who ALWAYS insist that EVERYTHING in Black lives is REALLY all about them. And I had hope, simply because of the friend who had stuck behind to quickly explain, apologize, and make right. So I thanked TWW’s friend and wished them all a good night. As they walked away, Kathryn and I burst out into big ass belly laughs because sometimes racism IS good for a laugh. Faith Cheltenham in the San Luis Obispo Telegram-Tribune, age 9. Photo Credit: Faith CheltenhamWhite tears wasn’t a term I knew when I was in middle school and organized my first protest against my school’s “Jungle Fever” ball. See, I grew up in white town, white county, very white USA. My hometown of San Luis Obispo, California prided itself on its “slo-ness” in all things, from the ban on drive thru’s to its slow to evolve racial sensibilities. From a very early age, I withstood taunts of “Aunt Jemima”, pulls on my braids intended to show my “real hair”, and insults from students and teachers alike, with the favorite being “Buckwheat” due to my hair’s tendency to stand up so straight you’d think my follicles themselves were stressed. My daily school experience was of avoiding the kids who threw rocks at me only to come back from recess to fight with my teachers about their racist views. By the time I was in high school I was writing about my experiences of race, inspired by Nikki Giovanni, Richard Wright, James Baldwin, Maya Angelou and Toni Morrison. I won an honorable mention from a USA Today writing racial justice content as a high school freshman and kept writing, hoping to create an invisible ring of protection that would keep my hope (and self) alive. I battled race at school, but when I went home, I didn’t go home to a Black home that welcomed me, but to a biracial one ruled by a mentally unstable, racist, biphobic and homophobic white Pentecostal pastor. At home I faced abuse of a different kind, most of which I kept secret for many years until taking a hammer to my own wall of silence. And at home too, I protested. I protested and called the police. I protested and called CPS. I protested and called for help, and when I couldn’t get it, I called RAINN, a hotline that helped me find a teen homeless shelter to stay in until I could feel safe at home again. These are the experiences of so many Black people: the loss of safety at home and abroad in their everyday lives, all-the-while experiencing the colonization of our bodies, appropriations of our culture, and the fragility of white people who refuse to dismantle their own supremacy in a world where it’s far too difficult to tell the difference between the GOP and the KKK. My background led me to raise my voice consistently for those unheard, and those kept at the margins. I’ve done that with blogging, writing, slam poetry, reality show appearances, stand-up comedy, and Black and bisexual community organizing. Everywhere I go I’ve been standing up for oppressed people, because before I knew the words and the mechanism for my own oppression, I knew the feeling. I knew the feeling of crying alone, desperate to end my own life because I couldn’t take another adult yelling the N word at me at 9 years old. I knew the feeling of being patted down and frequently profiled by police because that’s what walking down the street in San Luis Obispo, CA any damn day entailed. I knew what it was like to be raped because a boy thought he knew what a big breasted Black ten year old girl like me wanted. I have always known what it is like to be treated as a second class citizen in comparison to my peers. Still, racism can always find new ways to surprise you.Photo of #TheBlackPanel at #LGBTMEDIA16 handouts with a love note from ForHarriet.com’s Ashleigh Shackelford. Photo Credit: Faith CheltenhamRecently, I re-experienced the phenomenon of gaslighting racism which Black LGBT YA author Craig Gidney defines as a situation "where (mostly) (some) white people will twist themselves into logic pretzels to deny racism, even when it is obvious."We were about to begin #TheBlackPanel at #LGBTMedia16, an annual gathering of LGBTQ journalists, bloggers and media professionals. Our panel featured a rising star in discussions of race, New York Times columnist Charles Blow, alongside NBCNews.com contributor Danielle Moodie-Mills, and Vox.com’s Race and Identities editor Michelle Garcia. The panel was developed by myself, Sharif Durhams of the WashingtonPost.com and Matt Foreman of the Haas Foundation with the support of Bil Browning, founder of bilerico.com. We were the 2nd panel to go and as we gathered to get everyone settled, I turned around to find a wonderfully styled white woman invading my personal space to whisper to me how beautiful Charles Blow was and how much she loved him and could she have her picture right now, before everyone else because she was such a fan. Since we literally were about to start the panel, I asked her to wait and sit down so we could get started, which she did. As we began the panel and started having a really good and profound conversation, from the podium I noticed a rise in concerning behavior from the wonderfully styled white woman (we can call her WSWW for short). After the panel had begun, she got up and walked over to the panel table and put her phone down to tape. After a few minutes, she began to look concerned for her phone and she began to quietly crawl forward. The whole time I’m watching her, like WTF, are you literally crawling slowly forward towards our panel? And she kept crawling closer and closer. I admit it, at that point all I saw was WHITE PEOPLE. I was furious with the general lack of respect and disregard for the panelists and for myself as a moderator. When, from the moderator’s podium, I asked her to take her seat because I found it distracting, instead of nodding and moving back to her seat she began to argue with me about why it wasn’t a big deal for her to be there, and why I should just let it go and why it’s OK to tape things because “look, we have a celebrity”. In those statements, I felt a disregard for my own work and a general slight to my own experience as a journalist and a person who’s worked with high profile institutions like the White House or Sarah Ferguson, The Duchess of York, a woman I’m proud to call a mentor. While it seemed like such a small thing, coupled with her previous invasion of personal space and her comments on her love for beautiful Black men, it just read racist and real racist at that. However, it won’t surprise you that the only support I felt in that room for my desire to stay on topic was from my fellow Black girl queers. As I struggled to “keep my eyebrows on”, I thought about Black writer and The Nightly Show contributor’s Franchesca Ramsey’s run in with white queer women at The Sundance Film Festival and I took strength from looking Ashleigh Shackelford right in the face as she raised her eyebrows at Charles Blow for his apologies to the white woman of behalf of me, the Black woman who invited him to speak on the panel. In those moments of racial microaggressions, and in the moment when white tears threaten the ability for Black people to even discuss race, we all lose. All the LGBT people of color in attendance at #LGBTMedia16. Photo Credit: Cathy Renna/TargetCueI believe I pulled it together, and we were able to continue a meaningful conversation that multiple people later remarked being deeply impressed by during the public feedback session. As we ended the convening, I tapped WSWW on the shoulder and asked if we could speak. We went off to the side and had a difficult conversation, certainly for both of us. She, like myself, is bisexual and had been deeply influenced by Charles Blow’s discussions of sexual fluidity. She told me others had apologized to her for my “crazy” response to her being a fan girl, and she said she was worried for me since I had humiliated myself by bullying her. Image of crying Peter Parker with caption, “White Boy Tears / I’m Offended Your Offended At that, a smile broke across my face, and I will never forget telling her “That’s OK, because you’re going to your grave having told a Black woman that she humiliated herself when she responded to your racism.” WSWW blanched at that, and swallowed hard when I followed up with a tearfully stated, “I call you racist to your face, and name your actions as racist”. As she teared up, she asked me how it could be racist just to bring her phone up to the panel. And I took her through the sequence of events from my perspective, and I asked her if she realized she had touched me, or if she realized she was in my space, attempting to lean across my body to reach Charles Blow, when we’d never even met before. Her eyes went WIDE, and she said, “Oh, my gosh. I totally invaded your space and I didn’t even think about it.” We talked about her “Black friends” in Oklahoma, and I told her that having Black friends doesn’t mean you’re actually invested in the movement for Black lives. We talked about her “love of Black people” and how that can be misconstrued into fetishization if one isn’t careful, especially when you begin crawling towards them with puppy dog eyes during a panel about race in America. We began to laugh with each other and I realized I really liked her even though I didn’t think she’d ever had the opportunity to learn how to respect a Black person like me, and culturally exchange with them instead of culturally appropriate from them. Image from Paying an Unfair Price: The Financial Penalty for LGBT People of Color report by the Movement Advancement Project.That’s a responsibility, I feel should be left squarely at the feet of a lesbian, gay, bisexual, transgender and queer community that’s doggedly refused to dialogue about race in favor of reinventing racism in new flavors. I had to wonder if WSWW had been influenced at all by the #LGBTMEDIA16 keynote address the night before that found gay legend and filmmaker John Waters telling jokes about Freddie Gray’s broken back alongside Bill Cosby rape stories. In a rare move, the convening had asked the attendees to refrain from taking photos or video of John Water’s “address”, which was probably for the best, as I feel like someone could have lost their job just for listening to the atrocities that dropped from Waters’ mouth like little white nuggets of gay racism. Experiencing that, even briefly since I walked out early, was a form of racial trauma visited upon the people of color in the space, and for what? Since you’re gay and white, you’ve been hurt and can hurt people too? Since you’re a white gay man, you know what it’s like to fear police so Freddie Gray’s broken vertebrae is a good punchline when you’re feeling salty? Since you’re a white LGBTQ person, you have no problem stepping into photos where people of color are already posed together, with nary a thought as to whether they want you in the photo too? Since you’re a white lesbian, you’re a “sister” to Black women? Since you’re queer, you can culturally appropriate Black culture with a “SLAY!” or “YASSSSS QUEEN!” or “GIRL, GET IT!”? The six openly LGBT U.S. ambassadors, all white, all gay and all cis. Photo Credit: WashingtonPost.com/ (Blake Bergen/GLIFAA) Oh no, I think not!!! I call that racist too, and long past time for an end. It’s time for all people of color to see some basic levels of respect in the LGBTQIA community for who they are. So that means no more “Namaste!”, and it means dropping the “No Blacks, No Asians” from your dating profile. It means fighting just as hard for clean water for Native people as it does for the residents of Flint, MI, and shouting #Not1More to amplify the fight of Latinx immigrants. It means fighting #pinkwashing in all it's forms and it ABSOLUTELY means acknowledging the existence of dozens of cultural experiences and peoples still fighting to be heard. It also means that LGBT orgs should quit touting the numbers of people of color on staff, until the management reflects those colors too. When all the coordinators, service providers, and facility people are of color and all the management is white, it still looks like a plantation in my book! #GayMediaSoWhite that LGBT publishers shouldn't bother counting the magazine covers with people of color on them, if they aren't also counting the number of people of color on staff writing and editing in them. Until the day comes that the rainbow really reflects all of us, I will stand up against racism in LGBTQIA communities with whatever tools I have at my disposal. I will keep telling myself, and telling you too, that it is OK to cry, and BE MAD. We should be mad that our community does not support us! It is OK to protest white LGBT people, in fact one might argue it is our duty as their fellow queer, bi+ and trans* community members. We must do what needs to be done to find some respect for our voices and our bodies, and make clear that the LGBTQIA community is one that supports freedom for everyone, and not just for some.

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weekendwarriorblog · 5 years

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WHAT TO WATCH THIS WEEKEND October 4, 2019 - JOKER, PAIN AND GLORY, DOLEMITE IS MY NAME, LUCY IN THE SKY

It’s October and we only have two more months to the year, but we have to get through one of the tougher months of the year (in terms of quality of films) to get to the good stuff. Fortunately, the month starts out with Todd Phillips’ JOKER (Warner Bros.), starring Joaquin Phoenix, which is looking to tell the definitive origin of the Batman arch-nemesis

You can read my mostly positive review of the movie right here (and more over at The Beat), but I want to talk a bit more at length about two movies that will get a limited release this weekend.

The first movie I want to talk about is Pedro Almodovar’s PAIN AND GLORY (Sony Pictures Classics), which in my opinion is his best and possibly most personal film in a decade or more. It stars Antonio Banderas as filmmaker Salvador Mallo, who has mostly retired as he faces illness late in life that makes him unable to work on a film set… or get the inspiration to make a new movie. Salvador has been invited to do a QnA for one of his classic films as it celebrates its 30thanniversary along with the film’s star with whom he had a falling out due to the actor’s drug use, the two having not spoken since. And it’s Salvador’s job to get the star to agree to do the QnA with him…. An encounter that ends up being catastrophic for Salvador, who starts using drugs himself.

To reveal more about the plot of Almodovar’s latest would be a huge disservice to the filmmaker who has created another intricate plot where every element has a purpose that’s all resolved by the film’s end. The film frequently flashes back to Salvador’s childhood in a small Spanish village with his single mother (played by another Almodovar regular, Penelope Cruz), which add to the troubles the filmmaker is having later in life. (Almodovar has cast an older actor to play Salvador’s mother sixty years later but she doesn’t look even remotely like Cruz.)

This is a film where you’re drawn into the story as Salvador’s life unfolds, and we learn more about what made him the way he is, and it’s easily one of the best performance of Banderas’ career. The warmth and humor he brings to Salvador allows you to be with him even when he’s doing questionable things. I also want to call attention to the amazing Asier Etxeandia, who delivers an equally compelling performance.

I won’t spoil the ending, but it’s one of those confounding things that can be interpreted in so many different ways…and I can’t wait to see the movie again to see if I can unravel it. Pain and Glory is another beautiful and brilliant piece of art and storytelling from Almodovar and a welcome return to form both for him and for Banderas.

Rating: 8.5 out of 10

The other movie I want to draw special attention to is Craig Brewer’s DOLEMITE IS MY NAME, which Netflix will give a theatrical release this weekend before streaming it on Netflix starting October 25. As you may have heard, it stars the great Eddie Murphy back in his first leading role in ages, playing Rudy Ray Moore, the stand-up comic and sing who wanted to be famous more than anything else. If you haven’t heard of Moore and his comic character Dolemite, you just have to look on the influence he’s had on everyone from Murphy to Samuel L. Jackson to just about every rapper who has ever gone on record (especially the 2 Live Crew!)

We meet Rudy as he’s trying to convince a DJ played by Snoop Dogg to play his records with no luck. Rudy is working in a record store with his faithful assistant, played by Tituss Burgess (from The Unbreakable Kimmy Schmidt), and he’s desperate to break-out as a failing stand-up comic. When he starts hearing the raunchy stories of Dolemite from the local bums, he puts together a new act where he plays a raunchy, foul-mouthed pimp named “Dolemite,” which goes over huge for his mainly black audiences. That soon turns into making a record that’s a huge hit with Moore touring the country selling them out of his trunk, and that eventually becomes an idea to make a very DIY movie.

This has a great cast but some of the real breakouts around Murphy include Da’Vine Joy Randolph as his protegé Lady Reed (aka Queen Bee) and Wesley Snipes in an amazing performance as “serious” actor D’urville Martin, who agrees to direct the movie but clearly has no idea what movie Moore and his team are trying to make. There’s also great stuff from Keegan-Michael Key as Jerry Jones, the serious dramatic playwright who also finds a way into Dolemite’s world. Randolph has the best moment when she thanks Rudy for putting “someone who looks like her” on the screen.

The script by Scott Alexander and Larry Karaszewski is fantastic, but Brewer – whom I’ve been a fan of since his early film Hustle and Flow – does terrific work in keeping things moving and making sure that Murphy is doing his best work.

Sure, it’s impossible not to avoid comparisons to The Disaster Artist, but I’d prefer that it be compared to Mario van Peebles’ excellent 2003 film Baadasssss!, which was about his father Melvyn van Peebles’ going through similar efforts to make his own film that appeals directly to black audiences years earlier. There’s actually more in common between the accomplishment by Van Peebles (a much more capable filmmaker) making his film and how he got it out into the world to Moore’s DIY ethos and its results. The Room was a bomb and a disaster that eventually became a cult hit; what Moore created was much more lasting.

I’m a little bummed that so few people are going to see this in theaters surrounded by laughter, but just the fact that Netflix is getting a movie about Dolemite into the world makes it easier to forgive them.

Rating: 8 out of 10

(Also, check out the repertory section below for a way to see the movie in double features with some of Moore’s “Dolemite” movies at the New Beverly theater.)

LOCAL FESTIVALS

The 57thNew York Film Festival continues this week with screenings of Bong Joon-Ho’s Parasite– which I reviewed for The Beat– Kelly Reinhardt’s First Cow, and a special event screening of the Safdie Brothers’ Uncut Gems. (Oh, yeah, and who could forget that Joker is screening with Todd Phillips doing a QnA on Wednesday?) Friday will see the Centrepiece premiere of Noah Baumbach’s Marriage Story, starring Adam Driver and Scarlet Johansson with SIX screenings! The weekend sees the debut of Michael Apted’s 63 Up, continuing his long-running doc series, as well as Olivier Assayas’ Wasp Network, which I’ll also be seeing on Friday. There are also a few revivals and restorations, which you can read about in the repertory section below.

Also, Beyond Fest 2019 continues at the Egyptian in L.A. with more fun genre films. Your best bet is to click on that link and see what’s being shown but you can read about the rep stuff below, as well.

LIMITED RELEASES

On Wednesday night (with a repeat screening on Sunday), Trafalgar Releasing will release Roger Waters: Us and Them nationwide into a bunch of theaters, the movie documenting Waters’ 2017 tour, which sadly I missed, but I’m excited to see what I missed.

Opening Friday is Legion and Fargo creator Noah Hawley’s feature film directorial debut LUCY IN THE SKY (Fox Searchlight), starring Natalie Portman as Lucy Cola, an astronaut who has spent time in space but has trouble adjusting when she returns to earth and her husband (played by an unrecognizable Dan Stevens). She’s in training for one of the next two shuttle launches, but she starts having an affair with fellow astronaut Mark Goodwin (Jon Hamm) while competing fiercely against a younger trainee (Zazie Beetz). Things go downhill from there as Lucy – who is based on the real-life Lisa Nowak– starts messing up more and more. I think I can understand why critics have been so rough on Hawley and this movie, because really, it isn’t the outer space adventure some might be expecting, and that’s really just used as the set-up for Lucy having trouble adjusting at home. In fact, this could be an episode of a Fargo-like true-crime anthology that goes into other realms than just the Midwest. Once you get used to Portman’s heavy Southern accent, she’s quite good in this, and if you go into it expecting more of a true-crime story… with Hawley’s artistic filmmaking touch and some gorgeous imagery… Lucy in the Sky really isn’t so bad. I definitely think that people are going into this with certain expectations from the trailer/commercials that isn’t necessarily accurate.

A movie I saw at this year’s Tribeca Film Festival and really enjoyed was Kevin McMullin’s LOW TIDE (A24 /DirecTV) starring Keann Johnson (Alita: Battle Angel) and Jaeden Martell (It) asbrothers living on the Jersey coast who find a bag of valuable gold coins and try to hide it from their no-goodnick friends Red (Alex Neustaedter) and Smitty (Daniel Zolghadri) with whom they break into vacation homes to steal valuables.

Another decent lower-profile film about brothers opening Friday is Henry Alex Rubins’ SEMPER FI (Lionsgate), starring Jai Courtney and Nat Wolff as brothers “Callahan” and “Oyster” who are part of the Marine Corps Reserve. When they get into a bar altercation in which a man dies, Oyster is sent to jail and his brother feels the need to get him out in a plot that involves his Marine buddies. It’s a movie that starts off as a military drama but actually has some decent action in the last act, and I liked it more than Rubins’ last narrative feature Disconnect.

You can read my interview with Jai Courtney here, and I hope to have an interview with Nat Wolff soon, as well.

I haven’t had a chance to watch Michael Beach Nichols’ doc WRINKLES THE CLOWN (Magnet) but I’ve heard great things that makes me curious. It revolves around a YouTube video from 2014 that shows a man in a clown mask who has been hired by the parents of a young girl to frighten her for misbehaving. This genre-based doc looks into where “Wrinkles the Clown” came from and how he turned into a viral video, similar to the great HBO doc Beware the Slenderman.

Memory: The Origins of Alien (Screen Media) is the new doc from Alexandre Philippe, whose 2017 film 78/52took apart the shower sequence from Hitchcock’s Psycho. This one is just as intriguing as it goes through the processes of creating Ridley Scott’s Alien, which celebrates its 40thanniversary this year. I’m such a huge fan of Alienthat I just ate this movie up, and I could probably watch it over and over since I love hearing stories about the ideas and design that went into the movie.

Playing at the Film Forum starting Wednesday is Olivier Meyrou’s doc Celebration (KimStim) about fashion icon Yves Saint Laurent, commissioned by his business partner Pierre Bergé, has been sitting on the shelf for over a decade because it was deemed to be “too revealing” as it followed the ailing fashion designer during his last three years.

Unfortunately, I’ve run out of time for this week’s column but I’ll have more stuff to add here by Thursday afternoon sometime, if not sooner. Please check back for a few more limited releases!

REPERTORY

METROGRAPH (NYC):

Metrograph’s latest series “NYC '81” which was more self-explanatory when it included the subtitle “A Series of NY Films from 1981 Leading into (the) Re-Release of Downtown 81.” Some of the films showing this weekend include Abel Ferrara’s Ms. 45 (also playing as part of Late Nites at Metrograph), Sidney Lumet’s Prince of the City, Steve Gordon’s comedy Arthur, starring Dudley Moore, and Louis Malle’s My Dinner with André.Alain Corneu’s Série Norie will continue at least through Thursday. This weekend’s Playtime: Family Matineesgoes with Tim Burton’s Edward Scissorhands(1990) starring Johnny Depp (plus you can still see David Lynch’s Mulholland Driveone last time tonight!) Also, Saturday afternoon you can see the Humphrey Bogart classic, The Maltese Falcon (1941).

THE NEW BEVERLY (L.A.):

You might notice that the New Bev has been released from the corner it was put in for misbehaving by playing new movies. It makes up for it by having a Wednesday matinee of Hitchcock’s 1960 classic Psycho and also having screenings the next couple nights of David Fincher’s Zodiac. Friday is a matinee of Final Destination 2, one of my favorite movies in the series, and then the weekend “Kiddee Matinee” is the popular 1976 favorite The Monster Squad. Friday night’s midnight movie is Robert Rodriguez’s Planet Terror, while Sat night is Kill Bill: Volume 2. Monday’s matinee is Wes Craven’s 1986 horror film Deadly Friend. Next week starting Monday, the new Bev begins a special program celebrating Netflix’s Dolemite is My Name with screenings of the movie as double features with actual Dolemite films, Monday and Tuesday nights being double features with the original 1975 movie Dolemite (the making of which is shown in the Netflix film). Welcome back, New Bev!

FILM AT LINCOLN CENTER (NYC):

Thursday, as part of the New York Film Festival, there’s a special retrospective presented by Warby Parker to celebrate the 100thanniversary of the American Society of Cinematographers. As part of that, you can see Robert Altman’s Western McCabe and Mrs. Miller (1971) and a new restoration of Jack Arnold’s sci-fi classic The Incredible Shrinking Man (1957). On Saturday is a screening of Francis Ford Coppola’s The Godfather: Part II (1974) just after a special The Cotton Club Encorewith a screening of Francis Ford Coppola’s 1984 movie at the Alice Tully Hall with a conversation with Coppola, Maurice Hines and James Remar afterwards.On Monday, Terrence Malick’s Days of Heaven (1978) will screen as part of this retrospective, followed on Tuesday by a screening of Jim Jarmusch’s 1995 film Dead Man, starring Johnny Depp. It’s a pretty impressive sidebar to the festival from one of the uptown’s only retrospective theaters remaining.

ALAMO DRAFTHOUSE BROOKLYN (NYC)

Ooo… Bong Joon-ho’s amazing 2006 monster film is playing at the Alamo Thursday night at 10pm, and as of this writing, it’s not completely sold out yet! On Sunday, the Alamo is doing an “ultimate Willy Wonka Party” showing the 1971 film Willy Wonka and the Chocolate Factory (one of my favorites from childhood) with some of the grow-up young cast from the movie! (Noon is sold out but there’s another screening at 9AM… good luck with that!) Next Tuesday’s “Terror Tuesday” is the 1991 Scary Movie, starring John Hawkes, while Wednesday’s “Weird Wednesday” is Lucio Fulci’s The Devil’s Honey from 1986.

FILM FORUM (NYC):

Film Forum is beginning another great series this weekend called “Shirley Clarke 100” celebrating what would be the 100thbirthday of the African-American documentary filmmaker who passed away in 1997 at the age of 77. Some of the films in the series include Ornette: Made in America, Portrait of Jason, The Connection, The Cool World and more, including a series of shorts including Skyscraper, which received an Oscar nomination. Also playing for one week is a new restoration of Bill Forsythe’s 1981 film Gregory’s Girl, a film set in Glasgow that has been deemed one of the 100 greatest British films of the 20thCentury by the BFI. (Bill Forsyth will be there Saturday afternoon for a conversation.) Joseph Losey’s Holocaust drama Mr. Klein is also returning for one more day on Friday. This weekend’s “Film Forum Jr” is the coming-of-age film Breaking Away (1979).

EGYPTIAN THEATRE (LA):

Beyond Fest 2019 continues this weekend with a sold-out screening of The Exorcisttonight with William Friedkinin person. Otherwise tonight you can catch one of three free screenings of the 1971 film Mooch Goes to Hollywood and on Thursday, there’s a free screening of 1975’s Dolemite and a free screening of 1981’s Madman on Saturday. Unfortunately, Saturday’s West Coast premiere of the 4k restoration of Sam Raimi’s 1981 horror classic The Evil Dead is also already sold out. The Sunday triple feature of Halloween III: Season of the Witch, Night of the Creeps and The Fog is also sold out unfortunately.

AERO (LA):

The AERO celebrates “50 years of Monty Python” with double features of the 1975 classic Monty Python and the Holy Grail and Terry Jones’ Erik the Viking (1989) both in 35mm printson Friday, The Meaning of Life (1983) and And Now for Something Completely Different (1971) on Saturday, A Fish Called Wanda (1988) and Fierce Creatures (1997) on Sunday. Tuesday’s “Tuesdays with Lorre” matinee feature is The Maltese Falcon.

MUSEUM OF THE MOVING IMAGE (NYC):

This weekend’s “See It Big! Ghost Stories” screenings are the 2001 Japanese horror film Pulse, clearly sharing the same 35mm print with the Roxy. Jonathan Demme’s 1988 film Beloved, based on the novel by TonI Morrison and starring Oprah Winfrey and Thandie Newton screens Saturday afternoon, while The Innocents andThe Others screen again on Sunday evening. On Friday night, you can also see the fairly recent Yuen Woo-ping action film Master Z: Ip Man Legacy. Saturday afternoon there’s a Serbian double feature of Ognjen Glavonic’s 2016 film Depth Two and 2018 film The Load.

IFC CENTER (NYC)

It doesn’t look like the IFC Center has posted their new series yet, although on Friday and Saturday at midnight (actually 11:59pm), you can see Satoshi Kon’s Paprika, if you haven’t seen it yet despite it screening for months here and at the Metrograph. Also, the IFC Center is showing George Miller’s 2015 film Mad Max: Fury Roadat midnight (actually 11:59pm) those same nights.

BAM CINEMATEK(NYC):

This weekend, BAM is showing the 1997 film Selena, starring possible Oscar-nominee Jennifer Lopez in her break-out role. It doesn’t seem to be connected to any series.

ROXY CINEMA (NYC)

Tonight and tomorrow night, the Roxy is screening the Japanese horror film Pulse (2001) in 35mm.

LANDMARK THEATRES NUART (LA):

Friday’s midnight screening is Tommy Wiseau’sThe Room… again.

STREAMING AND CABLE

This week’s “Netflix and Chills” offering is In the Tall Grass, the new movie from Vincenzo Natali (Cube, Splice) based on the novella written by Stephen King and his son Joe Hill. It’s about a brother and sister, her pregnant with a baby, who hear the cries of a young boy from a field of tall grass and they go inside to rescue him only to fall foul of a sinister force within that separates them along with a few other people, including one played by Patrick Wilson. I wasn’t a huge fan of the movie as much of it involves people running around yelling each other’s names in the tall grass, so it’s not particularly scary.

Next week, we’re back to three wide releases as Ang Lee’s Gemini Man, starring Will Smith, takes on the animated The Addams Family and the tech-comedy Jexi.

#WhatToWatchThisWeekend PainAndGain MyNameIsDolemiteJoker Movies Reviews

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newyorktheater · 4 years

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Michael R. Jackson

One of the acceptance speeches, for Drama Critics Circle Award for Best Musical, by winner Michael R. Jackson: “whenever we get to the other side of whatever this is, I feel like theater will still be home for me.”

Antwayn Hopper, Larry Owens (in front) as Usher

Larry Owens as Usher in Michael R. Jackson’s A Strange Loop at Playwrights Horizons in 2019

L Morgan Lee, James Jackson, Jr., Jason Veasey, Larry Owens (plaid shirt), Antwayn Hopper, John-Michael Lyles in “A Strange Loop”

“Michael Jackson” is not just “the King of Pop” anymore, but also “the Pulitzer winning playwright.” After decades working in obscurity, Michael R. Jackson – or as he puts it, the living Michael Jackson – has gotten one accolade after another in the last few weeks for “A Strange Loop,” a musical that marked the Off-Broadway debut in 2019 of this talented composer, playwright, lyricist and vocal arranger. He began writing “A Strange Loop,” as he points out in the Q and A interview with me below, shortly after 9/11, and it was not produced until the Trump era — 18 years later!

Jackson had moved from Detroit to New York to become a soap opera writer, but somehow got sidetracked into theater, getting a BFA in Playwriting and an MFA in Musical Theatre Writing from NYU Tisch School of the Arts. “A Strange Loop” is inspired by his own life, but closer to what he calls an “emotional autobiography” than an actual one. It focuses on a character named Usher, a heavyset, queer, black man who works as an usher for “The Lion King,” while struggling to create a musical about a heavyset, queer, black man who is struggling to write a musical about….. This dizzying set-up features six performers who portray Usher’s Inner Thoughts, as well as all the characters in his life, including parents who don’t get him. When I saw it at Playwrights Horizons, I found the musical rich with 18 tuneful songs, skit-like episodes, witticisms, mini-parodies, complex layers of erudition, and knowing allusions.

On May 4th, ten months after the end of its run at Playwrights Horizon, Jackson won the Pulitzer Prize in Drama for the musical, the first time the prize for drama had been given to a black writer for a musical, and the first time in Pulitzer history that a musical had won without a run on Broadway. Indeed, producers planned to take it to Broadway, stopping first at Woolly Mammoth Theater this September. Thanks to the pandemic, the D.C. theater has rescheduled for the summer of 2021, with Broadway plans uncertain.

“I don’t know when you’ll be able to see it, as COVID-19 has everybody guessing when we’ll be able to be together,” he told me.

Meanwhile, during the shut down, Jackson has also been given the New York Drama Critics Circle Award, the Off Broadway Alliance Award , The Dramatist Guild’s Hull-Warriner Award – and most recently the Lambda Literary Award for LGBTQ Drama.

He is working on a new musical called “White Girl In Danger” with the Vineyard Theatre, which he has described as “a dark musical comedy about Keesha Gibbs, an African-American teen who lives in the ‘blackground’ of an all white world of a 90s era melodrama and seeks to prove she’s just as much of a protagonist/heroine as Meagan, Maegan, and Megan, the white girls who battle issues such as drugs, alcohol, abusive boyfriends, eating disorders, and finally a serial killer who has been murdering the town’s white girls one by one.”

Jackson also has been busy giving acceptance speeches, participating in panel discussions, and agreeing to interviews, including with me. It seemed like a good time for a Q and A (very slightly edited.)

These feel like surreal times — pandemic, Depression, high-profile race-based killings, worldwide demonstrations, Trump teargassing peaceful protesters to hold a Bible aloft as a prop….. How are you processing it all?

I am processing it all by focusing on my self-preservation and adhering to social distancing and wearing a mask when out of doors in light of COVID-19.

How do you feel “A Strange Loop” speaks to these times in specific ways?

“A Strange Loop” was begun in the first Bush term not that long after September 11th 2001 and continued to develop over the next Bush term and two Obama terms until it was produced in the Trump era. It’s about what it means to be a self in general and what it means to be a black queer self in particular so its message of self-love and self-acceptance and yet also self-disavowal both speaks to these times specifically and not at all.

When you talk about “these times,” do you mean the Trump era, or do you mean the days since the death of George Floyd?

When I say “these days” I just mean the present. The musical speaks to these days specifically because the character is about someone who is at war with who he is which is shaped by his experiences as a black, queer man/artist. His Thoughts threaten to overwhelm him with feelings of doubt and self-loathing. He comes out of the other side of that realizing that nothing is actually wrong with him. From my perspective, that is a message for our time.

I suppose we need to clarify here: The musical is obviously inspired by your own life. How much do you as the creator intend us to see Usher as an Everyman reflective of the era

I intend for you to meet Usher wherever you are and to think about your self and your perception of yourself and a black, queer man perceiving himself. He’s both an Everyman and he is himself.

At the risk of sounding like the parents in the show, I am curious as to why you think it took you 18 years to finish “A Strange Loop”

Because I needed to figure out nothing was wrong with me in order to know what the show was actually about. The world is constantly feeding us negative ideas about ourselves and it just took me a while to figure that out.

In a recent interview, you said “we need to have a national conversation about taste and discernment.” What do you mean by this?

I meant that there’s a lot of shitty partisan art out there that is more interested in its appearance of speaking to social justice than doing what art actually does well, which is entertain and provoke thought, emotion and/or empathy, particularly in the theater but not only in the theater. Art is about being particular and having a point of view that you are trying to communicate. Your taste and discernment are key at communicating a point of view. I feel that being lost and I would like to fight to preserve and deepen it.

Do you feel there is a specific racism connected to the theater world that’s distinct from the world at large? Same question vis a vis homophobia?

Theater sits within capitalism. Capitalism is racist therefore theater is not immune to racism. Homophobia exists within capitalism too therefore theater is not immune however many of the gatekeepers of theater are gay and white and therefore not exempt from being racist in part because they are helping guiding the hands of a capitalist system that is racist. So pick your poison.

If somebody came to you in all sincerity asking for a starter list of ten works of theater to understand where you’re coming from, what would you include?

The Adding Machine by Josh Schmidt

Waiting For Lefty by Clifford Odets

The Bubbly Black Girl Sheds Her Chameleon Skin by Kirsten Childs

Passing Strange by Stew

Bootycandy by Robert O’Hara

In Trousers by William Finn

Hair by Gerome Ragni, James Rado and Galt MacDermott

Blue Window by Craig Lucas

Jackie O by Wayne Koestenbaum and Michael Daugherty

Follies by James Goldman and Stephen Sondheim

Q and A with Michael Jackson: “A Strange Loop” and A Strange Time "Michael Jackson" is not just "the King of Pop" anymore, but also "the Pulitzer winning playwright." After decades working in obscurity, Michael R.

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