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Of Movies and North Korea

Posted by Ta-metru_defender , in Essays, Not Rants! Dec 20 2014 · 136 views

Essays, Not Rants! 144: Of Movies and North Korea

I have a strange fascination with a certain North Korean dictator. Maybe it’s because he’s barely eight years older than me, hangs out with Dennis Rodman, and tyrannically rules a country of 25 million people with a combination of a cult-of-personality and sheer terror.

Like I said, fascinating.

So naturally I was really looking forward to The Interview. I had passes to a preview of it on Thursday and was all set. Only, it turns out, North Korea was really mad about it and, a hack and couple terrorist threats later, and it’s been pulled from cinematic distribution. And I’m bummed.

Because The Interview is satire and satire is important. Because North Korea is terrifying; for there to be a country that, well, crazy is scary. But that’s the thing: we make fun of what scares us.

Satire takes away the teeth. It’s why The Great Dictator exists, why videos about Iraqi loyalists like this exist, and, of course, what makes The Interview funny. But what’s worth noting is that The Interview, like that video about subtitles and terrorists, seemed ready to make as much fun of the ‘good guys.’

The comedy of the subtitles video comes not out of how the reporter (and, by extension the media) treats the soldiers, that is her insistent condescension to them. The Interview’s comedy, based on the trailers, looks to stem from the bumbling antics of Seth Rogen and James Franco in a place where they really shouldn’t be. Plus, Kim Jong Un and all of his eccentricities makes for great fodder. Taking the mickey out of him with a movie like that doesn’t diminish his status as a threat, one that everyone is aware of, but reminds us that he’s still human. ‘cuz Supreme Leaders are people too.

But now I didn’t get to go to my screening and theater chains won’t be showing it. Granted, there’s some justification in not wanting to incur the wrath of North Korea, but it’s the precedent that’s worrisome. Another film about North Korea in production, Pyongyang, has been canceled for much of the same reason. There’s a weird sort of fear that’s stifling satire and fiction. Which, again, is a shame. Without it we wouldn’t have The Colbert Report taking shots at everything from terrifyingly conservative politicians to, of course, North Korea.

Now, there’s a distinction here to be sure. We make fun of the part that scares us, not what saddens us. There’s no comedy about those dying under the Kim regime, just as Jon Stewart couldn’t find anything funny to say in the wake of the grand jury’s decision on Eric Garner. There’s a line between the amusing and the not. Kim Jong Un exists on that line, almost caricature that he is. He’s an easy target, but that doesn’t mean it’s not worth taking the shot.
So I’m of the opinion that The Interview shouldn’t have been canceled. Even if it’s cinematic release has been pulled, then at the very least there should have been plans made for an immediate digital release. It doesn’t make sense for the Hermit Kingdom to be the one calling the shots on what gets released in a different country. If anything, this has also upped the hype for the movie more than an advertising campaign could.

Because, hey, what gets a public’s attention more than an international incident?


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The Mustache of Self-Actualization

Posted by Ta-metru_defender , in Essays, Not Rants! Dec 13 2014 · 82 views

Essays, Not Rants! 143: The Mustache of Self-Actualization

I use this blog to hash out ideas for papers sometimes. Writing weekly helps me get ideas sorted or even just to keep churning out 600-800 word rants essays keeps me on my toes. One thing I’ve found myself needing to work on recently is zeroing in on one aspect of a work rather than only looking at the big picture. So I thought I’d do that.

“All great men have mustaches,” says Andy Samberg’s character, Rod early in Hot Rod, hence his choice to wear a fake one while attempting to defeat his stepfather, Frank, in hand-to-hand combat to earn his respect. That is to say, Rod wants to be respected by a “great man” and he believes that the only one who can bestow that on him is his stepfather. Since Frank cares little for Rod’s amateur stuntmanship, Rod’s only recourse is to beat him in a fight, a seemingly impossible task.

Essentially, Rod seeks self-actualization, “to realize one's own maximum potential and possibilities” [x]. The mustache becomes a symbol of Rod’s desired manliness and: his dead stuntman father had one; Rod adopts a fake one when attempting stunts and combating Frank. Rod can't grow one (due to a "hormone disorder"), but sees it as necessary to the manly identity of the adults he respects. In a sense he’s playing at being being a man, wearing the mask of who he wants to be.

The occasions where Rod wears the fake mustache reinforces this. Initially, we just see him wearing it when jumping ramps on his moped and fighting Frank. But after he finds out about Frank’s fatal condition and hatches a plan to save him, we also see Rod wearing it while doing stunt work to raise money for Frank. Here Rod is doing things of his own to raise money, entering the sphere of adulthood on his own terms.

But when his plans come crashing down both in the short term, losing the money raised save Frank, and in the long, finding out his father was not a stuntman, Rod grows disillusioned. He tears down posters of stuntmen, stomps on his cape, and, notably, rips apart the fake mustache. Rod is later seen wearing a tie, looking for all the world like a normal adult, albeit one without a mustache.However, he still does not have Frank’s respect and his crew, who’ve stuck by him thus far, leave him. Here he is called out by his love interest, Denise: “You've always done exactly what you wanted to do, and everybody else just grew up, and got boring, and sold out, but you stayed exactly the same.” Rather than continuing to emulate the ideas of manliness which he worshipped before, Rod has forfeit his mustachioed goals in favor of becoming boring and selling out to the mainstream conception of adulthood.

So now it’s fitting at the film’s climax when Rod attempts to jump fifteen school buses in a last ditch attempt to earn money for Frank’s surgery, he is once again waring a fake mustache, though this one presented to him by his reunited crew. The use of the mustache is key: his friends already believe that he's a man worthy of respect both for risking his own life to save his stepfather and for doing it regardless of what other people will think. Rod then attempts the jump and fails. But unlike the last two jumps we’ve seen, where Rod shorts it and crashes into a mail truck or falls into a pool, Rod overshoots and raises enough money to save Frank. After they both heal, Rod — now able to grow his own mustache — confronts a healthy Frank and defeats him, forcing his stepfather to admit that Rod is, in fact, a man.

But Rod has a real mustache in that last scene — and thus is self-actualized — before he defeats Frank. Though he thought that defeating Frank was his goal, it was not the means for his graduation into manhood. Rather he is able to grow a mustache after making something of himself on his own terms: by being a stuntman not because his father was, and not because it was inherently masculine, but because it was taking matters into his own hands and doing what was necessary to achieve his goals despite the setbacks along the way. Rod’s arc culminates with his self-actualization, not by the approval of his stepfather, but by growing from a imitator of men to a person who had discovered what it meant to be a man in his own right..


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Of Belchers

Posted by Ta-metru_defender , in Essays, Not Rants! Dec 06 2014 · 114 views

Essays, Not Rants! 142: Of Belchers

I hadn’t seen an episode of I Love Lucy until last year when I had to binge-watch it for a Writing for TV class. I wasn’t quite sure what to expect and at the end my overall feeling is one of ‘meh.’ I mean, it’s notable for what it pioneered, but I guess it’s not so much up my alley.

One of the things that I noticed about I Love Lucy, especially in comparison to The Honeymooners, a contemporary show I also had to watch, was how the conflict among the couples was different: in Lucy it was internal, in Honeymooners external. That is, in many plots Lucy would have husband and wife scheming against each, whereas Honeymooners had Ralph and Alice against the world at large. Way I saw it, there was a more genuine feeling of family from The Honeymooners than I Love Lucy. Ralph’s inane get-rich schemes were to make life better for him and Alice, there as a sense of togetherness and of being a team. Conversely, Ricky and Lucy (without the financial strain) would try to undermine each other’s plans, which while funny, often felt a little mean.

Of course, the fun of pitting family members against each other is hardly unique to the ‘50s. That ‘70s Show gets a lot of mileage from the tension between Eric and his father, Red. But it’s still a very sitcom family, meant more for entertainment and comedy. Emotional beats come more from Eric’s relationships with his friends rather than his parents.

Bob’s Burgers, on the other hand, might just be the best representation of a comedic on-screen family I’ve seen. Which sounds a little bizarre, given that the Belcher family’s animated live in a very goofy world.

So why’re they the best? Because they’re actually like a family. Like The Honeymooners, Bob’s Burgers seldom pits the Belchers against each other antagonistically. Rather it’s usually an outside force: Bob gets frustrated with his son, Gene, when he unwittingly steals the attention at a cooking show. Conflict between them is born out of it, but it’s never done in a way to have them hurt each other. Linda, in this case, doesn’t side with either her husband or son and is instead more along for the ride.

But what really makes the Belchers feel real are the small family moments they share. Bits like the kids crawling into bed with Linda really make them feel real. This grounding helps, especially because the episode in question includes by Bob and a friend going to a weekend stuntmen bootcamp to get in shape and Linda and the kids starting a battle dome on the ice rink in their restaurant’s walk-in freezer. It’s a really small beat in the episode (“Friends with Burger-fits,” if you’re wondering) but it’s one that really cements the Belchers as being an actual loving family.

It’s all this that makes Bob’s Burgers so wonderfully refreshing: it’s not remotely mean. This stands in great contrast to I Love Lucy where many of the plots had Ricky and Lucy acting against each other or That 70’s Show where characters are usually the butt of the joke. The characters of Bob’s Burgers never become malicious and remains one of the funniest shows on TV. How? By letting a family be true to itself and having the humor come from the characters being themselves, combining a wonderful blend of the funny and the heartwarming in the process.


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That Teaser

Posted by Ta-metru_defender , in Essays, Not Rants! Nov 29 2014 · 168 views

Essays, Not Rants! 141: That Teaser

I saw The Phantom Menace for my eighth birthday. It wasn’t the first Star Wars film I saw, nor was it the first I saw in theaters (I have the vague recollection of seeing A New Hope when it was rereleased in Singapore). But it was a new Star Wars movie and I loved it unaware of its flaws.

A teaser for the new new Star Wars dropped yesterday and I am so freaking excited.

First off, it’s a new Star Wars, which, has had me pumped for quite some time. But seeing actual footage from The Force Awakens pushes me over the edge like no amount of leaked concept art ever will.

The teaser trailer is less than a minute and a half long and composed of only eleven shots which, combined with the large amounts of blank space isn’t that much. But it’s a terribly important eleven shots.

We don’t see Luke, Han, or Leia in the teaser, characters we’re anxious to see again. We don’t even see some of the somewhat more well-known actors, like Adam Driver or Gwendolyn Christie. Rather we see Oscar Isaac, John Boyega, and newcomer Daisy Ridley. Are these three the three new main characters? Rumors point to yes, with Daisy Ridley playing the movie’s protagonist. If it’s true, then, awesome, we’re getting a black main character in a Star Wars movie and a woman protagonist. Yay representation!

Then there’s the desert in the first shot. An actual, real, not-CGI desert in which we see John Boyega in actual, real, not-CGI Stormtrooper armor. That many of the eleven shots take place in practical locations is no coincidence: Abrams and crew are reminding us that they’re going back to how the Holy Trilogy was made; they’re using real locations and real props. This is a movie that’ll have great effects, not just great CGI. Like that new droid, which I want to say is a practical effect, but, honestly, I can’t be sure.

Much of the teaser brings the cool. The really cool, the moments of awe that Star Wars is known for. We’ve got X-Wings, done new and looking awesome, but X-Wings nonetheless, skimming over water. There are X-Wings skimming over water. It’s a beautiful, beautiful shot (spaceships in atmosphere make me very happy), but it’s also showing off what they can do now with modern technology. Something this beautiful wouldn’t have been doable before and The Force Awakens is bringing it in. That they’re X-Wings and that Oscar Issac is shot just like Luke or Wedge once again elicits memories of the older movies. It feels like Star Wars.

We also get a shot of who’s presumably the villain of the piece staggering through the snow and igniting a lightsaber that I like more than I probably should. I really like the medieval-esque image it conjures up and, with it, we know there’s gonna be a bad guy in this and that bad guy’s going to have a lightsaber. The teaser ends with the Star Wars fanfare and the Millennium Falcon flying over a desert and dodging TIE Fighters. There’s literally nothing I can add to that sentence to make it sound cooler. It’s Star Wars, man, and it’s back.

The teaser says little in the way of story (beyond the narration that the Force has awakened, light side and dark and all that), but rather tells us a lot about the new movie. We’re getting a diverse group of new characters, we’re getting practical effects, and we’re getting a movie that feels more like Star Wars than the prequels.

It’s easy to be cynical as an adult. The world isn’t what it cracked up to be, justice doesn’t always happen, good isn’t always as clear as you’d want it to be. But then a new Star Wars trailer rolls around and I feel like I’ve eight years ago and I can’t wait to return to a galaxy far far away.

Twelve months, nineteen days, and counting.


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The Pay Off

Posted by Ta-metru_defender , in Essays, Not Rants! Nov 22 2014 · 138 views

Essays, Not Rants! 140: The Pay Off

I liked Agents of S.H.I.E.L.D. when it first aired. Its potential was a big reason, as was, well, bits with characters. There was little else like it on tv and hey, I’m always on board for something science fiction, especially if it’s in the Marvel-verse.

Granted, the show meandered for quite a while, but I enjoyed it all the same for what it was. Monster-of-the-week and decent characters, so hey, I was in. Then the show got good. Really good.We’re a solid eight episodes into Season 2 and these episodes show how strong the show has gotten. It’s been a long time coming but following the show has finally paid off.

So what’s SHIELD been doing right? Or, more to the point, what’s the show doing that makes it successful? The biggest difference between where the show is now and where it was a year ago is the clear presence of a proper overarching villain: Hydra. Antagonists are driving forces in serial fiction, often creating tension and giving individual episodes weight. Chuck had an evil spy agency per year, season 1 of Buffy had The Master. Now, in the latest season, the heroes in SHIELD have to try to stay one step ahead of their antagonists, lending a sense of urgency to what they do.

Developed characters are vital too. In lieu of an active antagonist, early seasons of Lost forced the disparate survivors together, creating tension where personalities clashed. We even got to know them better through extensive flashbacks, fleshing out who they were and giving context to what they did. SHIELD’s characters had hints of depth early on, but not much was done with them. On occasion they were pushed a little further, like exploring Fitz and Simmons in “F.Z.Z.T.”, but for much of the first season they pretty much were who they were. Not so in Season 2. Introducing a handful of new agents adds the variety of characters and SHIELD now mixes them up in interesting ways. For example, pairing former lovers Bobbi and Lance is comedic but can also yield strong dramatic beats, especially when accompanied by the no-nonsense May to play intermediator. Giving Fitz a bromance with fellow engineer Mac lets us have some good character moments for everyone involved. We get to learn more about each one by changing the dynamics and relationships, giving us more compelling reasons to connect to and invest in the characters.

The villains too have been amped up. The end of the most recent episode (“The Things We Bury”) saw Ward, Whitehall, and Skye’s father entering into a sort of unholy alliance. It’s remarkable that these three characters, two of whom have only been around from the start of this season, are at the point where we as the audience are aware of their own motivations and goals: Whitehall wants to further Hydra’s goals, the doctor wants to reunite with his daughter, and Ward is a wildcard who could do anything. We know that they’re willing to backstab each other and cut deals with the heroes for their own ends, so seeing them together creates not just interpersonal tension, but an interesting foe for our protagonists to face off against. At this point, the villains are as interesting as the heroes, and their interactions are diabolically layered with veiled subtext.
SHIELD too is really getting its hands dirty with the general Marvel universe at large. It’s not just paying lip service to Extremis like it did early in the first season and it’s not just reacting to Hydra’s reveal like it did after The Winter Soldier. Rather it’s blazing its own trail, bringing in elements of the from the comics we haven’t seen on screen. With the show looking to introduce the hidden city of Attilan anytime now, Agents of SHIELD is probably going to feature the Inhumans a solid couple years before the movie about them is slated to be released. The show’s coming into its own, not just with characters but with its array of plot and elements of the Marvel mythos.

It may not have started out as strong as it could have, let alone one of the best shows on air, but watching it has really begun to pay off. And I’m really enjoying it ‘cuz we always need more good tv.


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Representation, Big Hero 6, and Me

Posted by Ta-metru_defender , in Essays, Not Rants! Nov 15 2014 · 115 views

Essays, Not Rants! 139: Representation, Big Hero 6, and Me

I saw Big Hero 6 last Saturday, a couple days after Interstellar. They’re very different movies, different beasts. I’m not sure yet which one I like more, but there’s one thing that makes Big Hero 6very special.

But first let’s talk about me.

I’m one of those weird people who can claim two races. No, not the mix of mayonnaise and sour cream that is the 1/4 Irish, 1/4 German, 1/8 Polish, 1/3 English, 1/24 Swedish mixes, I’m Asian andAmerican: my dad’s from Singapore, my mom’s from the US. My heritage is Chinese and Norwegian and I put “Other: Sino-Nordic” on those surveys I fill out for money. I get called white in Singapore and Asian in the States. Go figure.

So growing up I was a bit of an ethnic oddity. I, as is probably evident from this blog, consumed a lot of media. I read mountains of books, watched as many movies as my parents took me to (which was no small amount, thanks Mom and Dad!), and played as many video games as I could on the weekends when I was allowed. But no characters were like me. Sure, Power Rangers had the token Asian and white people are ubiquitous, but half-and-halfs were unheard of. The closest character in my media was Balto (Mom would later compare me to Spock, but that was after I’d graduated high school).

Fast-forward to now and Big Hero 6 is topping the box office. And the main character, Hiro Tamada, is mixed like me. Now, I’m basing this off the fact that he’s clearly East Asian and his aunt is white, because not only is Hiro biracial, but he’s biracial like me: his mother is white, his father not. As someone who’s spent most of the life as a racial rarity, it’s wonderfully heck, it’s exciting to see someone like me the star of a Disney movie.

But it’s not just Hiro. The titular 6 are surprisingly diverse. Besides Baymax the fluffy robot, there’s only one white guy: Fred the definitely-not-a-stoner-but-certainly-not-a-scientist comic relief guy. The other three? GoGo is an Asian woman, Honey Lemon is also a woman who seems cut out to be the cheerleader type except she’s an incredible chemist, and Wasabi is a black man. They are all scientists and engineers, students of a field notoriously underrepresented by minorities. Here’s a movie saying “Hey, you can be a scientist even if you’re not a white dude!”

Now, I think it’s easy to get hung up on representation. The Avengers isn’t a lesser movie because the majority of the characters are white men and Big Hero 6 has a solid story with plenty of heart to complement its diverse cast. Praising a movie simply because it’s diverse, or feminist, or ‘Christian’ is patronizing and doesn’t help. I don’t just want more movies with minorities, I want more good stories about everyone. That’s part of the reasons I’m so excited for Black Panther and Captain Marvel (that and, y’know, the fact that Captain Marvel is getting a movie); Marvel has a reputation for telling strong character driven stories.

I’m glad Big Hero 6 is doing so well and receiving such warm reviews. Because that means people will notice and, hopefully, means we’ll get more films like that. But more than all that, even more than the implications for the industry and the hope for growingly diverse casts, I’m excited that a character like Hiro Tamada is the main character of a movie. Because somewhere there’s an eight year old kid like me who got to see someone like him as a superhero.


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Where No One Has Gone Before

Posted by Ta-metru_defender , in Essays, Not Rants! Nov 08 2014 · 98 views

Essays, Not Rants! 138: Where No One Has Gone Before

Let’s talk about space, because of Interstellar. Now, it’s hard to discuss the film because so much of what makes it Interstellar is because its based so fundamentally on the curves and turns of the plot. So for the sake of avoiding spoilers and ruining everything, we’re not talking about Interstellar’s story.

Instead let’s talk about the set up; about the initial question asked by the film, the question of space travel. Many of the early parts of Interstellar can be read as a vindication of space programs. There’s a strong lament for the abandonment of space exploration.

Interstellar espouses the idea that we’re supposed to go beyond earth, what with the whole “humanity was never meant to die here” tagline and all. It’s a theme of science fiction that’s been preciously scarce as of late. Gone is 2001: A Space Odyssey and movies about going to Mars. Instead we’ve got films like District 9 and Godzilla which while great, are very terrestrial science fiction. Or Guardians of the Galaxy, which while fantastic, is a straight up space opera (and all the better for it). Think about Avatar, a fairly recent movie that had elements of exploration: The message was that humanity should stop screwing up ecosystems. Europa Report, Prometheus, and even Gravity were more horror inclined than about a desire for exploration.

The closest we’ve had in recent years is Into Darkness. Granted, it’s very space operatic (as was the old Star Trek TV show), but it (again, like the old TV show) has hints of the want of exploration. Of wanting to go where no one has gone before. If anything, Into Darkness, like Interstellar after it, is a defense of why space exploration is still relevant.

Into Darkness pits two ideas against each other. There’s the one argument that militarization is the route forward, that humanity’s presence in space is fundamentally a militaristic one. On the other hand there’s the argument that exploration is a reason and goal in and of itself. It’s not the tidiest of presentations of the themes, but the revived franchise has to prove that over half a century later the idea of exploring the final frontier is relevant and engaging. It shouldn’t have to.

I, like I’m sure many others, wanted to be an astronaut when I was a kid. Right up until I found out it would take over a dozen years of training which, to an eight-year-old, is a very long time. But fifteen years later there’s still that want to go to space, thanks to a steady diet of Star Wars, Firefly, and just about anything else involving spaceships. Even now a video of astronauts playing with water in zero-g is one of the coolest things. Because it’s space, it’s terrifying, it’s cool, and I want to go there.

Watching Interstellar conjures up images of today’s space program and how it’s almost become an afterthought. We’ve got a rover on Mars, probes exploring the far reaches of the solar system and beyond; but the classic image of a moon colony lies all but dormant. Where’s the luster gone? Where’s the want to go before.

Though there’s a massive amount of words to be said about Interstellar, one thing I liked was its commentary on it. Space travel is important and is arguably the next big step forward.

If only because I want a spaceship.


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THEY'RE MAKING A CAPTAIN MARVEL MOVIE

Posted by Ta-metru_defender , in Essays, Not Rants! Nov 02 2014 · 111 views

Essays, Not Rants! 137: THEY’RE MAKING A CAPTAIN MARVEL MOVIE

Marvel announced their upcoming slate of movies this week and I am very excited for one very important reason: Captain. Marvel.

Now, of course I’m pumped for the other announcements. Captain America 3 is officially Civil War, which bodes very interesting the MCU at large. Black Panther’s also showing up in Civil War and getting his own solo film a year later. We’re getting a second Guardians and another Thor, which is cool (especially the art for Guardians 2). The Inhumans are getting a movie so they’re definitely part of other MCU (five bucks say they show up in Agents of SHIELD). And the Avengers film(s) following Age of Ultron Is, based on being named Infinity War, hopefully going to be based on the fantastic Infinity event from last year. So of course there’s all that.

But Captain Marvel. Those of you who’ve been reading this should know that I’ve been clamoring for a Black Widow film, which part of me still is. I’m assuaged partially because there are plans to weave Black Widow into other films. But mostly because not only will Carol Danvers probably be showing up in some of the other films, there’s going to be a freaking Captain Marvel movie.

I’m gonna come right out and say it: Captain Marvel is my favorite comic in print right now (up there with Avengers and New Avengers. Black Widow probably comes after).There are a bunch of reasons, like the epic adventure nature of the comics and the sheer fun they’re filled with, but it’s mostly because Carol Danvers is such a great character, especially as Captain Marvel.

There’s the obvious fact that she wears pants, which is a welcome respite. More so than that, she’s interesting. She does all the usual superhero stuff, time traveling, fighting bad guys, saving New York and so on. Best of all, the comic is never condescending. We have a woman fighting crime who’s not presented as a special case or just a sex-object. She’s fleshed out and great in her own right. Writer Kelly Sue Deconnick has done a fantastic job creating a character who’s not just layered but likable and, most importantly, fun.

With that, Captain Marvel (like Black Panther) will bring something new to the Marvel ‘verse. Black Panther’s the first not-white guy headlining a Marvel film and also, as the king of Wakanda, has the potential to add additional political intrigue to the universe. Captain Marvel, on the other hand, will be the first female headliner and, based on comments by Kevin Feige and the most recent batch of comics, bridge the cosmic and earthbound sides of things. Besides getting her powers from the Kree (who showed up in Guardians of the Galaxy), Captain Marvel’s also been running with the Star Lord and crew as well as getting up to her own space adventures. It’s this variety that’ll help keep the superhero genre from getting stale.

But there’s also the sheer nerdy joy. In four years not only am I finally getting a movie starring a female superhero, but she’s Captain frickin’ Marvel, one of my favorites. That’s exciting and that’s something that’s making me really eager for 2018 to come already.


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Let's Talk About My Movie

Posted by Ta-metru_defender , in Essays, Not Rants! Oct 25 2014 · 171 views

Essays, Not Rants! 136: Let’s Talk About My Movie

In case you haven’t heard, I’m making a movie. Not just that, but I need your help to make it happen. Here’s why.

Ghosts That We Knew” is a story about not being alright. Becca, the protagonist, isn’t where she thought she’d be in her life Things haven’t been going the way she’d hoped they would and she’s stuck. With all that comes the nagging doubts in the back of her head, voices that remind her of how life’s not working out.

I wanted to make a movie about that, about that insecurity and fear. With that, I wanted to keep it emotionally honest. There’s more to say about it, but I’d rather not give away plot points. Suffice to say, it’s not a story where life gets better overnight, but it’s also one about the beginning of a way out.

I can say more about production. My crew was amazing. I simply can’t stress this enough. Everyone did their jobs and did them very well. I owe the film to them. I could tell my Director of Photography, McKenzie Zuleger, what I wanted and she’d set it up and go. I’d worked with Richard Kim before on a few shoots and this time as my Assistant Director he took care of my crew and as Gaffer he got some incredible light setups. Meanwhile, my Producer, Natalia Rivas, was wonderfully helpful during preproduction and was indispensable on set, ensuring that everything behindbehind the scenes went smoothly. I could go on and on about them and everyone else too (wait till you see the costuming and dressings the art department did), but there’s more to write about and only so much essay space.

The cast made my script come to life. There’s this persistent fear I have as a writer that what I’m writing won’t quite work out. But hearing it said by these actors, wow, they nailed it. They dove right in and really took on the roles in a way I could only dream of. I owe an incredible wealth of gratitude to them, in no small part because four of them spent shooting in masks under hot lights and the other two had to carry some intensely emotional scenes. The results are stunning and I can’t wait to share it with you.

So why am I asking you for money? Like I said in the Kickstarter, movies cost money; I’ve got to pay for food, costumes, transport, and the like. Things as obvious as a meal for Becca to eat or as tiny as fashion tape all costs money. NYU gives me a small budget to start off with, but I needed more to cover it all.

An obvious point here is that I’ve already finished shooting; the movie’s in the can, why then do I still need money? I’ve put my own money to support the deficit, but I’m not in a financial position to pay for all of it myself. Furthermore, any additional funding will go to getting some professional post-production work, such as color correction and some visual effects touch ups. As a crew we’ve gone to lengths to keep the production’s budget as low as possible, making sure every dollar you give to us helps.

Ghosts That We Know is a project I believe in. Not only that, but I intend to shop the finished project around to short film festivals. Since some of these festivals rule that you can’t submit a movie that’s been screened online, the only way to see the finished film before (which could be almost a year down the line) is to give $5 to my campaign. There’s also some other cool things in there, like a credit and even a copy of the script signed by me (with or without notes, your choice) as well as a mini-poster a friend of mine’s working on. I’m $90 away from my goal and funding ends in a few days; if I don’t reach $222 by then I don’t get any of it.

Help me fund this project.


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Superhero Overdose

Posted by Ta-metru_defender , in Essays, Not Rants! Oct 17 2014 · 178 views

Essays, Not Rants! 135: Superhero Overdose

If you haven’t heard, DC recently announced their cinematic plans for the next six years. We’ve got a Justice League movie, a Wonder Woman movie, one with the Flash, one with Aquaman, a Green Lantern movie, and so on. It’s DC’s answer to Marvel’s Avengers. They’re looking to emulate Marvel’s formula, releasing two a year. Not only that, it looks like most of the Justice League roster from the cartoon is getting their own movie (except Martian Manhunter which is its own infuriating can of worms). Between Marvel and DC, we’re looking at four superhero movies a year — and that’s not even counting other studios with rights to Marvel characters, like Fox with X-Men and the Fantastic Four. That’s a lot of superhero movies, a lot of men in proverbial tights (and one woman, so far) running around doing superhero stuff.

Now, with so many superheroes flying around, it’s likely we’re looking to get a glut of that genre. Woohoo, there’s Age of Ultron, Ant Man, and Fantastic Four next year, but after that there’s gonna be Batman v Superman, a new Captain America, a new X-Men movie, and Suicide Squad. And then after that comes Wonder Woman, and Justice League (so far). Genres can become tired, look at how few Westerns there are as opposed to a few decades ago. With all these superhero films coming out, and with superhero movies usually following a specific pattern we could end up watching the same darn movie over and over again. If that happens, then people get tired, people stop watching these movies, and people stop making superhero movies.

Thing is, we’ve seen the superhero movie a hundred times. The hero gets powers, the hero figures out what to do with powers, the hero fights bad guys. Sequels have been playing with the follow up, but we’ve seen the super-powered-hero-fights-evil formula over and over again. Superhero movies as we know them has happened.

So how do we keep it interesting? So far the trick has been genre blending. The Dark Knight was a crime movie with Batman. It was different and it was big (though I’ve heard the argument that it wasn’t a Batman movie, but that’s another issue). More so now than ever, superhero movies have to stand out. The Avengers was a heroes-fighting-villains narrative, but did it better than anyone else and threw in some internal conflict and hints of a war movie for good measure. Unless a new movie surpasses it, doing the same thing will be repetitive.

Marvel Studios, and Joe Quesada, know this. Look at the most recent releases from Marvel. Iron Man 3 was as much Lethal Weapon-y as it was Iron Man, The Dark World was borderline pure fantasy, The Winter Soldier was a spy/espionage movie, and Guardians of the Galaxy was pure space opera. Looking ahead, Ant Man is planned to be a heist movie, which there are never enough of. Marvel’s keeping things varied. In fact, I think one of the reasons Winter Soldier and Guardians were so well received is that they were so unique. Both tapped genres relatively unheard of at the moment, and both executed them incredibly. If Marvel Studios can keep making movies that challenge the idea of a ‘superhero’ movie they’re in good shape.

So the onus is on DC to do the same thing. It’s hard to judge how they’ll do, especially given the kinda mostly alright Man of Steel, but if they can make Aquaman feel very different from The Flash and not just in subject material, then there’s hope. We don’t wanna keep watching the same movie with swapped out details.

But I cannot overstate how freaking excited I am about all of this. In the next two years I’m getting a second Avengers movie, a new Star Wars, a movie with Batman and Superman, and what’s reportedly a movie about Captain American and Iron Man. Heck, they just announced a movie featuring The Lego’s Movie glorious riff on Batman! All this is the twelve-year-old in me’s dream come true. I don’t like not liking things, it’s tiring and it’s not fun to hate everything you watch. I want these movies to happen, I want to like these movies. I just hope these movies are good.

Also, I'm making a movie! Help me get it funded!






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josh

twenty-three


grew up on a ship


studies Storytelling

at New York University


frequently found writing in a coffee shop, behind a camera, or mixing alcohol and video games

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