#Ian Frazier

[dreaminginthedeepsouth]

A Marathon Reading of Martha Graham

Over the course of seven hours, sixteen dancers and former dancers read the legendary choreographer’s memoir from start to finish.

By Ian Frazier

August 15, 2016

Aman sat in a chair in the café on the first floor of the New York Public Library for the Performing Arts, at Lincoln Center, for almost seven hours and listened to sixteen dancers and former dancers read “Blood Memory,” the autobiography of Martha Graham, one reader after the other, all the way through from beginning to end. Graham wrote that a dancer is “an athlete of God” and quoted Lincoln Kirstein’s remark that dance is “glorified human behavior.” Sitting with a glorified seatedness that came from deep within himself, the man, who can’t dance a lick, felt grateful just to be in the bleachers.

“There is a fatigue so great that the body cries, even in its sleep.” Though Graham wrote that early in her book, the man did not fear such a possibility. His chair was perfectly O.K. The sun moved overhead and the shadows crossed the nearby buildings visible out the café windows in a downtown direction, toward Forty-eighth Street, where Graham had performed for the first time with her own group of dancers exactly ninety years before, to the day. The marathon reading marked that anniversary. Janet Eilber, the artistic director of the Martha Graham Dance Company, read first. “Movement never lies. . . . The body is a sacred garment. . . . Every dance is a kind of fever chart. . . . The beauty of the heel as it is used to carry one forward into life.” Next came Tiler Peck, a principal dancer with New York City Ballet, who, her shoulders bare, wore her dark hair up, bright-red lipstick, and dangling earrings. She took the young Graham through early childhood, in Allegheny City, Pennsylvania (now Pittsburgh), where her father was a strict Presbyterian and an “alienist,” or psychiatrist, and coal soot covered everybody. Martha went around veiled.

Behind the readers, in a window of the building across the street, a man or woman sat and organized papers, holding them in both hands and tapping them downward to make them even. Sonya Tayeh, a two-time Emmy nominee for her choreography for “So You Think You Can Dance?,” arrived in an ankle-length black garment and platform shoes. Her black hair was long on top and shaved close on the sides. She read the part that included Graham’s family’s move to Santa Barbara and the fright Graham gave her mother when she skipped rope while standing on a branch of an olive tree.

“I have based everything that I have done on the pulsation of life. . . . I am sure that levitation is possible.” Virginia Johnson, a founding member and artistic director of Dance Theatre of Harlem, read about Graham’s achievements in high school—her editorship of the school newspaper, her playing on the basketball team—and the death of her father. That misfortune threw the family into poverty. Meanwhile, Graham grew up, studied with the Denishawn Dance Troupe, in Los Angeles, moved to New York, unwillingly became a dancer with a musical revue to support her family, refused to wear cheesy costumes, quit the musical revue, began to put together her own company, knocked everybody out with a one-night performance of her work on April 18, 1926, in a theatre she had rented with money borrowed from the owner of the old Gotham Book Mart, appeared all over the country, inspired Fanny Brice to parody her, danced for Eleanor Roosevelt at the White House, danced for eight U.S. Presidents, won worldwide fame.

The sun’s angle became more aslant. In the room across the street, someone lowered the blinds. Most readers, when they finished, sat through the next reader or two, then tiptoed out. The tactful steps of dancers trying not to disturb were small and beguiling choreographies in themselves. A soft step-step-step-step, head down, with torso bent; then longer quiet strides in the open, toward the elevator up ahead. “I don’t work from counts. I have a very physical memory. I work from body phrase.”

Published in the print edition of the August 22, 2016, issue, with the headline “Body Phrases.”

Ian Frazier, a staff writer at The New Yorker, is the author of “Paradise Bronx: The Life and Times of New York’s Greatest Borough.”

[judgingbooksbycovers]

Paradise Bronx: The Life and Times of New York's Greatest Borough

By Ian Frazier.

Design by Thomas Colligan.

[blocodeespantamentos]

But wait, there's more...

They made a Coyote Vs. Acme movie based on a classic NYer piece where the Coyote sues Acme and WB shelved it! “If great stories with beloved characters and A-list stars are getting shelved for tax write offs, why are studios even in the movie business.”

[tootern2345]

Hey ya’ll

I know live action/animation hybrids are… polarizing. But this is important

The Coyote Vs. Acme movie. Based on a 1990 NYT article by Ian Frazier, is in risk of being 100% shelved. Written off for tax reasons on the 23rd.

David Zaslav and WB Discovery are both asshats and a talented crew worked on this film so speak up, petition, do anything, spread the word of this movie so it won’t get cancelled. This is a part of film history and to stick it to the man, do your part! Wouldn’t be surprised if someone ends up leaking the film or some shit like that. It’s the internet now but still, still. Speak up against this corporate ballyhoo politic crap. Support the film and animation crew. Do anything in your power to get this tax write off decision revoked. We can’t let the hard work of everyone involved be all for naught. We can’t let the rich bitch win!!!

#ReleaseCoyoteVsAcme #LeakCoyoteVsAcme #SaveCoyoteVsAcme #FireDavidZaslav

[beeclops2]

Warner Bros Negotiating Big Sale Of Shelved ‘Coyote Vs. Acme’ Movie

Warner Bros‘ shelved Coyote vs Acme movie may have finally found a new home with the studio deep in sale negotiations, we can reveal.

Gareth West’s distributor-financier Ketchup Entertainment is negotiating an all-rights acquisition in the $50M range for the animated-live-action hybrid project. Ketchup last year rescued the same studio’s The Day the Earth Blew Up: A Looney Tunes Movie.

The pact isn’t finalised and there’s still a chance it doesn’t make but it’s heading in the right direction. Should it get over the line, the film would get a theatrical release in 2026.

The deal would mark a significant and record outlay for Ketchup, whose previous releases have included Michael Keaton starrer Goodrich, comic book reboot Hellboy: The Crooked Man, Ben Affleck thriller Hypnotic, and Michel Franco’s Jessica Chastain drama Memory.

Directed by David Green and written by May December scribe Samy Burch, as well as DC Studios co-boss James Gunn and Jeremy Slater, Coyote vs. Acme is based on the Looney Tunes characters and the New Yorker humor article “Coyote v. Acme” by Ian Frazier.

Will Forte, John Cena and Lana Condor star in the movie which follows Wile E. Coyote, who, after Acme products fail him one too many times in his dogged pursuit of the Roadrunner, decides to hire a billboard lawyer to sue the Acme Corporation. The case pits Wile E. and his lawyer (Forte) against the latter’s intimidating former boss (Cena), but a growing friendship between man and cartoon stokes their determination to win.

Despite test-screening well, the project became a high-profile casualty of WB cost-cutting two years ago and it has been sitting on the shelf for more than a year. The studio reportedly screened the movie to a string of buyers in early 2024 with a price tag of around $70M, which is how much the film is said to have cost. Studio sources claim to us that they didn’t get any offers at the time.

Shelving the movie put noses out of joint. Among those dismayed were Lego Movie director Phil Lord who tweeted at the time: “Is it anticompetitive if one of the biggest movie studios in the worlds shuns the marketplace in order to use a tax loophole to write off an entire movie so they can more easily merge with one of the bigger movie studios in the world? Cause it SEEMS anticompetitive.” Even this month, there remained some willing to canvass outside the WB lot for the movie to be released.

David Zaslav’s Warner Bros previously pulled the plug on high-profile pics such as Batgirl and the animated Scoob Holiday Haunt! In this instance, Ketchup has enacted a rescue operation. The same company also struck an all-rights deal last year for the similarly unwanted Warner Bros project The Day the Earth Blew Up: A Looney Tunes Movie. Ketchup released the film theatrically this past weekend, taking in $3.1M off a strong screen count of 2,827.

Both The Day the Earth Blew Up: A Looney Tunes Movie and Coyote vs Acme were intended for HBO Max, having been greenlit in December 2020 as a streaming release by the prior studio leadership. Ketchup negotiated the deal for The Day The Earth Blew Up with the WBTV Animation group.

LA-based Brit Gareth West launched Ketchup more than a decade ago to release movies but not a great deal has been reported about his background or how the company is financed. Partners at the firm include Artur Galstian, an entrepreneur and startup investor, and Vahan Yepremeyan, founder of Yepremyan Law Firm. Michael Mann’s Ferrari was another of the company’s investments.

Last fall, Ketchup partnered with Zero Gravity Management and Ozark producer Mark Williams on a TV division. The venture sits within Ketchup and will produce and acquire premium series, with Ketchup also serving as the U.S. distributor.

[robinsonranch]

Currently, the “Looney Tunes” are in an odd place for Warner Bros. They continue to be the mascot of the company, as they always have been, but the original animated shorts were just removed from Max and “The Day the Earth Blew Up” was released by Ketchup. The opening weekend of the feature netted more than $5 million worldwide. This next acquisition would be a huge deal for Ketchup, even though it is lower than what Warner Bros. originally wanted from “Coyote vs. Acme.”

Based on a 1990 New Yorker piece by Ian Frazier and directed by Dave Green, “Coyote vs. Acme” was originally slated to be released on July 21, 2023, before being pulled from the schedule. “Barbie” took its place on the calendar and became a phenomenon.

By the end of the year, it had been shopped around to various studios, some of whom had shown decided interest (Paramount even floated a hybrid theatrical/streaming release), but Warner Bros. had wanted a much higher number than most were comfortable with. A source close to Warner Bros. insists that the Ketchup deal was the first real offer they’d had for “Coyote vs. Acme.”

Early in 2024, the filmmakers were being told that the movie was effectively going to be deleted. A month after our reporting of the situation, Warner Bros. Discovery declared a $115 million write-down on a project that they refused to identify but most assumed was “Coyote vs. Acme.”

In the words of the Roadrunner: Meep!

[jeannereames]

Hello again, Dr. Reames. This post about the hero's journey across world cultures but especially in Ancient Greece has been going viral on tumblr. As both a writer of fiction set in the ancient world and an academic, do you think the hero's journey holds any merit? Especially in regards to the Illiad?

So first, thank you for that link and sorry for the delayed reply. I enjoyed reading the post, and agree with her for the most part, but there is a very useful comment (I’m not sure I’d quite call it a rebutting) from Ian Robinson in the notes. His reply offers several useful points about, et al., masterplots and correctives to her take on Campbell, which is a bit narrow, although the Frazier/Campbell/Jung approach to myth has long been recognized as problematic, beginning with Levi-Strauss. So I’d suggest that those who read her post also read his comment, as he gives some good additional bibliography. There are some other good comments, but I’d specifically point to that one. Unless I really misremember Campbell, I don’t think he’s suggesting the Hero’s Journey is the only sort of myth out there. That would be oversimplifying him and creating a stick-man argument, which is where I might ding her analysis.

Walter Burkert (and his students, et al.) have noted that similarity in myths may owe more than a bit to some basic similarities in human experience due to human biology. So, we get a goodly number of coming-of-age stories/myths and accompanying rites of passage. Similarly, marriage is another commonality. There’s only one culture that doesn’t have marriage (if my anthro class memories serves); but what “marriage” entails, and who may marry whom, varies quite a lot over cultures. Death and funerals/mourning are another commonality strongly hedged by culture-specific details, along with birth and fertility rites. We can include also anniversary and commemorative rites, feasting and fasting, even water rituals. These all cross the globe in myth and religion. Thus, our very humanness produces similarities of experience, although details are shaped by culture.

Additionally, throughout history, human beings have tended to look for points of commonality when facing difference—a purchase to grab onto, if you like. We’ve been doing this for millennia, right down to: “Your god seems like my god, just with a different name.” Difference is occluded to focus on the similarity.

I don’t think that’s a bad thing. It promotes connection…and empathy. It’s only problematic when difference is not just ignored but erased and replaced. That happens too. The Greeks (and later Romans) were notorious for ignoring other people’s names and categories in favor of their own… but so were the Egyptians, and the Chinese. This is not simply a white Western/European fault. It’s a Center-Periphery phenomenon. And it may be the height of white Western/European privilege to assume they’re the only ones guilty of doing it!

All that said, we do find some common … themes? ... across myths. Trickster figures, for instance—perhaps because they make us laugh. But a culture that doesn’t have one isn’t “lacking,” nor do all tricksters look/act the same. Humor can be a very cultural thing. That’s just one example of a “semi-universal” mythical motif.

So, in short, I don’t see a problem with utilizing the Hero’s Journey as a useful frame in storytelling. But I would say that we may need to learn new stories too, as writers.

My current WIP (work-in-progress) is a 6-volume epic fantasy that turns the conquest narrative on its head. One (of the two) main characters transforms from “Master of Battles” to “Mother of Peace.”

Writing it has presented me with some narrative-arc struggles, most notably writing “battles that aren’t.” E.g., an expected battle that doesn’t come to pass/is short-circuited in some way. I mean to challenge the notion that “glorious conflict/combat” is a necessary conclusion for a story arc. Yet that runs the risk of annoying readers who complain of bait-and-switch. Nonetheless, the point IS that a peaceful solution may be the true victory. How to do that involves maintaining enough narrative TENSION even if battle isn’t the resolution of that tension.

That’s a different sort of story, and entails bucking millennia of narrative expectations. Of course there are other forms of story (metaplots) that don’t even involve a (big) battle at all, but I’m specifically trying to subvert that one. That means I must rethink dramatic tension. (Hopefully successfully.)

In any case, I offer it as an example of the struggle any storyteller faces when swimming against the current of reader/listener/viewer expectations. Especially when those expectations are formed by the freight of human storytelling tradition. We are “programmed,” if you will, to expect certain things out of any given plot arc. One ignores that—or in my case, deliberately flaunts it—to one’s peril.

[blogger360ncislarules]

Warner Bros‘ shelved Coyote vs Acme movie may have finally found a new home with the studio deep in sale negotiations, we can reveal.

Gareth West’s distributor-financier Ketchup Entertainment is negotiating an all-rights acquisition in the $50M range for the animated-live-action hybrid project. Ketchup last year rescued the same studio’s The Day the Earth Blew Up: A Looney Tunes Movie.

The pact isn’t finalised and there’s still a chance it doesn’t make but it’s heading in the right direction. Should it get over the line, the film would get a theatrical release in 2026.

The deal would mark a significant and record outlay for Ketchup, whose previous releases have included Michael Keaton starrer Goodrich, comic book reboot Hellboy: The Crooked Man, Ben Affleck thriller Hypnotic, and Michel Franco’s Jessica Chastain drama Memory.

Directed by David Green and written by May December scribe Samy Burch, as well as DC Studios co-boss James Gunn and Jeremy Slater, Coyote vs. Acme is based on the Looney Tunes characters and the New Yorker humor article “Coyote v. Acme” by Ian Frazier.

Will Forte, John Cena and Lana Condor star in the movie which follows Wile E. Coyote, who, after Acme products fail him one too many times in his dogged pursuit of the Roadrunner, decides to hire a billboard lawyer to sue the Acme Corporation. The case pits Wile E. and his lawyer (Forte) against the latter’s intimidating former boss (Cena), but a growing friendship between man and cartoon stokes their determination to win.

Despite test-screening well, the project became a high-profile casualty of WB cost-cutting two years ago and it has been sitting on the shelf for more than a year. The studio reportedly screened the movie to a string of buyers in early 2024 with a price tag of around $70M, which is how much the film is said to have cost. Studio sources claim to us that they didn’t get any offers at the time.

David Zaslav’s Warner Bros previously pulled the plug on high-profile pics such as Batgirl and the animated Scoob Holiday Haunt! In this instance, Ketchup has enacted a rescue operation. The same company also struck an all-rights deal last year for the similarly unwanted Warner Bros project The Day the Earth Blew Up: A Looney Tunes Movie. Ketchup released the film theatrically this past weekend, taking in $3.1M off a strong screen count of 2,827.

Both The Day the Earth Blew Up: A Looney Tunes Movie and Coyote vs Acme were intended for HBO Max, having been greenlit in December 2020 as a streaming release by the prior studio leadership. Ketchup negotiated the deal for The Day The Earth Blew Up with the WBTV Animation group.

LA-based Brit Gareth West launched Ketchup more than a decade ago to release movies but not a great deal has been reported about his background or how the company is financed. Partners at the firm include Artur Galstian, an entrepreneur and startup investor, and Vahan Yepremeyan, founder of Yepremyan Law Firm. Michael Mann’s Ferrari was another of the company’s investments.

Last fall, Ketchup partnered with Zero Gravity Management and Ozark producer Mark Williams on a TV division. The venture sits within Ketchup and will produce and acquire premium series, with Ketchup also serving as the U.S. distributor.

Warner Bros and Ketchup declined to comment.

[doloresdisparue]

have you read Lolita In The Afterlife? i got a copy of it from my local bookstore but i haven’t read it yet

I have! Very mixed opinions.. a few of the essays I really like and some i genuinely hated. If you go a little further back in my blog there are definitely excerpts from when I was reading it, both parts I shared because I loved them and some I made fun of. I did cite it in my thesis several times (specifically the essays by Bindu Bansinath, Christina Baker Kline, Kate Elizabeth Russell and Ian Frazier).

I suppose that's in the spirit of the collection, presenting many different viewpoints on the books legacy and I do commend that but I also think a handful of the essays make such outrageous, offensive or dangerous claims that leaving them in there uncommented is a little questionable ("Humbert should be played by an ugly actor because rape and rapists are ugly" comes to mind). But again, I understand the impulse to want to present a collection of different viewpoints and let the reader make up their minds. More in the spirit of Nabokov too, I would think.

I also have a personal grudge against the book for not including Emily Maltbys submission (which I was lucky enough to read) but that's just me caping for the musical again.

EDIT: Also my god that cover is ATROCIOUSLY ugly. Like, I might have actually bought the book myself for my little Lo-library but that cover is giving self-published on Wattpad. Love and light, nothing to do with the content but I hate that cover.

[koholint]

today playlist. i am not even going to attempt transliterating some of these sorry

Thanasis Papakonstantinou - Όταν χαράζει

Eiko Shimamiya - cross my heart

Parliament - (You're a Fish and I'm a) Water Sign

Nyongky Welvaart - Kilank Ba

Steely Dan - The Second Arrangement

Khaled al Sheikh - نعم نعم

The Brothers Johnson - Do It For Love

Salma Agha & Bappi Lahiri - Jeena Bhi Kya Hai Jeena

Frazier Chorus - Wide Awake

Ian Van Dahl - Be Mine

Mighty Sparrow - Memories

May Sweet - အသည်းနှလုံးကိုချမ်းသာပေးပါ

thanks for listening!

[gritsr3]

Saturday Feb 1st 2014 Serena Williams Celebrity Beach Bowl NYC

Free and open to the public on a first-come basis, the DIRECTV Celebrity Beach Bowl has become one of the must-attend events of Super Bowl weekend, attracting thousands of spectators who flock to witness Hollywood’s biggest stars compete against former NFL greats in a wild flag football game where anything can happen. The following are scheduled to take part in the game with more names to be announced in the coming weeks.Celebrities: Chrissy Teigen (Sports Illustrated Model/Television Host), Adam Pally (The Mindy Project), Shay Mitchell (Pretty Little Liars), Scott Porter (Hart of Dixie), Meghan Markle (Suits), Chace Crawford (Gossip Girl), Nina Dobrev (The Vampire Diaries), Ian Somerhalder (The Vampire Diaries), Jaimie Alexander (Thor: The Dark World), Peter Facinelli (Nurse Jackie), Tom Arnold (Comedian/Actor), Tracy Morgan (Comedian/Actor), Hannah Davis (Sports Illustrated Model), Cole Hauser (Rogue), Kevin Frazier (The Insider), Rocsi Diaz (Entertainment Tonight), Artie Lange (The Artie Lange Show) and Guy Fieri (Rachael vs. Guy: Celebrity Cook-Off).Athletes: NFL Hall of Famers Joe Montana, Deion Sanders and Warren Moon; LaDainian Tomlinson (New York Jets), Tony Gonzalez (Atlanta Falcons), Jesse Palmer and Amani Toomer (New York Giants) and Jon Ritchie (Oakland Raider/The Artie Lange Show).

[angelo-tiger-woods]

(26 Jan. 2025) - A tour of the Bronx

Comedian and actress Susie Essman was a kid from the Bronx, and maintains a devotion to this monumental, magical and, at times, maligned slice of the Big Apple. She takes "Sunday Morning" viewers on a tour, joined by such Bronx luminaries as writer and humorist Ian Frazier, astrophysicist Neil deGrasse Tyson, actor and playwright Chazz Palminteri, rapper and entrepreneur Fat Joe, and Bronx Borough President Vanessa Gibson.

"CBS News Sunday Morning" features stories on the arts, music, nature, entertainment, sports, history, science and Americana, and highlights unique human accomplishments and achievements. Check local listings for "CBS News Sunday Morning" broadcast times.

[gnatswatting]

• The past bleeds through layers of accumulation like graffiti through whitewash. The truth of a place often is not hidden but can be seen in plain sight. —Ian Frazier

Paradise Bronx: The Life and Times of New York's Greatest Borough

[truck-fump]

The Bronx Cheers—Mostly—for <b>Trump</b> | The New Yorker

New Post has been published on https://www.google.com/url?rct=j&sa=t&url=https://www.newyorker.com/magazine/2024/06/03/the-bronx-cheers-mostly-for-trump&ct=ga&cd=CAIyGjUzM2UwMTY5ZmFhZTIwMGQ6Y29tOmVuOlVT&usg=AOvVaw3kxwPmzSuoeExxjKEl0wkq

The Bronx Cheers—Mostly—for Trump | The New Yorker

Biden’s a pedophile; Trump’s a fascist; the MAGA Hasidim have to get their act together. Ian Frazier reports on these and other sentiments spewed …

[naturesshowcase]

Light Painting at Arch Rock, Joshua Tree National Park, California © Ian S. Frazier

[gameforestdach]

Die Vorfreude brodelt in der Gaming-Community, denn EAs Motive Studio gewährt Einblicke in den Fortschritt seines mit Spannung erwarteten Iron Man-Videospiels. Dieses Projekt, ein Gemeinschaftswerk zwischen Marvel Entertainment und Motive Studio, entwickelt sich zu einem actiongeladenen, Single-Player-Abenteuer, das die Spieler auf eine Weise in die Welt von Tony Stark eintauchen lässt, wie nie zuvor. Entwicklung unter der Leitung von Olivier Proulx, mit dem Ziel, eine authentische Iron Man-Erfahrung zu liefern. Das Spiel verspricht eine originale Erzählung, die in Tony Starks reiches Erbe eintaucht. Einsatz der Unreal Engine 5, um unübertroffene Realitätstreue im Spiel zu erzielen. Olivier Proulx, zusammen mit erfahrenen Profis wie Ian Frazier, Maëlenn Lumineau und JF Poirier, steht an der Spitze des Projekts und sorgt dafür, dass das Spiel dem Wesen von Iron Man treu bleibt. Ihre Mission ist es, eine originale Geschichte zu schaffen, die den Charme und Erfindungsgeist von Stark widerspiegelt und es den Spielern ermöglicht, die Begeisterung zu erleben, Iron Man zu sein. Diese Hingabe an Authentizität und Qualität wird von Bill Rosemann, VP und Kreativdirektor bei Marvel Games, widergespiegelt, der seine Begeisterung über die Zusammenarbeit mit Motive Studio zum Ausdruck brachte. Die Wahl von Unreal Engine 5 für die Entwicklung unterstreicht den Ehrgeiz des Teams, Spitzentechnologie zu nutzen, um ein immersives Erlebnis zu schaffen. Dieser Schritt, zusammen mit der Strategie des Studios, Feedback von einem speziellen Community Council von Marvel-Fans zu integrieren, deutet auf ein Spiel hin, das sowohl technologisch fortschrittlich als auch zutiefst respektvoll gegenüber der Iron Man-Überlieferung ist. Patrick Klaus, der General Manager von Motive, unterstrich die Bedeutung dieses fangetriebenen Ansatzes bei der Gestaltung des Entwicklungsverlaufs des Spiels. Für detailliertere Einblicke in dieses aufblühende Meisterwerk, besuche GamesRadar. In verwandten Nachrichten verabschiedet sich die Gaming-Welt von einer Ära, da Nintendo die Einstellung der Online-Dienste für die 3DS- und Wii U-Plattformen ankündigt. Diese Entscheidung markiert das Ende eines bedeutenden Kapitels in der Gaming-Geschichte und hebt die ständige Evolution der Branche hervor. Für mehr Informationen zu dieser Entwicklung, lese Das Ende einer Ära: Nintendo stellt Online-Dienste für 3DS und Wii U ein. Ausblick: Die Zukunft von Iron Man und Superhelden-Gaming Während EAs Motive Studio mit seinem Iron Man-Projekt weiterhin Neuland betritt, steht die Gaming-Industrie am Anfang einer neuen Ära in Sachen Superhelden-Spiele. Mit Technologie und Fan-Engagement im Herzen verspricht die Zukunft des Gamings, unsere Lieblingshelden auf Weisen zum Leben zu erwecken, die wir noch nie zuvor gesehen haben.