#Indie Series Award-Winning

[specialagentartemis]

Truly underappreciated library resource: Kanopy!

It's a movie-and-tv streaming service that many libraries offer. If your library supports it, you can get a free account with your library card!

It works similarly to Hoopla, with monthly checkout limits, but the amount of movies and tv they have is astounding. They focus on indie movies and documentaries, but they have an impressive variety. A few days ago, some friends and I watched an experimental Afrofuturist queer surreal-cyberpunk musical movie just to try it, and it was a strange and fascinating experience that I wouldn't have gotten anywhere else. (Neptune Frost, by the way. It's interesting!)

Kanopy has animated movies like the French/North African The Rabbi's Cat (Le chat du rabbin), popular indies like The Secret of Kells, up to well-known ones like ParaNorman. It has popular quirky successes like Everything Everywhere All at Once, But I'm a Cheerleader, and Lady Bird, award-winning dramas like Moonlight, classic movies like The Graduate, Dial M for Murder, Roman Holiday, Rashomon, and Seven Samurai. It's got Charlie Chaplin. It's got some classic musicals, like Oklahoma! and Guys and Dolls. It's got classic horror like Suspiria, Nosferatu, and Night of the Living Dead, and a plethora of modern horror as well. It has cheesy old-timey sci-fi from the 50s and 60s, genuinely good classic sci-fi like The Boys from Brazil, cult classics like Donnie Darko, modern feel-good quirky sci-fi like Jules, and just, a WHOLE lot of super interesting creative modern indie sci-fi to browse. It has documentaries. It has quite a lot of PBS and BBC series. It has anime. It has all of Farscape for some reason. It has a really impressive collection of LGBTQ+ film from around the world.

See if your library offers Kanopy, and browse the genres you like - you are sure to find something fascinating that you had never heard of before!

[ohnoitstbskyen]

So, considering what's going on with Riot right now, do you think Arcane Season 2 got caught up in all of this restructuring?

Yes and no. Arcane season 2 is part of the reason for the restructuring.

As I understand it, internally at Riot, after Arcane was a huge (and more importantly: prestigious!) success, the decision was made to basically hand the entirety of the game's lore and story over to the Entertainment division within Riot. These are the people in large part responsible for projects like Arcane, K/DA, Heartsteel, that animated series China got, all that sort of thing.

The writers at Riot were basically told to flat out stop producing new content and lore for the game - that's why there's BEEN no new story content for League for over a year - because everything was going to be consolidated under the Entertainment division from now on. This is why Riot started talking about "One Runeterra" and "Arcane is going to be canon" and so on.

The success of Arcane convinced executives that what League of Legends needs is a singular cohesive brand with its most successful public property leading the charge, Arcane is going to be the gateway drug, the hook on the end of the line that brings new players and new paying customers into the exciting world of the League of Legends multimedia IP universe!

Nevermind that Arcane's story and worldbuilding is fundamentally incompatible with >checks notes< the overwhelming majority of Runeterra as it exists and enormous compromises would have to be made to either the world of Runeterra or Arcane itself to make it work. Arcane is the big shiny prestigious mainstream Emmy-award winning project that every executive wants to put their name next to, and like companies Pivoting To Video in 2015 because Facebook showed them inflated viewership stats, Riot Games is Pivoting To Arcane. It's better than them pivoting to crypto and NFTs, at least, although I know for a fact that high ranking people at Riot tried to make that happen too.

Now, the primary cause for all of these games industry layoffs is that interest rates aren't zero anymore. Borrowing money isn't free, the curve of constant growth has ever so slightly slowed, taking on debt is becoming a little tiny bit more risky than it was previously, and corporations are responding to this with massive rounds of layoffs and constriction to show "financial responsibility" and prove to shareholders that they are prioritizing core growth strategies and blah blah blah etc. They're also trying to kneecap the growing labor movement in the games industry and exert downwards pressure on wages, but the interest rates seem to have been the main thing.

In Riot's particular case, a secondary reason is they want to pivot the focus of the company to support their One Runeterra pipe dream, so a lot of the people who got fired at Riot are writers, artists, creative leads and sometimes extremely senior and successful staff who are now surplus to requirements. This is also why Riot shut down Riot Forge in the same round of layoffs - can't have a bunch of talented indie devs going off making video games that don't adhere to the new One Runeterra policy. What if someone played Mageseeker and got confused how there can be mages all over Demacia but somehow there are no mages in Arcane's Piltover and Zaun. That's a plot hole! People write snarky articles about that sort of thing. It turns off new consumers! What if Cinema Sins makes a video making fun of it?!?

So yeah. A bunch of cocaine-addled fame hungry executive vultures at Riot are absolutely gagging on their own d*cks to put their name next to Arcane related projects, and since they were going to be screwing hundreds of people out of their careers, healthcare, and in some cases their fucking visa status anyway, it seems to have presented a nice opportunity to clear the board for their latest Visionary Scheme for the company IP.

That is as I understand the situation, anyway. I'm a bitter old man and most of what I hear is second hand and anonymous gossip through my social networks, take what I say with a grain of salt, but I've followed this company for (oh god) twelve years now and I have developed a tragically keen understanding of how its executive class operates.

[satoshi-mochida]

Nine Sols coming to PS5, Xbox Series, PS4, Xbox One, and Switch on November 26 - Gematsu

Red Candle Games will release side-scrolling action platformer Nine Sols for PlayStation 5, Xbox Series, PlayStation 4, Xbox One, and Switch on November 26, the developer announced. It will also be available via Game Pass.

Nine Sols first launched for PC via Steam on May 29.

Here is an overview of the game, via its Steam page:

About

From the creators of award-winning psychological horror games Detention and Devotion, comes Red Candle Games’ latest title Nine Sols. The studio aims to deliver a stylized action platformer that’s cohesive and complimentary with its lore-rich narrative. It’s an ongoing, most ambitious project from this indie studio up to date.

Story

New Kunlun, the Solarian’s last sanctuary, has remained quiet for centuries. Inside this vast realm, the ancient gods left mortals with a promised land that is forever protected by the sacred rituals, yet the truth of this world remains unknown to most. Everything changes when Yi, a long forgotten hero from the past, is awoken by a human child. Follow Yi on his vengeful quest against the 9 Sols, formidable rulers of this forsaken realm, and obliterate any obstacles blocking your way in Sekiro-lite style combat. Explore in unique “Taopunk” setting that blends cyberpunk elements with Taoism and far eastern mythology. Unravel the mysteries of an ancient alien race and learn about the fate of mankind.

Key Features

2D Sekiro-lite Combat – Slash, deflect, and charge into enemies and blow them up with the Taoist talisman! Each fight combines fast, brutal action sequences with classic platforming mechanics.

Intriguing Boss Fights – Ready yourself to fight the vicious ancient guardians and gruesome creatures. Be patient and utilize every move in your arsenal, mix up with Yi’s godly bow to defeat these larger than life figures.

Taopunk Setting – When cyberpunk clashes with Taoism, melding sci-fi elements with eastern mythology / fantasy, the experimental genre of Taopunk was born.

Hand-drawn Environments / Animations and Manga – Nine Sols is filled with meticulous hand-crafted, anime-style landscapes, sprite based hand-drawn animations, blending with Japanese manga inspired cutscenes.

Exploration – Traverse in the interconnected regions of New Kunlun. Discover secrets, piece together the story behind Yi’s revenge.

Aids from Inhabitants – Meet interesting NPCs of this world and interact with them to receive upgrades, gain new abilities, and discover useful technology.

Watch a new trailer below.

Consoles Announce Trailer

[ellsieee]

It has been a long time since I watched a mainland bl that is explicitly gay and has kissing. Gym Affairs (教练求放过) is a 24 episode short series (2-5 min per ep), released in February 2024. The story is simple, it's about a rich kid who hires a fitness coach to improve himself. After a bit of an antagonist start, they become friends, and fall for each other (of course). There's a little bit of angst and misunderstandings, but it gets resolved rather quickly, and the ending is happy (no one dies, disappears, or gets cancer!) 🥳

I don't know if there were any mainland bls where the ml explicitly said they were gay, but it's refreshing to see.

The characterizations, plot, and humor all worked. There aren't any award winning performances, but I think the acting was fine for an indie short. The sound quality is not so good sometimes, but at least there's no dubbing (my long standing gripe with cdramas). I think one of the best things about this series is the off beat humor.

Who would punch a spirit/ghost? Would that even work?! 😂

I laughed out loud for real watching these two idiots eat steak with chopsticks. I thought that all we'd get was snuggling. That's already pretty big for a mainland bl.

But then we got this

and I was like

[sasukedivorce]

i understand why most sns shippers want to ignore sasusaku and naruhina and thats completely valid but i kinda love thinking of sns in that context. like. what if you have been in love with your best friend forever and your soul is intertwined with his but for various reasons (which could be its own essay) you could never be together so you have to marry a woman who you aren’t remotely in love with so you have to yearn for eachother from a distance or have an illicit affair knowing you will never get what you want. thats some fascinating stuff. prestige tv/critically acclaimed gay indie movie/award winning novel type shit. from a shitty shounen sequel series btw. i’m incredibly normal before you ask.

[rhysdarbinizedarby]

Couch surfer in his 30s. Oscar winner in his 40s. Why the whole world wants Taika

**Notes: This is very long post!**

Good Weekend

In his 30s, he was sleeping on couches. By his 40s, he’d directed a Kiwi classic, taken a Marvel movie to billion-dollar success, and won an Oscar. Meet Taika Waititi, king of the oddball – and one of New Zealand’s most original creative exports.

Taika Waititi: “Be a nice person and live a good life. And just don’t be an arsehole.”

The good news? Taika Waititi is still alive. I wasn’t sure. The screen we were speaking through jolted savagely a few minutes ago, with a cacophonous bang and a confused yelp, then radio silence. Now the Kiwi ­ filmmaker is back, grinning like a loon: “I just broke the f---ing table, bro!”

Come again? “I just smashed this f---ing table and glass flew everywhere. It’s one of those old annoying colonial tables. It goes like this – see that?” Waititi says, holding up a folding furniture leg. “I hit the mechanism and it wasn’t locked. Anyway …”

I’m glad he’s fine. The stuff he’s been saying from his London hotel room could incur biblical wrath. We’re talking about his latest project, Next Goal Wins, a movie about the American Samoa soccer team’s quest to score a solitary goal, 10 years after suffering the worst loss in the game’s international history – a 31-0 ­ignominy to Australia – but our chat strays into ­spirituality, then faith, then religion.

“I don’t personally believe in a big guy sitting on a cloud judging everyone, but that’s just me,” Waititi says, deadpan. “Because I’m a grown-up.”

This is the way his interview answers often unfold. Waititi addresses your topic – dogma turns good people bad, he says, yet belief itself is worth lauding – but bookends every response with a conspiratorial nudge, wink, joke or poke. “Regardless of whether it’s some guy living on a cloud, or some other deity that you’ve made up – and they’re all made up – the message across the board is the same, and it’s important: Be a nice person, and live a good life. And just don’t be an arsehole!”

Not being an arsehole seems to have served Waititi, 48, well. Once a national treasure and indie darling (through the quirky tenderness of his breakout New Zealand films Boy in 2010 and Hunt for the Wilderpeople in 2016), Waititi then became a star of both the global box office (through his 2017 entry into the Marvel Universe, Thor: Ragnarok, which grossed more than $1.3 billion worldwide) and then the Academy Awards (winning the 2020 best adapted screenplay Oscar for his subversive Holocaust dramedy JoJo Rabbit, in which he played an imaginary Hitler).

Waititi playing Adolf Hitler in the 2019 movie JoJo Rabbit. (Alamy)

A handsome devil with undeniable roguish charm, Waititi also slid seamlessly into style-icon status (attending this year’s Met Gala shirtless, in a floor-length gunmetal-grey Atelier Prabal Gurung wrap coat, with pendulous pearl necklaces), as well as becoming his own brand (releasing an eponymous line of canned ­coffee drinks) and bona fide Hollywood A-lister (he was introduced to his second wife, British singer Rita Ora, by actor Robert Pattinson at a barbecue).

Putting that platform to use, Waititi is an Indigenous pioneer and mentor, too, co-creating the critically acclaimed TV series Reservation Dogs, while co-founding the Piki Films production company, committed to promoting the next generation of storytellers – a mission that might sound all weighty and worthy, yet Waititi’s new wave of First Nations work is never earnest, always mixing hurt with heart and howling humour.

Waititi with wife Rita Ora at the 2023 Met Gala in May. (Getty Images)

Makes sense. Waititi is a byproduct of “the weirdest coupling ever” – his late Maori father from the Te Whanau-a-Apanui tribe was an artist, farmer and “Satan’s Slaves” bikie gang founder, while his Wellington schoolteacher mum descended from Russian Jews, although he’s not devout about her faith. (“No, I don’t practise,” he confirms. “I’m just good at everything, straight away.”)

He’s remained loyally tethered to his ­origin story, too – and to a cadre of creative Kiwi mates, including actors Jemaine Clement and Rhys Darby – never forgetting that not long before the actor/writer/producer/director was an industry maven, he was a penniless painter/photographer/ musician/comedian.

With no set title and no fixed address, he’s seemingly happy to be everything, everywhere (to everyone) all at once. “‘The universe’ is bandied around a lot these days, but I do believe in the kind of connective tissue of the universe, and the energy that – scientifically – we are made up of a bunch of atoms that are bouncing around off each other, and some of the atoms are just squished together a bit tighter than others,” he says, smiling. “We’re all made of the same stardust, and that’s pretty special.”

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We’ve caught Waititi in a somewhat relaxed moment, right before the screen actors’ and media artists’ strike ends. He’s ­sensitive to the struggle but doesn’t deny enjoying the break. “I spent a lot of time thinking about writing, and not writing, and having a nice ­holiday,” he tells Good Weekend. “Honestly, it was a good chance just to recombobulate.”

Waititi, at right, with Hunt for the Wilderpeople actors, from left, Sam Neill, Rhys Darby and Julian Dennison. (Getty Images)

It’s mid-October, and he’s just headed to Paris to watch his beloved All Blacks in the Rugby World Cup. He’s deeply obsessed with the game, and sport in general. “Humans spend all of our time knowing what’s going to happen with our day. There’s no surprises ­any more. We’ve become quite stagnant. And I think that’s why people love sport, because of the air of unpredictability,” he says. “It’s the last great arena entertainment.”

The main filmic touchstone for Next Goal Wins (which premieres in Australian cinemas on New Year’s Day) would be Cool Runnings (1993), the unlikely true story of a Jamaican bobsled team, but Waititi also draws from genre classics such as Any Given Sunday and Rocky, sampling trusted tropes like the musical training montage. (His best one is set to Everybody Wants to Rule the World by Tears for Fears.)

Filming in Hawaii was an uplifting experience for the self-­described Polynesian Jew. “It wasn’t about death, or people being cruel to each other. Thematically, it was this simple idea, of getting a small win, and winning the game wasn’t even their goal – their goal was to get a goal,” he says. “It was a really sweet backbone.”

Waititi understands this because, growing up, he was as much an athlete as a nerd, fooling around with softball and soccer before discovering rugby league, then union. “There’s something about doing exercise when you don’t know you’re doing exercise,” he enthuses. “It’s all about the fun of throwing a ball around and trying to achieve something together.” (Whenever Waititi is in Auckland he joins his mates in a long-running weekend game of touch rugby. “And then throughout the week I work out every day. Obviously. I mean, look at me.”)

Auckland is where his kids live, too, so he spends as much time there as possible. Waititi met his first wife, producer Chelsea Winstanley, on the set of Boy in 2010, and they had two daughters, Matewa Kiritapu, 8, and his firstborn, Te Kainga O’Te Hinekahu, 11. (The latter is a derivative of his grandmother’s name, but he jokes with American friends that it means “Resurrection of Tupac” or “Mazda RX7″) Waititi and Winstanley split in about 2018, and he married the pop star Ora in 2022.

He offers a novel method for balancing work with parenthood … “Look, you just abandon them, and know that the experience will make them harder individuals later on in life. And it’s their problem,” he says. “I’m going to give them all of the things that they need, and I’m going to leave behind a decent bank ­account for their therapy, and they will be just like me, and the cycle will continue.”

Jokes aside – I think he’s joking – school holidays are always his, and he brings the girls onto the set of every movie he makes. “They know enough not to get in the way or touch anything that looks like it could kill you, and they know to be respectful and quiet when they need to. But they’re just very comfortable around filmmakers, which I’m really happy about, because eventually I hope they will get into the ­industry. One more year,” he laughs, “then they can leave school and come work for Dad.”

Theirs is certainly a different childhood than his. Growing up, he was a product of two worlds. His given names, for instance, were based on his appearance at birth: “Taika David” if he looked Maori (after his Maori grandfather) and “David Taika” if he looked Pakeha (after his white grandfather). His parents split when he was five, so he bounced between his dad’s place in Waihau Bay, where he went by the surname Waititi, and his mum, eight hours drive away in Wellington, where he went by Cohen (the last name on his birth ­certificate and passport).

Waititi was precocious, even charismatic. His mother Robin once told Radio New Zealand that people always wanted to know him, even as an infant: “I’d be on a bus with him, and he was that kind of baby who smiled at people, and next thing you know they’re saying, ‘Can I hold your baby?’ He’s always been a charmer to the public eye.”

He describes himself as a cool, sporty, good-looking nerd, raised on whatever pop culture screened on the two TV channels New Zealand offered in the early 1980s, from M*A*S*H and Taxi to Eddie Murphy and Michael Jackson. He was well-read, too. When punished by his mum, he would likely be forced to analyse a set of William Blake poems.

He puts on a whimpering voice to describe their finances – “We didn’t have much monneeey” – explaining how his mum spent her days in the classroom but also worked in pubs, where he would sit sipping a raspberry lemonade, doodling drawings and writing stories. She took in ­ironing and cleaned houses; he would help out, learning valuable lessons he imparts to his kids. “And to random people who come to my house,” he says. “I’ll say, ‘Here’s a novel idea, wash this dish,’ but people don’t know how to do anything these days.”

“Every single character I’ve ever written has been based on someone I’ve known or met or a story I’ve stolen from someone.” - Taika Waititi

He loved entertaining others, clearly, but also himself, recording little improvised radio plays on a tape deck – his own offbeat versions of ET and Indiana Jones and Star Wars. “Great free stuff where you don’t have any idea what the story is as you’re doing it,” he says. “You’re just sort of making it up and enjoying the ­freedom of playing god in this world where you can make people and characters do whatever you want.”

His other sphere of influence lay in Raukokore, the tiny town where his father lived. Although Boy is not autobiographical, it’s deeply personal insofar as it’s filmed in the house where he grew up, and where he lived a life similar to that portrayed in the story, surrounded by his recurring archetypes: warm grandmothers and worldly kids; staunch, stoic mums; and silly, stunted men. “Every single character I’ve ever written has been based on someone I’ve known or met,” he says, “or a story I’ve stolen from someone.”

He grew to love drawing and painting, obsessed early on with reproducing the Sistine Chapel. During a 2011 TED Talk on creativity, Waititi describes his odd subject matter, from swastikas and fawns to a picture of an old lady going for a walk … upon a sword … with Robocop. “My father was an outsider artist, even though he wouldn’t know what that meant,” Waititi told the audience in Doha. “I love the naive. I love people who can see things through an innocent viewpoint. It’s inspiring.”

After winning Best Adapted Screenplay Academy Award for JoJo Rabbit in 2020. (Getty Images)

It was an interesting time in New Zealand, too – a coming-of-age decade in which the Maori were rediscovering their culture. His area was poor, “but only ­financially,” he says. “It’s very rich in terms of the ­people and the culture.” He learned kapa haka – the songs, dances and chants performed by competing tribes at cultural events, or to honour people at funerals and graduations – weddings, parties, ­anything. “Man, any excuse,” he explains. “A big part of doing them is to uplift your spirits.”

Photography was a passion, so I ask what he shot. “Just my penis. I sent them to people, but we didn’t have phones, so I would print them out, post them. One of the first dick pics,” he says. Actually, his lens was trained on regular people. He watches us still – in airports, ­restaurants. “Other times late at night, from a tree. Whatever it takes to get the story. You know that.”

He went to the Wellington state school Onslow College and did plays like Androcles and the Lion, A Midsummer Night’s Dream and The Crucible. His crew of arty students eventually ended up on stage at Bats Theatre in the city, where they would perform haphazard comedy shows for years.

“Taika was always rebellious and wild in his comedy, which I loved,” says his high school mate Jackie van Beek, who became a longtime collaborator, including working with Waititi on a Tourism New Zealand campaign this year. “I remember he went through a phase of turning up in bars around town wearing wigs, and you’d try and sit down and have a drink with him but he’d be doing some weird character that would invariably turn up in some show down the track.”

He met more like-minded peers at Victoria University, including Jemaine Clement (who’d later become co-creator of Flight of the Conchords). During a 2019 chat with actor Elijah Wood, Waititi ­describes he and Clement clocking one another from opposite sides of the library one day: a pair of Maoris experiencing hate at first sight, based on a mutual suspicion of cultural appropriation. (Clement was wearing a traditional tapa cloth Samoan shirt, and Waititi was like: “This motherf---er’s not Samoan.” Meanwhile, Waititi was wearing a Rastafarian beanie, and Clement was like, “This ­motherf---er’s not Jamaican.”)

With Jemaine Clement in 2014. (Getty Images)

But they eventually bonded over Blackadder and Fawlty Towers, and especially Kenny Everett, and did comedy shows together everywhere from Edinburgh to Melbourne. Waititi was almost itinerant, spending months at a time busking, or living in a commune in Berlin. He acted in a few small films, and then – while playing a stripper on a bad TV show – realised he wanted to try life behind the camera. “I became tired of being told what to do and ordered around,” he told Wellington’s Dominion Post in 2004. “I remember sitting around in the green room in my G-string ­thinking, ‘Why am I doing this? Just helping someone else to realise their dream.’ ”

He did two strong short films, then directed his first feature – Eagle vs Shark (2007) – when he was 32. He brought his mates along (Clement, starring with Waititi’s then-girlfriend Loren Horsley), setting something of a pattern in his career: hiring friends instead of constantly navigating new working relationships. “If you look at things I’m doing,” he tells me, “there’s ­always a few common denominators.”

Sam Neill says Waititi is the exemplar of a new New Zealand humour. “The basis of it is this: we’re just a little bit crap at things.”

This gang of collaborators shares a common Kiwi vibe, too, which his longtime friend, actor Rhys Darby, once coined “the comedy of the mundane”. Their new TV show, Our Flag Means Death, for example, leans heavily into the mundanity of pirate life – what happens on those long days at sea when the crew aren’t unsheathing swords from scabbards or burying treasure.

Waititi plays pirate captain Blackbeard, centre, in Our Flag Means Death, with Rhys Darby, left, and Rory Kinnear. (Google Images)

Sam Neill, who first met Waititi when starring in Hunt for the Wilderpeople, says Waititi is the exemplar of a new New Zealand humour. “And I think the basis of it is this,” says Neill. “We’re just a little bit crap at things, and that in itself is funny.” After all, Neill asks, what is What We Do in The Shadows (2014) if not a film (then later a TV show) about a bunch of vampires who are pretty crap at being vampires, ­living in a pretty crappy house, not quite getting busted by crappy local cops? “New Zealand often gets named as the least corrupt country in the world, and I think it’s just that we would be pretty crap at being corrupt,” Neill says. “We don’t have the capacity for it.”

Waititi’s whimsy also spurns the dominant on-screen oeuvre of his homeland – the so-called “cinema of ­unease” exemplified by the brutality of Once Were Warriors (1994) and the emotional peril of The Piano (1993). Waititi still explores pathos and pain, but through laughter and weirdness. “Taika feels to me like an ­antidote to that dark aspect, and a gift somehow,” Neill says. “And I’m grateful for that.”

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Something happened to Taika Waititi when he was about 11 – something he doesn’t go into with Good Weekend, but which he considered a betrayal by the adults in his life. He ­mentioned it only recently – not the ­moment itself, but the lesson he learnt: “That you cannot and must not rely on grown-ups to help you – you’re basically in the world alone, and you’re gonna die alone, and you’ve just gotta make it all for yourself,” he told Irish podcast host James Brown. “I basically never forgave people in positions of responsibility.”

What does that mean in his work? First, his finest films tend to reflect the clarity of mind possessed by children, and the unseen worlds they create – fantasies conjured up as a way to understand or overcome. (His mum once summed up the main ­message of Boy: “The ­unconditional love you get from your children, and how many of us waste that, and don’t know what we’ve got.”)

Second, he’s suited to movie-making – “Russian roulette with art” – because he’s drawn to disruptive force and chaos. And that in turn produces creative defiance: allowing him to reinvigorate the Marvel Universe by making superheroes fallible, or tell a Holocaust story by making fun of Hitler. “Whenever I have to deal with someone who’s a boss, or in charge, I challenge them,” he told Brown, “and I really do take whatever they say with a pinch of salt.”

It’s no surprise then that Waititi was comfortable leaping from independent films to the vast complexity of Hollywood blockbusters. He loves the challenge of coordinating a thousand interlocking parts, requiring an army of experts in vocations as diverse as construction, sound, art, performance and logistics. “I delegate a lot,” he says, “and share the load with a lot of people.”

“This is a cool concept, being able to ­afford whatever I want, as opposed to sleeping on couches until I was 35.” - Taika Waititi

But the buck stops with him. Time magazine named Waititi one of its Most Influential 100 People of 2022. “You can tell that a film was made by Taika Waititi the same way you can tell a piece was painted by Picasso,” wrote Sacha Baron Cohen. Compassionate but comic. Satirical but watchable. Rockstar but auteur. “Actually, sorry, but this guy’s really starting to piss me off,” Cohen concluded. “Can someone else write this piece?”

Directing Chris Hemsworth in 2017 in Thor: Ragnarok, which grossed more than $1.3 billion at the box office. (Alamy)

I’m curious to know how he stays grounded amid such adulation. Coming into the game late, he says, helped immensely. After all, Waititi was 40 by the time he left New Zealand to do Thor: Ragnarok. “If you let things go to your head, then it means you’ve struggled to find out who you are,” he says. “But I’ve always felt very comfortable with who I am.” Hollywood access and acclaim – and the pay cheques – don’t erase memories of poverty, either. “It’s more like, ‘Oh, this is a cool concept, being able to ­afford whatever I want, as opposed to sleeping on couches until I was 35.’ ” Small towns and strong tribes keep him in check, too. “You know you can’t piss around and be a fool, because you’re going to embarrass your family,” he says. “Hasn’t stopped me, though.”

Sam Neill says there was never any doubt Waititi would be able to steer a major movie with energy and imagination. “It’s no accident that the whole world wants Taika,” he says. “But his seductiveness comes with its own dangers. You can spread yourself a bit thin. The temptation will be to do more, more, more. That’ll be interesting to watch.”

Indeed, I find myself vicariously stressed out over the list of potential projects in Waititi’s future. A Roald Dahl animated series for Netflix. An Apple TV show based on the 1981 film Time Bandits. A sequel to What We Do In The Shadows. A reboot of Flash Gordon. A gonzo horror comedy, The Auteur, starring Jude Law. Adapting a cult graphic novel, The Incal, as a feature. A streaming series based on the novel Interior Chinatown. A film based on a Kazuo Ishiguro bestseller. Plus bringing to life the wildly popular Akira comic books. Oh, and for good measure, a new instalment of Star Wars, which he’s already warned the world will be … different.

“It’s going to change things,” he told Good Morning America. “It’s going to change what you guys know and expect.”

Did I say I was stressed for Waititi? I meant physically sick.

“Well…” he qualifies, “some of those things I’m just producing, so I come up with an idea or someone comes to me with an idea, and I shape how ‘it’s this kind of show’ and ‘here’s how we can get it made.’ It’s easier for me to have a part in those things and feel like I’ve had a meaningful role in the creative process, but also not having to do what I’ve always done, which is trying to control everything.”

In the 2014 mockumentary horror film What We Do in the Shadows, which he co-directed with Jemaine Clement. (Alamy)

What about moving away from the niche New Zealand settings he represented so well in his early work? How does he stay connected to his roots? “I think you just need to know where you’re from,” he says, “and just don’t forget that.”

They certainly haven’t forgotten him.

Jasmin McSweeney sits in her office at the New Zealand Film Commission in Wellington, surrounded by promotional posters Waititi signed for her two decades ago, when she was tasked with promoting his nascent talent. Now the organisation’s marketing chief, she talks to me after visiting the heart of thriving “Wellywood”, overseeing the traditional karakia prayer on the set of a new movie starring Geoffrey Rush.

Waititi isn’t the first great Kiwi filmmaker – dual Oscar-winner Jane Campion and blockbuster king Peter Jackson come to mind – yet his particular ascendance, she says, has spurred unparalleled enthusiasm. “Taika gave everyone here confidence. He always says, ‘Don’t sit around waiting for people to say, you can do this.’ Just do it, because he just did it. That’s the Taika effect.”

-----------------------------------------------

Taika David Waititi is known for wearing everything from technicolour dreamcoats to pineapple print rompers, and today he’s wearing a roomy teal and white Isabel Marant jumper. The mohair garment has the same wispy frizz as his hair, which curls like a wave of grey steel wool, and connects with a shorn salty beard.

A stylish silver fox, it wouldn’t surprise anyone if he suddenly announced he was launching a fashion label. He’s definitely a commercial animal, to the point of directing television commercials for Coke and Amazon, along with a fabulous 2023 spot for Belvedere vodka starring Daniel Craig. He also joined forces with a beverage company in Finland (where “taika” means “magic”) to release his coffee drinks. Announcing the partnership on social media, he flagged that he would be doing more of this kind of stuff, too (“Soz not soz”).

Waititi has long been sick of reverent portrayals of Indigenous people talking to spirits.

There’s substance behind the swank. Fashion is a creative outlet but he’s also bought sewing machines in the past with the intention of designing and making clothes, and comes from a family of tailors. “I learnt how to sew a button on when I was very young,” he says. “I learnt how to fix holes or patches in your clothes, and darn things.”

And while he gallivants around the globe watching Wimbledon or modelling for Hermès at New York Fashion Week, all that glamour belies a depth of purpose, particularly when it comes to Indigenous representation.

There’s a moment in his new movie where a Samoan player realises that their Dutch coach, played by Michael Fassbender, is emotionally struggling, and he offers a lament for white people: “They need us.” I can’t help but think Waititi meant something more by that line – maybe that First Nations people have ­wisdom to offer if others will just listen?

“Weeelllll, a little bit …” he says – but from his intonation, and what he says next, I’m dead wrong. Waititi has long been sick of reverent ­portrayals of Indigenous people talking to kehua (spirits), or riding a ghost waka (phantom canoe), or playing a flute on a mountain. “Always the boring characters,” he says. “They’ve got no real contemporary relationship with the world, because they’re always living in the past in their spiritual ways.”

A scene from Next Goal Wins, filmed earlier this year. (Alamy)

He’s part of a vanguard consciously poking fun at those stereotypes. Another is the Navajo writer and director Billy Luther, who met Waititi at Sundance Film Festival back in 2003, along with Reservation Dogs co-creator Sterlin Harjo. “We were this group of outsiders trying to make films, when nobody was really biting,” says Luther. “It was a different time. The really cool thing about it now is we’re all working. We persevered. We didn’t give up. We slept on each other’s couches and hung out. It’s like family.”

Waititi has power now, and is known for using Indigenous interns wherever possible (“because there weren’t those opportunities when I was growing up”), making important introductions, offering feedback on scripts, and lending his name to projects through executive producer credits, too, which he did for Luther’s new feature film, Frybread Face and Me (2023).

He called Luther back from the set of Thor: Love and Thunder (2022) to offer advice on working with child actors – “Don’t box them into the characters you’ve ­created,” he said, “let them naturally figure it out on their own” – but it’s definitely harder to get Waititi on the phone these days. “He’s a little bitch,” Luther says, laughing. “Nah, there’s nothing like him. He’s a genius. You just knew he was going to be something. I just knew it. He’s my brother.“

I’ve been asked to explicitly avoid political questions in this interview, probably because Waititi tends to back so many causes, from child poverty and teenage suicide to a campaign protesting offshore gas and oil exploration near his tribal lands. But it’s hard to ignore his recent Instagram post, sharing a viral video about the Voice to Parliament referendum starring Indigenous Aussie rapper Adam Briggs. After all, we speak only two days after the proposal is defeated. “Yeah, sad to say but, Australia, you really shat the bed on that one,” Waititi says, pausing. “But go see my movie!”

About that movie – the early reviews aren’t great. IndieWire called it a misfire, too wrapped in its quirks to develop its arcs, with Waititi’s directorial voice drowning out his characters, while The Guardian called it “a shoddily made and strikingly unfunny attempt to tell an interesting story in an uninteresting way”. I want to know how he moves past that kind of criticism. “For a start, I never read reviews,” he says, concerned only with the opinion of people who paid for admission, never professional appraisals. “It’s not important to me. I know I’m good at what I do.”

Criticism that Indigenous concepts weren’t sufficiently explained in Next Goal Wins gets his back up a little, though. The film’s protagonist, Jaiyah Saelua, the first transgender football player in a FIFA World Cup qualifying match, is fa’afafine – an American Samoan identifier for someone with fluid genders – but there wasn’t much exposition of this concept in the film. “That’s not my job,” Waititi says. “It’s not a movie where I have to explain every facet of Samoan culture to an audience. Our job is to retain our culture, and present a story that’s inherently Polynesian, and if you don’t like it, you can go and watch any number of those other movies out there, 99 per cent of which are terrible.”

*notes: (there is video clip in the article)

Waititi sounds momentarily cranky, but he’s mostly unflappable and hilarious. He’s the kind of guy who prefers “Correctumundo bro!” to “Yes”. When our video connection is too laggy, he plays up to it by periodically pretending to be frozen, sitting perfectly still, mouth open, his big shifting eyeballs the only giveaway.

He’s at his best on set. Saelua sat next to him in Honolulu while filming the joyous soccer sequences. “He’s so chill. He just let the actors do their thing, giving them creative freedom, barely interjecting unless it was something important. His style matches the vibe of the Pacific people. We’re a very funny people. We like to laugh. He just fit perfectly.”

People do seem to love working alongside him, citing his ability to make productions fresh and unpredictable and funny. Chris Hemsworth once said that Waititi’s favourite gag is to “forget” that his microphone is switched on, so he can go on a pantomime rant for all to hear – usually about his disastrous Australian lead actor – only to “remember” that he’s wired and the whole crew is listening.

“I wouldn’t know about that, because I don’t listen to what other people say about anything – I’ve told you this,” Waititi says. “I just try to have fun when there’s time to have fun. And when you do that, and you bring people together, they’re more willing to go the extra mile for you, and they’re more willing to believe in the thing that you’re trying to do.”

Yes, he plays music between takes, and dances out of his director’s chair, but it’s really all about relaxing amid the immense pressure and intense privilege of making movies. “Do you know how hard it is just to get anything financed or green-lit, then getting a crew, ­getting producers to put all the pieces together, and then making it to set?” Waititi asks. “It’s a real gift, even to be working, and I feel like I have to remind ­people of that: enjoy this moment.”

Source: The Age

By: Konrad Marshall (December 1, 2023)

[vitusvital]

If you like these oddly specific things, then you should probably read my book.

A spymaster forced to train with Adristan’s most secretive order. A war commander disgusted by death. A lord damned to repeat history if he cannot master it.

Asriel Veservus is not ready to inherit power. Though he is heir to the noble house dedicated to documenting history, his High Lord father has left him to his own devices. Regarded as a fool, he stumbles through congresses, coasting on his charm as he attempts to find allies in a very fragile political landscape. Rather than attempt to offer wisdom, his father chooses instead to build up Asriel’s half-sister into a weapon.

Rhaella cannot inherit power. As her father’s bastard, she is relegated to relative obscurity, though she has more potential. Her keen senses combined with her low societal status allows her to go unnoticed as the spymaster. The nobles condescend to her, even as they fear the secrets she keeps. While she is content to keep to the shadows, it is those talents that catch the attention of her house’s ally, the justice-keeping House Midar.

Virgil Midar does not want power. He abhors the necessity of violence as their nation sinks deeper into a bloody conflict. Charged with fighting toward peace, he grasps for humanity amongst ambitious and scheming nobles. When his father’s chief advisor begins pushing for Virgil to marry, his focus narrows on ending the war so he can levy the victory against it. His feelings begin to shift when House Veservus’s spymaster comes to his aid with strategy.

With the threat of battle ever-looming on the horizon, they band together to uncover just how deep traitorous blood runs in their houses. Traitors wish to see a tyrannical monarchy put back into power at the expense of the noble houses. Around them, their peers are just as ill-prepared and vulnerable to the corrosive nature of power. The collective future of the nation lies on an uncertain foundation, and it may only take one whispered secret to dismantle the entire thing.

Heirs of Destruction is the first book in The Crownkiller Saga, a new high-fantasy series by award-winning indie author T.N. Vitus.

[ghostflowerdreams]

Audio Drama Recommendations, Pt. III

Click here for part one and here for part two. Recently, I've been drawing a lot, which gives me plenty of time to listen to audio dramas and podcasts. These are the ones I liked the most and found entertaining enough to recommend to others. This is not in any particular order, either.

The Green Horizon – is a sci-fi comedy drama created and written by Paul Walsh. It is sponsored by Faustian Nonsense, an indie entertainment network. It currently has three seasons, with each episode being about 20 - 30 minutes long, but later on it increases to 30 - 40 minutes. A fourth season is said to be coming out soon as well.

It is set in the year 2261, and it focuses on a ne'er-do-well Irish space captain and his rag-tag crew, as they traverse a war-torn Galaxy in search of fame and fortune. [ONGOING]

It was a little chaotic and rough at the beginning, but it does smooth out and become more polished. I can definitely tell that they up their game with the improved sound effects and production quality. The voice actors and the writing for the audio drama does an excellent job at bringing their characters to life, which made it very fun to follow along.

If you like Firefly, Red Dwarf, Orville, Cowboy Bepop, and so on then I think you may enjoy this too.

DERELICT – is a sci-fi narrative audio drama from award-winning science fiction author J. Barton Mitchell, and produced by Night Rocket Productions. It currently has one season titled FATHOM, which consist of 10 episodes with each one ranging from 40 mins to an hour, mostly the latter.

Something has been found at the bottom of Earth's ocean. An ancient artifact that can only be described as a giant door, inset into the sea floor. It becomes known as the Vault. A gigantic enigma, buried and forgotten...nineteen thousand feet down.

To study the artifact, the galaxy's most powerful corporation, Maas-Dorian, has built a massive, self-contained, secret laboratory base surrounding it, named FATHOM. It's objective: unlock the secrets of the artifact and discover what it holds.​ But some mysteries should remain buried. And some doors should never be opened... [ONGOING]

DERELICT started as the first project set up as a kickstarter. They produced one episode to entice backers, but then the pandemic happened, and they didn’t raise enough money for the rest of it. Instead, they worked on a prequel season called FATHOM. It's where the story really starts, and I highly suggest you listen to it before listening to "DERELICT E1 - Through the Gate."

I hope they redo the DERELICT's first episode because there's a bit of disconnection from it and FATHOM. For example, Sarah and Agent Blayne already know each other. She mentions it to the others, but the conversation they have with each other doesn’t make it seem that way.

Never mind. I apparently confused this Sarah with the Sarah in FATHOM. Can't blame me for thinking that when I heard the name Sarah and that she was already familiar with Agent Blayne.

Deviser – is a sci-fi horror audio drama created, directed, acted and produced by Harlan Guthrie. The same creator of Malevolent. It's a 7-part limited series, with each episode being about 20 mins long.

Son wakes up aboard a spaceship bound for earth in an effort to recolonize. What he discovers, however, will change everything he knows about his world and himself. [COMPLETED]

It's not for everyone, so please do not ignore the content warnings because there's graphic description of violence, self harm, body horror, gore, animal death/being hurt, and what not.

Victoriocity – is a detective comedy audio drama written by Chris and Jen Sugden, directed by Nathan Peter Grassi and produced by Dominic Hargreaves. It is an entirely independent production. It has two seasons, containing 13 episodes in total, and each one is about 30 to 45 minutes long. There's also a feature-length special and a up-coming third season with the help of a kickstarter.

It is 1887 in Even Greater London, an alternate steampunk Victorian London, where Queen Victoria reigns even after being assassinated eleven times, thanks to the wonders of modern science.

In this vast metropolis, Inspector Archibald Fleet and journalist Clara Entwhistle investigate a murder, only to find themselves at the centre of a conspiracy of impossible proportions. [ONGOING]

It's put together so well, and I see why people say it gives off strong Douglas Adams and Terry Pratchett vibes to it. So if you like their works, then I wouldn't be surprised to hear that you like this too.

Impact Winter – is an apocalyptic vampire audio drama created and written by Travis Beacham (Carnival Row, Pacific Rim). It has two seasons containing 22 episodes in total and each one is about 17 to 30 minutes long.

“They came after the impact and the firestorms. When the sun went dark. Like they’d been there all along. Just waiting.”

In the British countryside, a band of survivors forms a resistance in the fallout shelter of a medieval castle. Darcy is a battle-tested vampire hunter who is at the front line, leading the charge to save humanity. Meanwhile, her younger sister Hope wants life to return to normal so she can go above ground and know what it’s like to live again. And she just might be willing to risk it all. [ONGOING]

It has a stacked cast led by Holliday Grainger (Cinderella, Great Expectations), Esme Creed-Miles (Hanna, The Legend of Vox Machina), Liam Cunningham (Games of Thrones, Hunger), Himesh Patel (Station Eleven, Tenet), David Gyasi (Interstellar, Carnival Row), Caroline Ford (Carnival Row, Nekrotronic), Chloe Pirrie (Emma, Carnival Row), and Bella Ramsey (Games of Thrones, The Last of Us).

This reminded me a lot of the film 30 Days of Nights (2007) with a little bit of Reign of Fire (2002), which were both fun films to watch. I think if you like those two, especially the former, you'll enjoy this or at least be entertained by it.

A Voice From Darkness – is a scripted paranormal horror audio drama. It is written and produced by Jac Rhys. It currently has two seasons, containing 20 episodes in total and each one is about 20 to 30 minutes long. It also has 7 bonus voicemail episodes and 15 Patreon exclusive episodes which are longer than the main episodes. A third season in the works as well.

Join parapsychologist and radio broadcaster Dr. Malcolm Ryder as he helps those who suffer the supernatural, paranormal or otherworldly problems on his call-in radio show. It is also interspersed with segments, one of which is called 'Today In Odd America' that delves into the origins of a holiday, local traditions, and history. [ONGOING]

If you like Welcome To Night Vale then I think you'll like this too. A Voice From Darkness is a bit more serious and not as long-drawn as Night Vale was, with a perfect mix of storytelling and lore. It also reminds me a bit of The Magnus Archive too.

How i Died – is a mystery audio drama that brings a "new twist on the true crime genre." It is an Audiohm Media original production, co-starring Vince Dajani as Jon Spacer and Shaina Waring as Sheriff Fran Crowley. It currently has three seasons with 39 episodes in total, not including bonus episodes. Each episode is usually about 20 mins, give or take a few minutes.

Bodies are piling up in the strange town of Springfield, and forensic pathologist Jonathan Spacer intends to find out why. But, Jon isn’t without his own secrets… He can talk to the dead, for starters. [ONGOING]

Ooo, a character that can speak to the dead? It's always so interesting to see what they'll do with their ability and where the creators take them. This has been entertaining, but at times I do think they can do better in developing their characters a bit more. For example, I can count on one hand the number of times Crowley doesn't get angry. Though to be fair, Jon isn't an immediately likable character, but that does change the further you go...sorta.

The Amelia Project – is a comedy fiction audio drama created, written, directed, produced and edited by Philip Thorne and Øystein Ulsberg Brager for Imploding Fictions and The Fable and Folly Network. It currently has four seasons, with a fifth one on the way. There's about 72 episodes, not including prologue, special, and BTS episodes which would up the total to 122. Each episode also varies in length from 20 to 45 minutes long.

The Amelia Project is a secret agency that fakes its clients' deaths, then lets them reappear with a brand-new identity. A black comedy full of secrets, twists... and cocoa. The series starts as a succession of interviews with clients who want to fake their deaths, then slowly a larger narrative begins to emerge... Each episode tells its own story, but we recommend starting with Season 1. [ONGOING]

It was fun to listen to while I was drawing or washing the dishes. I could also follow along without becoming too distracted by it, either. I was worried it would be one of those that take a while to get to the main overall story, but thankfully it did not. It will definitely keep you entertained and interested to know what will happen next.

Community Cat News – is a neighborhood news show done from the perspective of cats. There's currently 13 episodes so far and each one varies from 5 to 12 minutes long.

Local News: The human is opening the fridge! Will we get a taste?

Foreign Affairs: What are those squirrels up to now?

Traffic: WHY is the bathroom door shut again?

Every episode is sponsored by Meow Meow Puffytail, Feline Rights Attorney, who is ready to sue your human for even the slightest inconvenience. [ONGONG]

It's cute, light-hearted, and funny. I didn't expect to enjoy this as much as I did. It even uplifted my mood without me realizing I was feeling low.

[chaifootsteps]

I don’t know if anyone’s pointed this out, but it’s VERY funny to me that some of the crew of Spindlehorse were shitting on other indie animation crews (who weren’t even nominated like wtf why be so petty???) because they won a streamy, only for The Amazing Digital Circus’ animation to be recognized by the fucking ANNIE AWARDS.

Even if they didn’t win, for TDAC to be recognized by the fucking International Animated Film Association for their character animation is pretty incredible.

(Not wanting to knock on anyone else who has got a streamy tbh, it is a genuine accomplishment. I just find it incredibly hilarious that SH crew members were being such sore winners about it, only for another indie animated series to start and be so well done that a 50 year old animation institution recognized them at ONE EPISODE, when it took HB three years to get a YouTube award ¯\_(ツ)_/¯)

Exactly. To even be nominated was an insane accomplishment and still the TADC crew was nothing but gracious, expressing how grateful and proud they were to come as far as they did and commending Blue Eye Samurai on its win.

Meanwhile, over at Spindlehorse...

[pers-books]

Lesbians in Space: The Anthology (Where No Man Has Gone Before)

Booktopia 2024 📚#Fantasy#Indie#Sci-Fi

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You've asked for it, so Space Wizard provides. Here is the long-anticipated Lesbians In Space Anthology!

Space Wizard Science Fantasy!

Space Wizard Science Fantasy is a queer science fiction and fantasy indie publishing company which opened its doors in 2021 to publishing outside authors. - In 2022, the Space Wizard Science Fantasy Year 1 campaign raised nearly $18,000 to pay authors top rates, create amazing book covers, fund an audiobook recording, and publish 12 books between June 2022 and June 2023. - In 2023, Year 2 raised over $18,000 for 12 more books released from June 2023 to June 2024 with more excellent covers, custom illustrations, and pro rates for our anthology writers! This year we added exclusive collector's hardbacks! - In 2024, Year 3 just concluded in July with another $17,250 raised for for 13 books, one omnibus, and 2 TTRPGs!

We're back again this September for one more anthology, this time with a bunch of incredible authors participating in Booktopia. Lesbians in Space has a stellar (ha!) lineup of writers already on board, including (in order of confirmation):

- Seanan McGuire, multiple Hugo Award-winning author of the Wayward Children series, the October Daye series, and the Incryptid series!

- Travis Baldree, author of Legends and Lattes, shortlisted for the Hugo Award for best novel in 2023, as well as exceptional audiobook narrator!

- Emma Newman, Hugo Award-winning podcaster and author of the Planetfall series, which was shortlisted for the Best Series Hugo Award in 2020!

- Mary Robinette Kowal. Hugo Award-winner Mary Robinette Kowal has written: The Spare Man, The Glamourist Histories series, Ghost Talkers, the Lady Astronaut Universe, and many short stories.

Also see our "writers" section below for our current roster, and for how you can submit your story!

Lesbians in Space: Where No Man Has Gone Before

Peanut butter and chocolate. Cheese and wine. Sex and rock n’ roll. History is full of great pairings.

Get ready for the next great one: Lesbians and Space! Join a host of intrepid explorers heading to the outer reaches of the galaxy, exploring planets, space stations, strange new worlds and interesting aliens. Focusing on lesbian / sapphic protagonists, this anthology will contain works from numerous established, award-winning, and lesfic authors, and a few new faces as well.

We have an amazing cover already created by Serene Chia, and we have a bunch of great addons and gifts for you as well! This anthology is going to be packed with fully-inclusive, sapphic stories about space, space opera, science fiction, exploration, adventure, and of course, romance. The stories will have representation of all sorts, including cis, trans, bi, sapphic, non-binary, ace, aro, and many other types. There's lots of room for Lesbians in Space!

We have our invited group of writers already working on stories for the anthology, but we're opening up to any and all submissions as well! So if you're a writer, polish off your best story about Lesbians in Space, and send it in!

Are you a writer? Do you like Lesbians in Space? We will be holding juried selections for more stories for the Lesbians in Space anthology. To enter, simply polish off your writing skills and craft a story of around 2000-4500 words, but definitely not over 6000.

This anthology will focus on lesbian relationships of all types, including cis, bi/pan, ace, non-binary, intersex, trans, and others that fall under the ‘sapphic’ banner as long as the primary pairing is lesbian. Give us your best story featuring sapphic protagonists at least partially located in space. This could be on a spaceship, with magic, on a planet or asteroid, in another dimension or realm, or any other connected idea. Surprise us!

Stories will be juried and final selections will be made (hopefully) by end of January 2025. Projected publish date is June 2025. Selected authors will be compensated at semi-pro rates or higher. Send your completed story in by midnight EST, December 31st, 2024 using the instructions at https://www.spacewizardsciencefantasy.com/submissions We are hoping to publish Lesbians in Space around June 2025.

-- I've just backed this as it looks absolutely fabulous!

[crooked-wasteland]

The SpindleHorse team is full of two-faced individuals. There’s a leaked screenshot of crew member (@hntrgurl13 on Twitter), telling both Lackadaisy and Farfetched to “suck a dick” on Vivziepop’s discord server and bragging about Helluva Boss winning a Streamy award…yet they told people to “support all indie animation” not too long ago on their Twitter account; what a hypocrite. This behavior is disgusting and only proves how toxic that studio is.

Credit to @showtoonzfan for this. Frankly, I think it is fine if you want to be a nasty petty person, but to publicly have such a different face, as well as then use that mask to weaponize an entire fanbase of abusers and harrassers. That's just where I have to say:

This is a situation of a creator fostering a community that is a reflection of the creator.

That dig at Ashley was personal and ugly. But you know, the HB Fandom is saying now that people can say whatever they want behind the scenes. But if anyone else says anything negative about Helluva Boss in private, they are now two-faced hypocrites.

It's the moving of goalposts for me, to be honest.

They don't have to pretend to be supportive of other projects. They can just keep their mouth shut and be a real person behind the scenes as well as an honest person in the public eye. To pretend to be a supporter or a friend is so much worse than just keeping quiet.

But this is Vivienne. This is just a continuation of posting the Lackadaisy email. This is a continuation of Sam Haft and his goons platforming the false reports to bury the concept stills controversy. And just a continuation of being angry at Ashley and Michael for the Hazbin Hotel situation and trying to act like someone announcing their employment status is somehow a breach of an NDA. Which is unenforceable as an NDA agreement due to the nature of the business.

It's the face of someone who doesn't know how to be a real person and likable at the same time. The only time Vivienne is kind or supportive is only ever in this platformed, showy way where it is obviously a performance. It feels fake every time she does it.

Like, just don't say anything. And telling other hard-working teams to suck a dick when one isn't even out and the other only has a pilot. That's not petty. That's just a nasty, mean, hateful person. Petty is saying congratulations, your 2 season series with a whole team of independently contracted artists and animators beat 2 story time channels and a parody channel that goes out of its way to be as repulsive as possible. Look at you winning that low hanging fruit. Good job.

[gartenofbanny]

Here’s the leaked screenshots of @/hntrgurl13 talking shit. Absolutely disgusting and two faced.

Yeah, I've seen that. And I'm not really surprised if I'm being honest, just another hypocritical member of Spindlehorse, and it's still weird that they're literally celebrating over an award that Dream and Hasan won.

Dream somehow won the Gaming category even though he posted like three gaming videos before the Streamys and Hasan won the News category even though he's a pretty mediocre reaction streamer.

I'm pretty sure another Indie Series will win a streamy when it happens again, idk if winning a streamy is a huge accomplishment, but to each their own.

[madrigaljail]

Interlude

Would you like some celebrity AU in these trying times? Have some nonsense; don't worry about Eli, he's an OC, it's fine.

*

“Finally tonight, my producers won’t let me end the show without discussing the most compelling story in the nation, a tale of intergenerational drama which begs the question: which speaks to you most? Do you like a redemption arc, recognition coming after decades of struggle? Or a reward for raw, young talent the likes of which has never before been seen? These questions will possibly be answered Sunday night, when the Emmy Awards give a trophy to…a Best Supporting Actor in a Drama.

“On the one hand you have Bruno Madrigal, whose offscreen exploits have overshadowed his work for decades. In recent years, however, he’s become beloved by children as the voice of Hernando the Crab in the animated Shore Thing film series and attracted critical acclaim in indie films such as The Collaboration and onstage in an off-Broadway revival of Endgame. Now he’s nominated for his role as Oscar Ramos, a pedicab driver with a secret in AMC’s thriller Upper West. 

“Then there’s his nephew, Camilo Madrigal, who has veered away from the music careers of his mother and sister to follow - cautiously, we hope - in his uncle’s acting footsteps. He has more than a knack for it, given his star turn as nine different characters…or maybe it’s the same one in different phases, who knows what’s happening on Max’s scifi-horror hit Idle Hands? My nephew’s tried to explain it several times, but I’ve given up figuring it out.

“So, where do you fall: Team Camilo, or Team Bruno? Personally I think we as a society should have moved past these hashtag labels a long time ago, but if I were a betting man? I’d say the Madrigals are going to split the voters and we’ll get the winner we deserve, the venerable J.K. Simmons.

“That’s it for me this evening, stay tuned for the latest headlines on ‘Nightbeat’, and I’ll see you back here bright and early Sunday morning for ‘Mas with Guzmán’. Buenos noches.”

The news program theme music played, and Bruno would have continued mindlessly playing Candy Crush on his phone but-

“You know there’s a rumor you slept with that guy.”

Bruno glanced to his right. Eli was slumped the corner of the couch, smirking, light brown hair tousled and hazel eyes glancing his way with a mischievous twinkle. Bruno scowled.

“You don’t- that’s ridiculous. I can’t help it if people think we had chemistry or there were ‘sparks flying’ in that interview or whatever, but it’s all…fanflick?”

Eli laughed and gently kicked his shin, he retaliated by pinching his knee. “Fanfic, boomer.”

“Everybody really does forget about Gen X,” Bruno muttered, then shook his head. “Anyway. The point is I can’t believe people still think Pulitzer prize winning reporter José Guzmán would risk his journalistic integrity by hooking up with me.”

“Depends.” Eli straightened up to lean closer, waggling his eyebrows. “Is ‘journalistic integrity’ what he calls his-”

“Guys! I’m still right here!” 

They both cringed and glanced over the back of the sofa towards the kitchen, where Mirabel had taken over the island in a flurry of embroidery floss. She’d swiveled around on the barstool to give them a glare, but a smile still tugged at the corner of her mouth.

“Sorry.”

“Sorry, Mira.”

She nodded, satisfied. “Thank you.” A moment or two slipped by, a perfect pause, before she went on. “But you totally did hook up with him, right?”

Bruno blinked, turned back to the TV, and picked up the remote. “I am changing the channel. It’s a metaphor for changing the subject.”

Shortly after that Mirabel presented him with a baseball cap emblazoned with “#TeamCamilo”, and a black necktie which she’d decorated with symbols representing all of the Madrigal family…and a blue, pink, and white striped heart for Eli. Bruno happily wore both on the Emmys red carpet two nights later.

*

A/N: he did totally hook up with him. Celebverse!José is basically Anderson Cooper. Yes he does get stuck doing New Year's Eve with Andy Cohen still, it's fine. As for who wins the Emmy, it's been almost two years and I am still not sure.

[demifiendrsa]

Indiana Jones and the Great Circle - Gamescom Date Reveal Trailer

Indiana Jones and the Great Circle will launch for Xbox Series X|S and PC via Steam and Microsoft Store on December 9, 2024, followed by the newly announced PS5 version in Spring 2025. It will also be available via Xbox Game Pass.

screenshots

Overview

About

Uncover one of history’s greatest mysteries in Indiana Jones and the Great Circle, a first-person, single-player adventure set between the events of Raiders of the Lost Ark and The Last Crusade. The year is 1937, sinister forces are scouring the globe for the secret to an ancient power connected to the Great Circle, and only one person can stop them—Indiana Jones. You’ll become the legendary archaeologist in this cinematic action-adventure game from MachineGames, the award-winning studio behind the recent Wolfenstein series, and executive produced by Hall of Fame game designer Todd Howard.

You Are Indiana Jones

Live the adventure as Indy in a thrilling story full of exploration, immersive action, and intriguing puzzles. As the brilliant archaeologist—famed for his keen intellect, cunning resourcefulness, and trademark humor—you will travel the world in a race against enemy forces to discover the secrets to one of the greatest mysteries of all time.

A World of Mystery Awaits

Travel from the halls of Marshall College to the heart of the Vatican, the pyramids of Egypt, the sunken temples of Sukhothai, and beyond. When a break-in in the dead of night ends in a confrontation with a mysterious colossal man, you must set out to discover the world-shattering secret behind the theft of a seemingly unimportant artifact. Forging new alliances and facing familiar enemies, you’ll engage with intriguing characters, use guile and wits to solve ancient riddles, and survive intense set-pieces.

Whip-Cracking Action

Indiana’s trademark whip remains at the heart of his gear and can be used to distract, disarm, and attack enemies. But the whip isn’t just a weapon, it’s Indy’s most valuable tool for navigating the environment. Swing over unsuspecting patrols and scale walls as you make your way through a striking world. Combine stealth infiltration, melee combat, and gunplay to combat the enemy threat and unravel the mystery.

The Spirit of Discovery

Venture through a dynamic mix of linear, narrative-driven gameplay and open-area maps. Indulge your inner explorer and unearth a world of fascinating secrets, deadly traps and fiendish puzzles, where anything could potentially hide the next piece of the mystery—or snakes. Why did it have to be snakes?

[graphicpolicy]

Fell Hound Brings S.I.R. to BOOM!

Fell Hound Brings S.I.R. to BOOM! #comics #comicbooks

Continuing the celebration of the 10th Year Anniversary for the award winning BOOM! Box imprint, BOOM! Studios brings S.I.R. to shelves this summer! Ringo Award-nominated indie darling cartoonist Fell Hound brings an over the top sports and battle anime-coded series that is not one to miss! Get ready for your new obsession…MOTORCYCLE JOUSTING! Fate brutally separated Avery Sakai from her…

[scotianostra]

Happy birthday to Scottish actress and model Freya Mavor.

Freya was born in Glasgow on August 13th 1993, but grew up in the Inverleith area of Edinburgh, her father is an award winning playwright and teaches at Napier University in the city , her great grandad was also a very successful writer, O H Mavor but used the pseudonym James Bridie. He also was instrumental in 1950 setting up a college of drama which has evolved into The Royal Conservatoire of Scotland. Freya says she got interested in acting after watching the Shining aged just ten! She spent time in France as a child and was educated there and at Mary Erskine's in Edinburgh

Her first acting experience was in school productions of Shakespeare plays. She made her professional debut in 2011, when she gained a lead role as Mini McGuinness in the fifth and sixth series of E4 Bafta-winning drama Skins. She gained this role after going through an open audition process, with more than 8,000 other teenagers auditioning for the show.

Since starting out Freya has gone on to a build a career between France and the UK. She has worked on features such as L'Empereur de Paris alongside Vincent Cassel, and indie films such as The Sense of an Ending by Ritesh Batra or La Dame dans L'auto by Joann Sfar. Her TV credits include The ABC Murders on the BBC and Il Etait Une Seconde Fois for Arte/Netflix, her time in France means she is bilingual, always handy for her acting roles over there. Freya was last seen in another Arte/Netflix show Twice Upon A Time, a sci fi/romance mini series filmed in Bordeaux, Paris, London and Iceland

Mavor has always expressed a love of the theatre and made her own stage debut in London for the play Good Canary, directed by John Malkovich, where she played a drug addict battling with mental illness.

Last year she starred in Balance, Not Symmetry about an American student who is living a privileged existence at Glasgow School of Art when her father unexpectedly dies. She has also completed a film called in 2019 called Gore but it is on hold due the controversy over one of the stars Kevin Spacey.

Last yaer Freya has returned in the second season of the British-American television drama series Industry shown on HBO in the United States and BBC 2 over here. She also starred in a joint BBC and Canal+ historical series Marie Antoinette, for which a second series has been commissioned.

Freya also starred in a stage play, The Other Boleyn alongside the excellent Alex Kingston

According to IMDb she has a series due to be released, Invitation to a Bonfire and in recent news she has been cast as the female lead role on HBO’s “Virtuoso,” a pilot set in 18th Century Vienna, it follows a class of young musical prodigies from all over Europe at the prestigious Academy of Musical Excellence. Mavor will play Marie, daughter of a prestigious Catholic family in Paris and the only girl chosen for the inaugural class of the prestigious academy.