1. thetrueblack:

    disciplineandpunish:

    […]

    FLASH FORWARD by jonnynegron & sean t. collins

    on the back of the comic:

    In science, the term observer effect refer to changes that the act of observation will make on a phenomenon being observed.

    FLASH FORWARD is a horror story about seeing and being seen.

    Negron and Collins’s collaboration is twenty pages of strange, sexy and scary in the very best way possible. Reading FLASH FORWARD was like finding amateur voyeur porn recorded somewhere in Twin Peaks underneath yr bed but all the girls are doe-eyed R. Crumb mistresses and you never recorded this and then there is a lightning storm and the radio tower falls down. Yeah. Just like that.

    Get yrself a copy while they’re are still available via Jonny’s bigcartel and keep up with Jonny and Sean at jonnynegron and seantcomics

    In a review of several recent minicomics, Flash Forward by Jonny and me gets a very nice write-up. Thank you for reading!

     
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  3. lladystoneheart said: is it safe to say you don't like The Leftovers ?

    I know you almost immediately followed up this question with another saying you’d just read the most recent review and can see I’ve changed my tune somewhat, but I thought it might be nice to answer this one anyway. :) My honest opinion is that episode three of The Leftovers, which has been touted by many of my peers (including in The New Yorker just today) as the episode that truly won them over to the show’s quality, is maybe the single most embarrassing episode of prestige-drama television I’ve ever seen, a failure on every level. I wrote about that here. But I was impressed by the pilot and the most recent two episodes, last night’s especially.

    Writing weekly reviews of television shows is a dicey proposition. I don’t in any way agree with the showrunners who argue that the whole season should be reviewed once, at its conclusion. Unless you’re releasing it that way a la Netflix, no one experiences the show that way. You can say that’s how it’s mean to be experienced, but I guarantee you the episodes don’t just stop every 50-odd minutes into a larger 12-hour story. I like to engage with the work the same way the audience does, if I can help it. (Which is also why, even if I get screeners for multiple episodes in advance and watch them in a row, I still base my reviews only on the notes I’d taken for that particular episode. I’m reviewing what people have watched.)

    However, the week-in-week-out effect is such that the impact of particularly strong or weak episodes can be exaggerated. There were many times I thought Halt and Catch Fire was hopeless, and said so, but it’s improved considerably. There were many times I was like Thank god, Homeland has turned the corner!” but it bellyflopped after all. Which will it wind up being with The Leftovers? I don’t know.

    I will say this. Even though I enjoyed three out of five episodes, I can’t say I feel attached to any of the characters. Note that you don’t need to like them to feel attached to them — I felt awfully attached to Theon Greyjoy and Cersei Lannister, just to name a couple of examples. Note also that unlike the weaker episodes of Halt or a mid-list New 52 superhero comic, The Leftovers is not wringing phony-baloney drama out of its characters by making them all loathsome, unceasingly hostile assholes. But we’ve really only seen one side of all of these characters, the grieving side, and it’s hard to get a handle on who they are that way. If you only ever saw a cube head-on, it might as well be a square, you know? I always think back to Mad Men, and how despite the unpleasantness of so many of those characters, it was easy to engage with even the worst of them almost right away, because each of them was allowed to be so many things — charming, predatory, funny, sniveling, sad, sexy, cowardly, talented, friendly, creative, sleazy. The Leftovers are all pretty much only “upset,” and there’s only so far you can go with that.

     
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  5. fuckyeahdirectors:

    David Cronenberg photographed by Caitlin Cronenberg

    Great job!

    (via astrangerscandy)

     
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  7. winter is coming

     
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  9.  
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  11. Direwolves or Dragons? (x)

    Reblogging this again because it’s seriously like it was scripted. “Snakes,” my god.

    (Source: rubyredwisp, via boiledleather)

     
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  13. zabbers:

     

    Tonight’s Halt and Catch Fire told a morally and emotionally sophisticated story with actual sophistication. I was really impressed. I reviewed it for Rolling Stone.

    It was one of those moments in which I was afraid it would do the obvious thing, the thing we’ve been conditioned to think his looking at the ketchup stain might mean, and then—because the show had built up a fair amount of faith for me over the previous eight episodes—I held my breath, and lo and behold it did not cheap out on me, and I was glad.

    Yes, that’s exactly right. I have become enormously impatient with that kind of storytelling, of which Halt has been guilty in the past, and which plagues The Leftovers from time to time too. The problem isn’t delivering on expectations per se, because obviously that’s both necessary and fun from time to time — the problem is that when the thing you’re anticipating is dull and unexamined, and it’s delivered in a perfunctory, rehashed way.

    And in comics, hoo boy! Alternative comics can be just as bad as any — recently Julia and I took a look at a comic’s title, just the title, and started joking about what would happen in the story. We didn’t get a hole in one but we damn sure got on the green. I just want to grab people and go “You are showing us something we’ve seen a million times. Recognition is valuable in art but not if we’re just recognizing things we’ve seen other, better stories do years ago. Think harder. Try harder.”

     
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  15. czarevich said: Whether your gut reaction to Martin announcing that he isn't writing am episode for season 5 because he has "a book to finish was "Shit. Is he really that far behind?" or a slight intake of breath followed by the thought "maybe he's is in the home stretch!" basically tells you whether you're a pessimest or an optimist.

    The glass is half full…of human blood!

     
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  17. I figured I’d better write the book rather than the episode. (x)

    (Source: rubyredwisp, via homicidalbrunette)

     
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  19. "I don’t understand your faith," the Reverend tells the Guilty Remnant when he comes to their houses to pray for Gladys. "But I understand commitment, and I respect it." His understanding and respect are undermined in the very next sentence, though: "But we are all of us, no matter how we’ve suffered, still alive." As if they didn’t know! Rev. Jamison believes that by stripping away their friends, families, clothes, voices, even their health, they’ve cut themselves off from life itself. But to the GR, these acts of sacrifice are living. Whether they’ve chosen the slow-motion martyrdom of chainsmoking or had the fast track of stoning chosen for them like Gladys did, their sacrifices have made their individual lives literally the only thing they have to give anymore. What could be more valuable?

    The episode itself implicitly sides against Rev. Jamison in this matter long before he even shows up. In its harrowing, unflinchingly gruesome stoning of Gladys, it forces us to witness every blow, every terrifying and disorienting moment of her abduction, every vulnerable and humiliating moment of her execution. Violence and gore on film are often held up as crass and dehumanizing — many examples of these things often are. But when done properly, their repulsive spectacle is as humanistic as filmmaking can get: This is how vulnerable we are as humans, and this is how incredibly wrong it is to exploit that vulnerability. In this sequence, The Leftovers sees Rev. Jamison’s claim that the GR are “already dead” and preemptively calls bullshit.

    But it’s not just the value of life that martyrdom highlights – the martyr’s unique philosophy about life gets its shot at the spotlight as well. Such is the circular logic of martyrdom’s emotional appeal: If you are willing to die for something, you must have found something worth dying for, right? Whether it’s faith, family, country, or love, your devotion to that something is inarguable – and that’s the kind of connection, real and true and deep and meaningful, that everyone searches for in a world where such connections are so frequently shattered. That the GRs voluntarily did much of that shattering to themselves is immaterial. They found something that gave them meaning amid the meaninglessness, something so meaningful they’re willing to die for it as a demonstration.

    That demonstration is the highest calling of the true believer, because it’s a way of demonstrating that there are, indeed, true things to believe in. Black-and-white thinking exerts a powerful attraction because it implies an order within the chaos: No matter what it looks like, there is a right thing and a wrong thing, there are ideas that are objectively correct and objectively false. The martyr makes the argument with her body that she has found the objectively correct position, and that it is now easier to die than knowingly embrace the false one. What a relief it must be to know you’re right about anything! We speak of the courage of our convictions, but the comfort of our convictions is just as important.

    "Enjoy" is a weird word to use about tonight’s episode of The Leftovers, but it made me think hard about hard things, and I enjoyed it. I reviewed it for Rolling Stone.

     
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  21. In a rare move for, well, pretty much any drama on television, Halt gave its characters a complex personal, professional, and perhaps even moral choice to make in which neither outcome was the clear-cut “right thing to do.” When Gordon guts Cameron’s forward-thinking, interactive OS to cut costs and increase speed, what should Joe do? Siding with Cameron would honor her genuine vision, preserve the one thing that made the Giant unique, keep the hope of an eventual reward for their cutting-edge tech alive, and maintain the romantic relationship that clearly matters a lot to both of them. But it would cost them the only competitive edges – speed and cost – that matter in the face of the Slingshot knockoff’s debut earlier that day, which in turn would cost them the entirety of Cardiff Electric. Fiction in general (and prestige TV dramas in particular) conditions us to root for the maverick, the underdog, and the visionary, so our initial inclination is to pull for Cameron. But Joe’s face as the elevator doors close on her speaks volumes. He knows that her computer would be better. But her better computer likely will never get the chance to exist unless they act now. And the sacrifice their love requires is too steep.

    When we see the results of Joe’s decision play out on the convention floor, the issues remain just as complex. His speech about the reprogrammed Giant joylessly champions all-business values, at times echoing Alec Baldwin’s legendary Glengarry Glenn Ross monologue (“Good father? Fuck you! Go home and play with your kids”) in its cynicism and intensity. Finding Cameron’s ketchup stain on his notes would normally be a sign he’s about to have a change of heart; watching him power past his qualms, then quietly close the notes away in his briefcase undermines all the expectations a moment like that naturally raises. 

    Yet there’s genuine fervor in the speech – a chance for Joe’s skill as a salesman to shine, which is his art as much as coding is Cameron’s or engineering is Gordon’s and Donna’s. The presentation is a hit, scoring the Giant a big order with a major retailer. There are even personal victories to echo the loss of Cameron – a loss which, importantly, Joe and Gordon honor during their presentation. Joe’s decision may have cost him Cameron, but it made possible the rapprochement between Gordon and Donna, who at last is credited with her role in the computer’s creation. It also drove a stake through the heart of Hunt and Brian’s sleazy Slingshot project – which is a bit rich, given the similarly unscrupulous way Joe and the gang have gone about everything, but is no less satisfying for it.

    In the end, Halt still sends signals that Joe made the wrong choice, if for the right reasons. He and the Clarks share the world’s saddest champagne toast, with the camera lingering on the popped bottle long after such shots normally cut away, transforming its celebratory effervescence into just a spill to be cleaned up. Gordon and Donna are back together, but the events of the day make their demeanor seem miles away from their sweetly sexed-up chemistry of the night before.

    Tonight’s Halt and Catch Fire told a morally and emotionally sophisticated story with actual sophistication. I was really impressed. I reviewed it for Rolling Stone.

     
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  23. harritudur:

    the Wars of the Roses
    (credits)

    (via smilingblackmoon)

     
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  25. Sari Botton Interviews Samantha Irby. (I cried reading this)

    1. Irby: My dad’s lawyer brings her dog to the animal hospital where I worked, and I was in Chicago magazine, which is like the type of magazine your Jewish lawyer orders for her office. My dad used to drive her to the airport, and he’d have me in the car with him. He was like her chauffeur. And one day she was like, “I checked out your blog, and oh, the language, and oh, whatever,” and you could tell that she was waiting for me to apologize. So I just didn’t say anything, and then we had an awkward silence, and I was like, “What do you want me to say? Sorry? Or I’m ashamed? Tell me what you want, ’cause I don’t have the deference thing because there’s no parents around to shame me, so I get to look you in the eye as an adult and ask you what it is you’re trying to do to me. How are you trying to make me feel?”
    2. Rumpus: Wow, what did she say?
    3. Irby: She didn’t say anything. She just stood there and was just like, “Well, it was shocking to me.” And I was like, “Okay, but what am I supposed to do with that? Do you want me to tell you I’m sorry? I’m not sorry. I’m sorry you read it. If you can’t be supportive, I’m sorry you read it.” I don’t want anybody to put their shit on me.
     
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  27. mramgine said: Am I correct in assuming that we'll get more casting news once they around to filming non-Dornish scenes? Cause people are freaking out about the lack of Greyjoys, Griff, etc.

    We’re not done with casting announcements, no.

     
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  29. Are you always waiting like readers of the books for certain moments to air to see the audience freak out? (x)

    troll so hard brotherfuckers want to find her*

    * and put her to the question over her possible collusion with their younger brother in the murders of their son and father

    (Source: rubyredwisp, via suicideblonde)

     
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