#in my evil writer era lately

[what-have-i-unleashed]

killer needs to have a third-act villain breakdown. i need him to scream and cry with all his chest, knowing he cannot win against goodness but still desperately trying and clawing at an impossible victory.

[sammygender]

i actually. oh my god. it’s been so long that i’ve forgotten about the absolute insanity of s4. i’ve become acclimated to sam mistreatment by the show but i genuinely think s4 is SO fucking insane because like. it’s back when supernaturals good! and yet! sams narrative arc is INSANE! in a fascinating and yet genuinely awful and horrifying way!!! and like. is that intentional?? spn is a horror show surely it’s intentional but did they actually realise what they were doing can i realllly trust that? is it smart and meta because when you put thought into it it’s really fucking clever but did they actually or did they genuinely unconsciously think dean is the actual moral compass of the show and that disobeying him is blasphemy?? or is that an intentional writing choice a la family is hell a la god is a nuclear familial patriarch?? i like to think the latter but

like. supernatural is an experiment. an experiment in how many times you have to state something about a character, even if it’s directly Not What Happens and actually genuinely false, before a fandom will accept it as 100% true. an experiment in, well, if you never directly call out that your protagonist is an unreliable speaker and narrator, will your fans ever realise?

and the answer for the first is Pretty much you can just say it once - i think as soon as most people heard ‘dad said i have to save you or kill you’, they internalised it as Sam WILL go evil and Dean will have to save him or kill him and what’s more, Dean has the right to make these choices, because everything about Sam is obviously inherently Dean’s. nevermind that sam has always tried so hard to be good and his most ‘morally grey’ era in the show is during active manipulation and is still just because he is trying SO hard to do the right thing. and the answer for the second is They will never realise, because most fans still think that dean saying sam chose a demon over him means it’s what happened.

and i don’t even know if the writers knew what they were doing during any of that. i have to believe some did. hopefully most. but i don’t even know anymore late season sam writing has made me so much less optimistic. maybe they just believed dean was fucking correct

[eretzyisrael]

By Candace Mittel Kahn

Growing up, the letter on the wall was a constant reminder not just of our family’s personal suffering and sacrifice, but also of the fragility—and ultimately, resilience—of life as a Jew in the world. 

But it was also a relic of the past. After all, the letter is old and yellowing, the cursive handwriting is starting to fade, and the edges of the paper are beginning to rip. Mounted on the wall for every guest passing through our house to see, it is an indication of how far we’ve come since the days of the depths of evil.

And then October 7 happened. And Jewish mothers and fathers were, once again, making the ultimate sacrifice. Parents like Hadar and Itay Berdichevsky, who were butchered in their home in Kibbutz Kfar Aza, but managed to save their 10-month-old twins, who were found crying in the safe room 14 hours after the massacre. Parents like Smadar and Roee Edan, who were also murdered in their Kfar Aza home. The father, Roee, was shot shielding his 3-year-old daughter with his body. He was killed. She survived.

Julius and Rosa Mittel, the writer’s great-grandparents, who were murdered at Auschwitz. “Be good, be strong, and don’t forget us,” Julius wrote to his son before his death.

While my first two kids, a 2-year-old son and a 5-year-old daughter, were born with a sense that history was behind us, my third will be born in the post-October 7 era, a time in which our holiday from history is over.

And that’s part of the reason we decided to have her.

Not because I’m courageous—I don’t think I am. Certainly not in comparison to the brave men and women I spoke to and met over the last year in Israel—real heroes who ran towards the fire when confronted with the worst disaster imaginable. These are people who looked into the abyss without fear, and emerged with a level of civic obligation, duty, and sacrifice that is unrecognizable to most Americans today.

Rather, I think of my decision to bring a new Jewish child into the world as an act of necessity. The global Jewish population, as of today, hasn’t even reached pre-World War II numbers. In 1939, the global population of the Jewish people had peaked at around 16.6 million. Today, our ranks add up to just 15.7 million worldwide.

My family alone, when you tally up the dead from both sides of our tree, lost at least 10 people (that we know of) because of Jewish persecution—be it the pogroms of the late 1800s, World War I, or the Holocaust. Having another child and binding her to Judaism and the Jewish people is my duty to them. They gave their lives so that we could live.

And although I wish it weren’t still possible, so did the 1,200 Jews who were killed on October 7, 2023, and hundreds more over the last year of war.

[seaweedstarshine]

Late to the game as I’ve kinda been kinda non-here for a minute but I scrolled through the Dot and Bubble tag, and thought I wanted to write this post into existence.

There's this part in Doctor Who Unleashed where RTD says this:

“What we can’t tell is how many people will have worked that out before the ending. Because they’ve seen white person after white person after white person, and television these days is very diverse. I wonder, will you be ten minutes into it, will you be fifteen, will you be twenty, before you start to think, everyone in this community is white. And if you don’t think that — why didn’t you? So, that’s gonna be interesting. I hope it’s one of those pieces of television you see, and always remember.”

And I'm like. Yeah. But the reason this works even as well as it does is largely thanks to the work of the previous showrunner with the previous creative team, which was notably the first era to have any writers of color (amongst other firsts in terms of inclusivity in directors, composer, actors). While Chibnall fumbled whenever he tried to write about race himself, he did have the self-awareness to have Black and South Asian writers writing the episodes where race is the focus (and a female writer for the episode where sexism is a focus; my point is, he seemed to know his shortcomings).

I wonder what the current creative team looks like? (not really, but I wasn't 100% sure for all of them)

To quote RTD:

“...before you start to think, everyone in this community is white.”

This is pretty non-self-aware, right? It's pretty “It is said, and I understand this, there was a history of racism with the original Toymaker, the Celestial Toymaker, who had ‘celestial,’ and I did not know this, but ‘celestial’ can mean of Chinese origin, but in a derogatory way,” right? (from The Giggle Unleashed) It's pretty “and I had problems with that, and a lot of us on the production team had problems with that: associating disability with evil,” right? (from Destination Skaro Unleashed)

—none of which are issues that should be overlooked, but think how much exponentially better they might’ve been addressed if he’d consulted with Chinese writers and wheelchair-using writers before going straight to giving the Toymaker weird fake accents and making Davros walk?

How many Black or non-white people do we think saw the Dot and Bubble script before it landed in Ncuti’s hands?

And this just keeps happening.

And like, from some of the shocked responses I've seen from white viewers to the ending of Dot and Bubble, maybe the episode's unsubtlety was needed? From the way RTD talks about it in Unleashed, the episode was written with a white audience in mind, Baby's First Microaggressions (where of course the microaggressions come from people who are pretty self-admittedly white supremacists). Ricky September, a more seemingly normal depiction of someone in the racist bubble of Finetime, seemed like an interesting element, up until the way he died.

The ending worked for me, because I do think the Doctor's reaction is true to how the Doctor would react. I just keep thinking of how much better the core themes could've been handled by someone with actual lived experience on the subject matter.

[positivelybeastly]

Love seeing such nuanced and interesting explorations of the Big Blue! Speaking of big, how would you think Hank would respond to someone more indulgent in his hankering for Twinkies and such? With some of his body dysmorphia, do you think he'd be surprised to find someone appreciative of added bulk to his blue?

Thank you so much for the kind words! Apologies for the late reply, been on hiatus and have just started making a poke at my inbox.

So, I have some thoughts on this, because this has come up in both 616 canon and in alternate universes. Let's start with the alternate universes.

This is Hank McCoy of Earth-32098! He is friend shaped. He comes from a universe where . . . well, things are kinda cushy and moved past the need for conventional X-Men, really. Instead, there's an X-World, a Federation that Hank is a member of (which appears to be a Star Trek reference, given that he's on some kind of five year missions), and a lot of people have gotten old and settled down, hence the curious idea that Hank can go bald despite being furry. Then again, I've long been an advocate for Hank to be able to have facial hair despite being furry, so who am I to judge?

Hank looks relaxed and happy here, honestly! He's a bit rounder, but he is free, and I think that generally speaks to the fact that if Hank is eating well, then he's in a decent state of mind and he's being supported properly - he tends to do that genius thing of getting obsessed with an idea and not eating because must do science, so if he's eating well, he's being taken care of in a way that, generally, he isn't in Earth 616, or he's developed healthier behaviour patterns. There's no mention of him having a partner in this universe, but honestly, he's a jolly, happy fellow and his usual charming self, I expect he'd have no shortage of people interested in him. A partner encouraging of his shape and body would be a welcome surprise, I think.

Then we get into the less . . . positive, depictions of this.

First off, we have the Ultimate Universe, which is always a wellspring of healthy behaviour and kind words.

Like . . . this Hank isn't even fat?

He's just physically large because he's built like a brick shithouse. He has size 42 feet. You see him without a shirt on later and he's got full comic book godlike proportions going on, like, what here is even fat?

It was the early 2000s, so this just feels like braindead bullying, to be honest, but given that this Hank canonically struggles with his self-esteem and body dysmorphia even more than his other selves, to the point where it drives him to destroy his relationship with Ultimate Storm and gets him killed, I feel like he would have definitely benefited from someone being able to help out his headspace and get him to unlearn some of the garbage his parents abused into him. As much as I like his relationship with Ultimate Storm, she was not a version of the character equipped to deal with Ultimate Beast's mental trauma and issues, and he ended up in a bad place as a result.

Then we get to . . . 616 . . .

Where Hank becomes fat when he becomes evil.

I'm gonna link an article here, talking about fatphobia in comic books, but this is the salient part of the article, wrt Beast in particular.

This is me letting you all know that this is something comic book writers are still deploying in comic books in 2019, all the way up to 2024. Fat = evil. Fat = gluttonous = evil. Because, you know, why bother examining the way that we tell stories in an age where we're supposed to be more respectful and tolerant and accepting of people? Why bother examining the tropes we use, in this, allegedly the most welcoming of all X-Men eras?

And, you know, let's make some fat jokes here and there. Just in case you didn't get the message.

It's especially transparent because Percy established on Twitter that Beast was 'stress eating,' because of how much of a toll protecting Krakoa was taking on his person. Except that that's not what was actually happening. You saw Beast eat on panel, twice. Both times, they were while he was explicitly saying he was evil, or doing something transparently evil. He isn't stress eating, he's eating to demonstrate to the audience that he's a gluttonous pig who can't stop what he's doing because he's just so hungry and evil and he'll devour anything and everything and blah blah fuck off.

The stress eating garbage was Percy covering his ass for using shitty, outdated, fatphobic tropes to establish a visual language for Beast turning more and more evil. Because, you know, the fucking James Bond villain scar, the overgrown tusks (pig/boar imagery! Because he's a pig!), the actual visuals of him murdering countries and friends, aren't enough, you need to be shown that he's evil because he's fat, unlike our toned, lean, lithe heroes in X-Force.

It's such a shame because it's a good look for Beast, honestly. I love a blue furred Hercules as much as the next guy, but chunky thighs, love handles, a bit of roundness? It doesn't hurt. It's an attractive body shape.

I wish we didn't have to pretend it wasn't.

It's especially galling because we literally went from a bigger figure Beast in X-Force #48-50 when he became good again, to a lean, skinnier Beast in X-Men #1 coming next week because he's on a full on heroic team again.

Bleh. It frustrates me.

You had a question! And I've gone on a long ass tangent about problematic depictions of body shapes in comic books! My apologies!

I think that Hank would do well with a partner who doesn't mind a bit of a roundness to him. As I mentioned, Hank has a tendency to fall into bad patterns of self-neglect when he's busy, and someone who can not only be there to make sure he's taking care of himself, but assure him that he's a handsome, beautiful Beast whether he be bigger or smaller would be good for him.

I don't necessarily think it would 'fix' his image issues or dysmorphia, because I don't know if that lingering doubt ever goes away for Hank, but it would definitely help. And it probably would surprise him, even more than finding out that people actually really dig the fuzzy blue monster look.

[dailyanarchistposts]

For Chris Marquis, a gifted writer, a courageous reporter and a generous friend whose loss has left a hole in my heart.

Men never do evil so completely and cheerfully as when they do it from religious conviction. —Blaise Pascal

Eternal Fascism: Fourteen Ways of Looking at a Blackshirt

By Umberto Eco

In spite of some fuzziness regarding the difference between various historical forms of fascism, I think it is possible to outline a list of features that are typical of what I would like to call Ur-Fascism, or Eternal Fascism. These features cannot be organized into a system; many of them contradict each other, and are also typical of other kinds of despotism or fanaticism. But it is enough that one of them be present to allow fascism to coagulate around it.

1. The first feature of Ur-Fascism is the cult of tradition. Traditionalism is of course much older than fascism. Not only was it typical of counterrevolutionary Catholic thought after the French revolution, but is was born in the late Hellenistic era, as a reaction to classical Greek rationalism. In the Mediterranean basin, people of different religions (most of the faiths indulgently accepted by the Roman pantheon) started dreaming of a revelation received at the dawn of human history. This revelation, according to the traditionalist mystique, had remained for a long time concealed under the veil of forgotten languages—in Egyptian hieroglyphs, in the Celtic runes, in the scrolls of the little-known religions of Asia.

This new culture had to be syncretistic. Syncretism is not only, as the dictionary says, “the combination of different forms of belief or practice;” such a combination must tolerate contradictions. Each of the original messages contains a sliver of wisdom, and although they seem to say different or incompatible things, they all are nevertheless alluding, allegorically, to the same primeval truth.

As a consequence, there can be no advancement of learning. Truth already has been spelled out once and for all, and we can only keep interpreting its obscure message.

If you browse in the shelves that, in American bookstores, are labeled New Age, you can find there even Saint Augustine, who, as far as I know, was not a fascist. But combining Saint Augustine and Stonehenge—that is a symptom of Ur-Fascism.

2. Traditionalism implies the rejection of modernism.</strong> Both Fascists and Nazis worshipped technology, while traditionalist thinkers usually reject it as a negation of traditional spiritual values. However, even though Nazism was proud of its industrial achievements, its praise of modernism was only the surface of an ideology based upon blood and earth (Blut und Boden). The rejection of the modern world was disguised as a rebuttal of the capitalistic way of life. The Enlightenment, the Age of Reason, is seen as the beginning of modern depravity. In this sense Ur-Fascism can be defined as irrationalism.

3. Irrationalism also depends on the cult of action for action’s sake.</strong> Action being beautiful in itself, it must be taken before, or without, reflection. Thinking is a form of emasculation. Therefore culture is suspect insofar as it is identified with critical attitudes. Distrust of the intellectual world has always been a symptom of Ur-Fascism, from Hermann Goering’s fondness for a phrase from a Hanns Johst play (“When I hear the word ‘culture’ I reach for my gun”) to the frequent use of such expressions as “degenerate intellectuals,” “egg-heads,” “effete snobs,” and “universities are nests of reds.” The official Fascist intellectuals were mainly engaged in attacking modern culture and the liberal intelligentsia for having betrayed traditional values.

4. The critical spirit makes distinctions, and to distinguish is a sign of modernism. In modern culture the scientific community praises disagreement as a way to improve knowledge. For Ur-Fascism, disagreement is treason.

5. Besides, disagreement is a sign of diversity. Ur-Fascism grows up and seeks consensus by exploiting and exacerbating the natural fear of difference. The first appeal of a fascist or prematurely fascist movement is an appeal against the intruders. Thus Ur-Fascism is racist by definition.

6. Ur-Fascism derives from individual or social frustration. That is why one of the most typical features of the historical fascism was the appeal to a frustrated middle class, a class suffering from an economic crisis or feelings of political humiliation, and frightened by the pressure of lower social groups. In our time, when the old “proletarians” are becoming petty bourgeois (and the lumpen are largely excluded from the political scene), the fascism of tomorrow will find its audience in this new majority.

7. To people who feel deprived of a clear social identity, Ur-Fascism says that their only privilege is the most common one, to be born in the same country. This is the origin of nationalism. Besides, the only ones who can provide an identity to the nation are its enemies. Thus at the root of the Ur-Fascist psychology there is the obsession with a plot, possibly an international one. The followers must feel besieged. The easiest way to solve the plot is the appeal to xenophobia. But the plot must also come from the inside: Jews are usually the best target because they have the advantage of being at the same time inside and outside. In the United States, a prominent instance of the plot obsession is to be found in Pat Robertson’s The New World Order, but, as we have recently seen, there are many others.

8. The followers must feel humiliated by the ostentatious wealth and force of their enemies.</strong> When I was a boy I was taught to think of Englishmen as the five-meal people. They ate more frequently than the poor but sober Italians. Jews are rich and help each other through a secret web of mutual assistance. However, the followers of Ur-Fascism must also be convinced that they can overwhelm the enemies. Thus, by a continuous shifting of rhetorical focus, the enemies are at the same time too strong and too weak. Fascist governments are condemned to lose wars because they are constitutionally incapable of objectively evaluating the force of the enemy.

9. For Ur-Fascism there is no struggle for life but, rather, life is lived for struggle. Thus pacifism is trafficking with the enemy. It is bad because life is permanent warfare. This, however, brings about an Armageddon complex. Since enemies have to be defeated, there must be a final battle, after which the movement will have control of the world. But such “final solutions” implies a further era of peace, a Golden Age, which contradicts the principle of permanent war. No fascist leader has ever succeeded in solving this predicament.

10. Elitism is a typical aspect of any reactionary ideology, insofar as it is fundamentally aristocratic, and aristocratic and militaristic elitism cruelly implies contempt for the weak.</strong> Ur-Fascism can only advocate a popular elitism. Every citizen belongs to the best people in the world, the members or the party are the best among the citizens, every citizen can (or ought to) become a member of the party. But there cannot be patricians without plebeians. In fact, the Leader, knowing that his power was not delegated to him democratically but was conquered by force, also knows that his force is based upon the weakness of the masses; they are so weak as to need and deserve a ruler.

11. In such a perspective everybody is educated to become a hero.</strong> In every mythology the hero is an exceptional being, but in Ur-Fascist ideology heroism is the norm. This cult of heroism is strictly linked with the cult of death. It is not by chance that a motto of the Spanish Falangists was Viva la Muerte (“Long Live Death!”). In nonfascist societies, the lay public is told that death is unpleasant but must be faced with dignity; believers are told that it is the painful way to reach a supernatural happiness. By contrast, the Ur-Fascist hero craves heroic death, advertised as the best reward for a heroic life. The Ur-Fascist hero is impatient to die. In his impatience, he more frequently sends other people to death.

12. Since both permanent war and heroism are difficult games to play, the Ur-Fascist transfers his will to power to sexual matters.</strong> This is the origin of machismo (which implies both disdain for women and intolerance and condemnation of nonstandard sexual habits, from chastity to homosexuality). Since even sex is a difficult game to play, the Ur-Fascist hero tends to play with weapons—doing so becomes an ersatz phallic exercise.

13. Ur-Fascism is based upon a selective populism, a qualitative populism, one might say.</strong> In a democracy, the citizens have individual rights, but the citizens in their entirety have a political impact only from a quantitative point of view—one follows the decisions of the majority. For Ur-Fascism, however, individuals as individuals have no rights, and the People is conceived as a quality, a monolithic entity expressing the Common Will. Since no large quantity of human beings can have a common will, the Leader pretends to be their interpreter. Having lost their power of delegation, citizens do not act; they are only called on to play the role of the People. Thus the People is only a theatrical fiction. There is in our future a TV or Internet populism, in which the emotional response of a selected group of citizens can be presented and accepted as the Voice of the People. Because of its qualitative populism, Ur-Fascism must be against “rotten” parliamentary governments. Wherever a politician casts doubt on the legitimacy of a parliament because it no longer represents the Voice of the People, we can smell Ur-Fascism.

14. Ur-Fascism speaks Newspeak. Newspeak was invented by Orwell, in Nineteen Eighty-Four, as the official language of what he called Ingsoc, English Socialism. But elements of Ur-Fascism are common to different forms of dictatorship. All the Nazi or Fascist schoolbooks made use of an impoverished vocabulary, and an elementary syntax, in order to limit the instruments for complex and critical reasoning. But we must be ready to identify other kinds of Newspeak, even if they take the apparently innocent form of a popular talk show.

Ur-Fascism is still around us, sometimes in plainclothes. It would be so much easier for us if there appeared on the world scene somebody saying, “I want to reopen Auschwitz, I want the Blackshirts to parade again in the Italian squares.” Life is not that simple. Ur-Fascism can come back under the most innocent of disguises. Our duty is to uncover it and to point our finger at any of its new instances—every day, in every part of the world. Franklin Roosevelt’s words of November 4, 1938, are worth recalling: “If American democracy ceases to move forward as a living force, seeking day and night by peaceful means to better the lot of our citizens, fascism will grow in strength in our land.” Freedom and liberation are an unending task.

[wyrdle]

I'm totally with you on the pre-P3 timeline. I love love love having exact dates for everything, so the lack of information is sooooo frustrating. Even worse being a Sho fan as there's barely anything, best I've got is that the experiments on him took place in 1999 (mentioned by Labrys in the P3 side as she's heading to the top of the tower), and according to the manga he was 8 when he nearly died during "combat training", so if you take the info we get in the manga as canon then he'd be the about same age as the P3 3rd year trio. Idk if it's helpful in any way, I'm just a bit insane about the guy. Sorry for coming in here and rambling.

Oooh! Interesting!!! And don't worry about being insane about the characters lol I am the same with tomato boy's horrible dad. Honestly, the bit I focus on is whether it's before or after the explosion from 10 years ago for sequence of events.

Here are some of my footnotes: Spoilers and excessive yapping ahead

Child experimentation and pursuit of inducing personas + evokers were only conceived post-Mitsuru's awakening within Tartarus. Which is post-explosion. (Source: In-game notes, Persona 3 Club Book)

This makes a lot of sense what with the creation of Theurgy/new equipment for SEES. Not saying child experimentation didn't happen pre-explosion era, but it certainly didn't stop. These all had to be Kirijo group-sanctioned activities, Ikutsuki did not work alone and without support.

The above implies that Sho + Strega + other child victims were only worked on post-explosion too, as the only reason they did so was to gather as many Persona users to explore Tartarus. So maybe? Late 1999, immediately after explosion? Once Tartarus exploration trapped a bunch of kids and failed though, the experiments were dropped. Strega escaped before this. Sho got into a coma before this.

The issue with timeline starts when Sho's plume of dusk scenario seems to be the key to the creation of Anti-Shadow Weapons. The existence of Minazuki inspired the researchers to trial Aigis, Labrys and their brethren needing a plume of dusk to develop their sentience. (I need a source for this though, lol.) And Aigis needs to be around pre-explosion to be able to trap Death.

Soooooo. The timeline/sequence of events is shot to hell haha. I might've mixed up "Discovering a plume of dusk contains a soul in robots so they can use personas too >>> Let's try putting this in a child so he can get a persona" reasoning timeline... but it makes less sense in this direction.

Now for my personal thoughts: I believe the game wants to frame it as being "pre-explosion" and during Koetsu Kirijo era to idk. Bundle all the evil to that time, place all possible evil on Ikutsuki, and suggest they've turned a new leaf, but are maybe burdened by the ethical issues in pursuit of it. At least, that's how I've conceived Takeharu Kirijo. "The ends justify the means, unfortunately" type beat. It matches up with how he wants to distance himself from Mitsuru, too. Still, it is his Kirijo Group covering up the incident that killed Ken's mom, his Kirijo Group that decides Eiichirou Takeba should remain slandered in public eye and for Yukari + her mom to experience the fallout. Wtf.

Forewarning for Ikutsuki yapping ahead lol.

Unfortunately, they decided Ikutsuki (as the last representative of "old-world" Kirijo group) became the easiest scapegoat for all of this heinous shit. I have opinions about their use of him as a character like this, because it's so cheap. In P3 game's story alone, his (+Strega's) role in the story is meant to be an antithesis to Protag + SEES. So what does that mean exactly? Throwing away bonds/not forming them, seeing no meaning in living after pain, finding meaning/will to live in the pursuit of death etc.

These are all extremely sympathetic points for Strega, for Sho, for literally any character that "experiences the doomerisms". But in the case of Ikutsuki, suddenly it is of no consequence. The writers hate him/don't care for him as a character, when he could be so intriguing. Why does he believe the world needs to be remade? He's the last mouthpiece for the dead Kirijo group cultists too, so!!!!

All persona games have always explored how people are complex and how causing suffering is often the result of suffering- yet Shuji, the guy who actually kills himself / seeks death so doggedly / deludes himself into a prophecy that would make living just a bit longer more bearable is. Just crazy I guess. Guy who spent 10 years like this, taking solace in the fact that Nyx is coming...

Sho's actions mirror Ikutsuki's, Strega believe in Nyx, that implies something for Ikutsuki too lol. That's lost to everyone because he's never given more reason to exist on screen besides to torment people with his puns.

TLDR: I'm so so so salty about Shuji haha. Sorry, he's my fave because he's essentially "What if unhealable mental illness in man" which is horrifyingly sad. The concept of him is so delightfully doomed. Rounding back to topic (OOPS), the timeline messiness was likely to just set up some nebulous evil to contrast next to SEES as well as give them hurdles to overcome. I just think they should've fleshed out parallels in the human condition to experience hurt and contrast of how to live with it though, haha.

[thesoftboiledegg]

Season nine's shaky start had me worried, but "The Temp" and now "Beauty and the Bug" brought Hulurama back to form. Bender took on a lot of roles in the Fox era--wrestler, mobster, professional chef--and now he's launching a career as a matador.

On the surface, it sounds like the writers ran out of ideas and decided to throw Bender into a wacky situation, but his aspirations make for a surprisingly strong character study.

"Beauty and the Bug" starts with the Planet Express team visiting Amy's parents on Mars. The revival's been low on actual deliveries, and bringing the whole crew along can sacrifice character development, but I think those elements worked in this episode. It's believable that everyone would decide to take a break and hang out at Wong Ranch for the day.

We see callbacks to the characters' quirks: Hermes' limbo talents, Amy's love for her favorite Buggalo, the professor's crazy inventions, and Bender's habit of falling head over heels for attractive fembots. He's only known Marquita for 30 seconds, but she's the center of his world--as long as he doesn't have to stay monogamous!

As always, John DiMaggio gives Bender enough goofiness and heart that he's loveable even in his most "unlikeable" moments. Another character admitting that they barely understand guilt might sound sinister, but Bender speaks with a hint of childlike giddiness that takes the edge off his "evil metal man" side.

"Beauty and the Bug" shows that it's never too late for character development, too. Bender's been around since 1999, but he's still capable of growing and changing--to a point, anyway. He saves the day for the buggalo, but not himself, as his hubris gets in the way.

My only critique is that the ending was too abrupt. I literally said "That's it?" Luckily, a follow-up joke salvaged the sudden cut to black.

When I saw the promo images, I was worried that "Beauty and the Bug" would be a "Bendless Love" rip-off, but the romance was just part of a bigger story about Bender developing a conscience. Who knows how long it'll last, but a shred of humanity lurks underneath all that titanium.

[caltropspress]

Spittin' Wicked Randomness with Small Professor

or, Bizarre Rides II the Pharthest Cyde; 

or, A beginning doesn’t need an ending, only a portal

Make your body a temple. Make your home a shrine. You are a God, live like one!

—Timothy Leary, “You Are A God, Act Like One!” (1967)

Psycholinguistic structural confusion leads to insidious beat wrecking missions and continuous speech recognition, prescription, vocal anecdotal object impressions…. Synergistic sample arrangements.

—Jungle Brothers, “Trials of an Era” (1993)

EXORDIUM

I long for the anonymity the internet once provided. Everyone was faceless. Vacant visages—not even an avatar. I’ll often try to remanufacture this premillennial experience for myself. I deliberately avoid seeking images to accompany the names I see on the screen. Many people nowadays—most people, the writer bemoaned—make this nearly impossible. Vanity of vanities—all is vanity! But I do try, I do. I look away; I increase the scroll speed; I squint to blur and becloud. Like Iris DeMent desired, I try to let the mystery be. On Rakim’s plodding “The Mystery (Who Is God?),” the God MC suggests you can solve the mystery if you realize the answer revolves around your history. But I need the mystery to stay intact. So many years on, and I’m still figuring out da mystery of chessboxin’, looking all the way back to when Wu-Tang was in black hoodies on the man-sized chessboard—cloaked rooks shouting peace to all the crooks with bad looks. “You cannot hook up a 100 million years of sensory-somatic revelation to your puny, trivial personality chess board,” so says Timothy Leary. I’m inclined to agree.

Aside from his music, I’ve known Small Professor—Jamil Marshall, if we split the veil—only through his words, through his text on my chosen screens: pixelated patterns of character images. But late last year, I stumbled across an image of him appearing not unlike a cloaked rook. Draped in a black robe, Small Professor appeared beside his Wrecking Crew brethren as a Sith Lord. The occasion was a Halloween performance at Cratediggaz Records in South Philly. Small Professor’s face was hidden, and so I could fuck with this type of qualified exposure. His shrouded appearance elevated my intrigue rather than diminished it. This was no flashbulb, soul-capturing, photographic evidence of existence; this was no selfie self-absorption; this was simply some spooky shit. 

Of the many messages that Small Professor measures out into the ether[net], the ones that have frequently caught my attention make some mention of hallucinogenic drugs. Here again, we have [e]strange bedfellows—that being technology and drugs. Twinned conceptualizations: drugs as teknology; teknology as drugs [scanned as tricknology, too, two]. Programming in the Silicon [Uncanny] Valley with the capital-I Internet reformatted as a Third [Eye]nternet. You scream as it enters your bloodstream. “Build, elevate to a higher comprehension, / Let your third eye rise above evil interventions,” if we’re properly tuned in to the Jungle Brothers’ “Troopin’ on the Down Low.” Teknology and drukqs might be more familiar than we (Eye) thought.

As we know from Jesse Jarnow, psychedelic saints were known as “heads,” which, underground hip-hop stalwarts of a certain age will wreckonize as an honorific for their own dedication to a way of life and listening. Stewart Brand, author and publisher of the Whole Earth Guide, would later speak of computers and online communities as the most auspicious collective force “since psychedelics.” Hua Hsu brings this to my total attention, but with my full cooperation (word to Def Squad), so there’s a few more things I’d like to mention. Computer science research centers saw networking and information sharing as devout acts “borrowed directly from Deadhead communalism.” Again, not dissimilar from the tape trading so crucial to the spread of this thing of ours called hip-hop. John Morrison writes of how “hip-hop owes much of its early development and propagation to an underground economy,” to the “recording and circulation of cassette tapes of park jams, live battles, DJ sets, and radio broadcasts” that brought a burgeoning and insurgent art form to the masses. The backchannels and clandestine conduits that made this dissemination possible suggest a secret organization with figures like Geechie Dan and Elvis “The Tapemaster” Moreno as its stewards. These cross-cultural, cross-generational connections exist despite Jerry Garcia’s abhorrence of rap as a legitimate musical form [see below: “Deadhead” diss-poem]. Small Professor centers himself within the radial lines of this complex mandala. His production isn’t strictly for the psych heads, or the hip-hop heads—his musick is For the Headz at Company Z. 

Small Professor understands the possibility and catalytic practices of rappers, much like William S. Burroughs did: “With computerized tape recorders & sensitive throat microphones we could attain insight into the nature of human speech & turn the word into a useful tool instead of an instrument of control in hands of a misinformed and misinforming press.” Somewhere you can hear the echoing call of Newwwspaaaaperrrr from the  Jungle Brothers’ “Book of Rhyme Pages,” a song with a prophetic register, a song that reads. 

In Burroughs’ essay “Academy 23: A Deconditioning,” which appeared in the San Francisco Oracle (c. 1966-1968), the beatific junky proposes that “academies be established where young people will learn to get really high…high as the Zen master is high when his arrow hits a target in the dark…high as the Karate master when he smashes a brick with his fist…high…weightless…in space.” As high as Wu-Tang get, I might add, Allah allow us pop this shit. Burroughs believes it’s “[t]ime to look beyond this cop rotten planet.” The students in Academy 23 “would receive a basic course consisting of training in the non-chemical disciplines of Yoga, Karate, prolonged sense withdrawal, stroboscopic lights, the constant use of tape recorders to break down verbal association lines. Techniques now being used for control of thought could instead be used for liberation.”

Small Professor is already present in such an academy, his “lab”—be it Albert Hofmann’s Sandoz Laboratory or RZA’s antediluvian lab. Like Bobby Digital, Small Professor experiences the “Lab Drunk,” the studio stupor: Stumbled into the lab half-drunk—honey-dipped, stinking blunts. The neural activity of Madlib’s psilocybin; the mind expansion of MKUltramagnetic; outlaw practices: tripping on LSD or sampling on an MPC—same diff, really. “The experience,” Leary wrote in the East Village Other, “must be communicated, harmonized with the greater flow.”

PART I

[December 23, 2023 | 9:10 PM] 

Small Professor:  Ah, fuck. I was supposed to plan this out. Just took 2 tabs to the dome officially at 9:00 PM. At some point tonight I will be looking around at my room like I just got here from outer space.

[10:14 PM]

Caltrops Press:  Where’s your head at right now?

SP:  Difficult to see. Always in motion is the right now (to paraphrase Yoda). Right now I am listening to “Right Now” (HAIM, live).

CP:  Are you alone?

SP:  I believe that to be true, but we can never be 100% sure, can we? I don’t presume to speak for you of course, but I’d wager that you may have, at least once, considered that The Truman Show could be real life, after all. According to this, though, yes:

CP:  Somebody once said, “Every day is Truman Show. True men show their face and expose flesh…” Do you think acid allows you to see beyond this reality?

SP:  No. It allows me to see this one more clearly. Time, or whatever it is that we collectively agree is this forward feeling momentum, seems to slow. So you (me) see the same things that you see everyday, but that your brain kinda knocks aside after a while. Things look new.

CP:  Are you typically playing music when you trip? Does the music slow down? Not literally. But do you process it differently? And, of course, I’m curious if you ever try to make music in this state?

SP:  I like making music that barely makes sense in whatever state I’m in at that time, so when I come back to it I’m even more confused. Like leaving yourself a drunk voicemail, but on purpose. I’m generally high—it’s just a matter of how. And to the last question: Do or do not, there is no try. 

PremRock:  I think [Small Professor's] work has benefited from discovering [hallucinogens]. He’s pretty passionate about ’em! I think it’s made him more expansive and he’s more eager to try far out ideas. He was always psychedelic in nature, but this just provided more of a conduit.

Zilla Rocca:  Even without shroomz he always had a bugged-out sense of melody, rhythm, and layered samples. Smalls has always been a seeker. We connect like that. We love unearthing old rap to learn from it while appreciating all the new styles.

When brothers start buggin’, I bug the most.

—Jungle Brothers, “Simple As That”

CP:  I’ve never fucked with psychedelics, so I generally have either a romantic or sensational notion of what it must be like. Have you ever had any experiences where things went really weird, or have you ritualized it enough so that you know what to expect? Like it’s become yoga or meditation for you by this point. 

SP:  Yeah, it’s pretty meditative. The first time I had acid was so surreal that nothing else could dream to compare.

CP:  When was that? Do you still remember the details?

SP:  Well, first of all, I couldn’t have started such a journey without such caring guides, for they did not have to take time from their lives to explain how much to take, how much not to, to be mindful of the kind of media you’re ingesting while in that space—like nothing too scary and shit like that. They specifically said, “Maybe watch a comedy tonight. Something on the lighter side of things.”

CP:  I’ve heard that’s important, having a guide.

SP:  So I believe I initially started off with the smallest amount I could take, cuz I didn’t know any better. But the effect was immediate. I remember going outside and just standing in an empty parking spot in front of my crib and watching it rain. It was night already. I was like, Wow, this is the best rain I’ve ever seen, and I’ve seen a lot of rain. And then I went out to get more tree. On my way home though, so…okay. How do I explain this? So, my Lyft driver on my way back to my house, he and I strike up a conversation. At the end of our talk, which included a phone call to someone of high stature in the 5% community who spoke to me directly, I embarked on the path to knowledge of self.

CP:  Like, sincerely? Or only until you stopped being high?

SP:  Well, I know now it started there. But I’ve always known that I am god, in some way. It’s just that, after you find out, what do you do with that knowledge of your own god-dom? That’s one thing I can appreciate about psychedelics. It’s like, Alright, well, if I know my brain is capable of such a thought or a piece of music in this one state, then I should be able to get back to it.

CP:  I get that. Like, “I’ve done this before, so I can surely do it again.” But, for so many artists, they struggle to capture whatever it is. I know a lot of times I’ll look back on something I’ve written and then ask myself, How did that even happen? Because the process—the making of something—is often so unconscious. 

Curly Castro:  Smalls calls me after the fact (bka “a trip”) and regales me with a cornucopia of odd and odder occurrences. I will say that one time [redacted] and that’s when [redacted] and what could say after [redacted]. I just told him, Say Less.

CP:  How long will this trip last? You took two tabs at 9 PM, and it’s been 4.5 hours.

SP:  Oh, I’ll be up for a while. Night hasn’t even begun.

CP:  I need to crash because I’ve got to be up early. But keep dropping whatever random thoughts you have here. We’ll call this Part 1.

SP:  Fantastic, Pt. 1

SP:  “God is never small.” Those are the words that man said, and my reply was, “...I am? I am. Ohhhh. I am.”

[Small Professor links me to a video showing Donald Lawrence & The Tri-City Singers performing “I Am God.”]

SP:  Also, I’m quite proud of the fact that my government name [Jamil], oddly Arabic considering how Christian my dear mother is, quite literally translates to “Beautiful Ruler,” with my first name actually meaning “god” in certain places (“Jamil” is one of Allah’s 99 aliases—I found that out earlier this year). My mom HATES THIS BOYEEEEE. She thought it just meant “handsome.”

SP:  Words mean things but don’t have to.

SP:  [Denmark Vessey & Scud One’s Cult Classic] (This is my official trip soundtrack.) “Throw bricks at him if you can’t build wit ’em, / Whoever marquee, top bill, I’ll Kill Bill ’em.”

SP:  It’s 8:23 AM. Still trippin’.

PART II

[December 24, 2023 | 9:15 AM] 

CP:  You awake? If so, talk to me about “Dettol.”

SP:  I feel like that beat was made along with a few others in that same span of time with Roc Marci in mind. Not only in terms of the drum un-emphasis but also being intentional about giving an MC room to operate, to breathe. On Midnight Marauders, both “Electric Relaxation” and “Lyrics To Go” are special beats because they operate within the parameters of 4/4 time but the bar lengths aren’t the typical 8. On “Dettol,” you have mostly 8-bar loops until it shifts to 12 for one measure, and then it starts over. (Not sure about my beat math there.) So the Armand Hammer guys had to each approach that in their own way. Couldn’t have drawn it up any better. “Numbers look crooked like King Kong shook it.”

CP:  (That’s your second Slum Village reference in this convo.) Paraffin was the first album I heard by them, so that beat would’ve been the third Armand Hammer song I heard overall. And that “giving them space” idea definitely benefited me—a guy who hadn’t been paying attention for years, specifically because lyrics weren’t grabbing me like they used to. 

The psychedelic experience is not just an internal, private affair. The “turned on” person realizes that he is not an isolated entity, a separate social ego, but rather one transient energy process hooked up with the energy dance around him.

—Timothy Leary, “You Are A God, Act Like One!”

CP:  How did you originally connect with woods and ELUCID? 

SP:  I may have been aware of ELUCID as early as 2005 by way of his Tanya Morgan/Lessondary/Okayplayer fam associations, but 2007 when he dropped Smash & Grab is when I instantly knew, Ah, this guy’s one of the best rappers ever. By 2009, that became, The best ever. That was the Myspace era, so we connected on there musically but also on some homie shit. We were working on a song of his in like 2011 or ’12 for the BIRD EAT SNAKE mixtape, “Dumb Out.” 

ELUCID:  BIRD EAT SNAKE is a whole lifetime ago. I had just met woods. I was also just beginning to develop the Cult Favorite record with AM Breakups. I was super charged creatively and was fortunate enough to have a lot of space to develop that. “Dumb Out” was such a strange beat that made my pen move immediately. Nothing overthought or drawn out. Just really chunky, vibed out, and punchy energy. I just began to acquire these attributes during the making of that tape. 

CP:  “Don’t eat the brown acid…”

SP:  Originally woods was supposed to be on there. I distinctly remember this being one of the first times I heard him because…okay. He recorded a verse on this beat and ELUCID sent his acapella but no reference to guide from. And I’m very good at matching up acapellas, so the fact that I could make no sense of his flow—where to place it in the mix—always stuck out to me. 

CP:  Is that why he didn’t end up on the song?

SP:  I don’t believe so. That would be funny if true, though. Because it feels like I have more music with those two than what tangibly exists. 

CP:  Also funny because, as their audience has grown—exponentially of late—the “discourse” returns to whether woods raps “on beat” or not.

SP:  Once I understood that the question of if he’s rapping on- or off-beat is the wrong one—when it should be, Why do I hear this as off-beat? How do I hear what he heard to deliver it that way?—that’s when it clicked for me.

CP:  Was “My Blank Verse” your first beat for them officially?

SP:  That was the very first song me and ELUCID made together. Don’t think it was for anything in particular, initially.

CP:  Got it. So it wasn’t approached as an Armand Hammer track, per se. Just ended up on an AH project. When did you connect with ELUCID in person?

SP:  I wanna say I met him in person at a show in Philly, at the Khyber. But the time I remember the most is when I was in Brooklyn with him (this actually might have been when we met up to record “My Blank Verse”), and he showed me the block where B.I.G. grew up. I like to imagine my power levels increasing on that day due to the residual holy hip-hop energy on the premises.

CP:  That’s dope. I’m surprised to hear you recorded the track in person. Both because so much is done remotely now—the producer and the MC separate—and also because ELUCID, I’ve read, is pretty private when it comes to recording. Maybe that came later, though.

SP:  Yes, that did come later to my knowledge. But also, I’m special. 

ELUCID:  This was the era when Willie Green’s studio was still in his apartment. I had just started recording with Backwoodz, and “My Blank Verse” was indeed recorded that afternoon. I usually don’t have people hanging in the studio while I record, but I think my comfort level with Jamil speaks to the ease I feel in our dealings.

SP:  I also remember going to meet ELUCID in New York specifically to get a flash drive that had he and woods’s verses for the Sean Price “Midnight Rounds” song they all should have been on together. His internet was down.

CP:  Why didn’t that track come to fruition?

SP:  woods’s hook was an interpolation of Apache’s “A Fight” (because, midnight rounds). The label was like, “Oh nah!” Word for word! Bar for bar! Sean P would have appreciated it.

CP:  Jersey’s own.

billy woods:  At that point in my “career,” I was kinda disappointed to get cut but not surprised. I guess I had a long history being snubbed regularly by peers and institutions in the indie music scene, so it just seemed like, Yeah, more of the same. I was pleasantly surprised to be invited, and unpleasantly unsurprised to be disinvited.

SP:  So, kept ELUCID’s verse and subbed in my man Castle, making this song the spiritual successor to a track I did on me and Guilty Simpson’s Highway Robbery, also featuring those two. Things fall apart, but they also come together. How they’re supposed to.

CP:  What’s the story behind “No Grand Agenda”? Also, where are we at in terms of the trip?

SP:  It’s slowing but at a light jog now. The beat for “No Grand Agenda” was originally part of an album I did made up entirely of exactly 1-minute long songs called You’re Killin’ Me Smalls. There were 60 songs. ELUCID was one of the only rappers I sent it to, specifically because it wasn’t “supposed” to be for raps. I had an ex who stomped out my computer and hard drives one day, including the original files for this project. All except for that one.

SP:  “Are we sure there’s no grand agenda?” And ELUCID took my stems and arranged it how he heard it. It was meant to loop in on itself, like the other songs on that project. It was originally named “Kelvin Spacey,” and I’m sure I’m misremembering but I wanna say “Dettol” was originally named “Kelvin Duckworth,” if only to verify Zilla Rocca’s guess that I was the producer in question that had sent woods a beat named after his favorite Portland Trailblazer.

CP:  So you’re saying, like any good friend, ELUCID jacked that beat?

SP:  Oh, I remember him asking to rap on it, perhaps for nothing in particular at the time. But who am I to deny the goat? And it’s obvious to me that this is how it was supposed to go; ain’t nothing coincidental or accidental, dunn.

ELUCID:  The making of “No Grand Agenda” was a cornerstone for a foundational era of style for me. I felt like I made a song that seamlessly weaved both verse and chorus in a way that felt absolutely hypnotic. It was a new belt for me, this sense of control. Small Pro was one of the first producers to trust me enough to send his beat stems. During this period is where I began producing more of my own music, so I also wanted to arrange the song how I heard it. Thankfully, Jamil dug it. 

CP:  What do you like about ELUCID’s rapping?

SP:  Some of it is the voice. Some of it is the things that he’s saying. But mostly, my favorite rappers all share this in common: they can get busy on any style of beat, any tempo, any sound, any Small Pro time puzzle. I was listening back to his older stuff a little while ago and heard him doing whole specific styles on one song, and never doing it again. The versace, versace flow, in particular. It felt like he was bored at the time and peered ahead three years to see how everyone was rapping, came back, did it, and that was that.

ELUCID:  [Working with Small Pro] is a special thing. Something that I’m still exploring. I think a Small Pro x ELUCID tape would be ill. Knowing his attention and care in the translation of my bars and flows is the type of partnership real MCs aspire to. It just hasn’t happened yet!

SP:  He and woods both have had a way of inspiring me through specific lines. “Go where the drummer commanded me,” for example. It’s me. I’m the drummer. And woods, a few songs before “Dettol” says, “Beg producers to take out the drums,” which he said was meant to be a joke, but I took it literally and started making beats that could exist with or without drums equally. 

All of my Backwoodz-related songs are credited as “Small Pro,” not “Small Professor.” I was on shrooms the week after my birthday earlier this year when I realized those are now different entities. Especially because woods was once like, “Wait, you did ‘No Grand Agenda’?” And I was like, “I did….I think? No, that was Small Pro.”

The last full project I—or I—did before moving back to Philly was a reimagining of A Jawn Supreme 1-3 from the Small Pro remix perspective. It was my—or my—first time remixing my own music, hearing things without the drums I put on them originally. It was an enlightening time. I hear voices at the fortress.

CP:  I think it’s rare for a producer to be so attentive to what the MCs are saying, let alone to look at what they’re saying as guideposts. The idea of a differentiation between “Small Pro” and “Small Professor” is interesting. Where does the Small Pro path ultimately lead? Into this larger Armand Hammer universe?

SP:  I feel like when I started out making beats my natural inclination has been to make things as busy as possible. Small Pro is like, What if I take away instead of adding? Or, How can I still have a million things going on in the track but it sounds bare or like, not done? “My girl say this beat sound unfinished, / I said, ‘Yeah, that’s where my voice go.’”

SP:  (Not sure when I passed out. I knew the crash was inevitable.)

[December 24, 2023 | 6:47 PM]

SP:  To your point about it leading to the AH-verse, that may be part of it too. They’ve both inspired me as rappers but also their production decisions and choices—ELUCID quite literally, as his production has always confounded me, but woods too. Two producers who have had just as much an influence on me as anybody I worshiped when first starting out are August Fanon and Messiah Musik—modern legends. Fanon can make beats for literally anyone. But Messiah’s natural style is one that both Hammers can sound great on from the get-go, whereas I have to consciously get myself into that mode. They also both sometimes do odd and potentially challenging things regarding time in their beats, as I do, but in their own way.

CP:  Do I remember seeing you mention somewhere that you still use Fruity Loops and Cool Edit?

SP:  Yup. I wanna say since 2008. Well, technically since 2003. But I’ve been using the same versions of those two programs for a minute now. Still using Windows XP, too. It’s comforting to me. And ridiculous. Like Rasheed Wallace faithfully wearing Air Force 1s his whole playing career.

CP:  I love that. Some real “if it ain’t broke don’t fix it” ethos. Any rules for yourself when it comes to sampling? Strictly vinyl or are you irreligious when it comes to source format?

SP:  98% of my beats are made from mp3s. The remaining fraction is YouTube or some other source. Haven’t used vinyl for sampling purposes in many years but ironically try to make my beats sound like vinyl. As far as rules, everything I thought was law were things I later learned the musicians I look(ed) up to sneered at. 

CP:  Ain’t that the truth. Very little is sacred when it comes to process, I find. That’s a lot of ego. What efforts do you make to have the beats “sound” like vinyl?

SP:  On “Dettol” is my go-to record crackle sample. That’s also in 98% of my beats, and something I specifically remember was like, corny or something, but—ah, here it is: Slum Village reference #3 to fulfill the rule—on “Hold Tight” Dilla uses a needle pop as a snare bolster as well as the accompanying static. It’s there for added depth and texture but also can act as a counter-rhythm to your percussion. Reality features an inherent level of static in the form of cosmic microwave background radiation around us at all times. Art imitates life.

[December 25th, 2023 | 11:41 AM]

CP:  “No Christmas this Christmas…”

CP:  I always like to think of the story—apocryphal or not—of Evil Dee using bacon grease hissing on the stove for extra crackle.

SP:  The turntable hum is freakable too. Makes for a great bass sound but also something you can feel.

CP:  Do you ever have acid trips accidentally interfere with other obligations? I imagine you’re always planning for a blocked out number of hours. But best laid plans…

SP:  There’s a recovery period the next day, so that can be interesting to navigate. But yeah, I usually am in my room avoiding external interactions on whatever kind of trip it is. In my experience with acid, you gain more control over your “self,” and shrooms is the opposite, where your sense of self and awareness is reduced. Go home, brain—you’re drunk.

CP:  The loss of control is something I just can’t handle. Have you ever found yourself in a situation on shrooms where you emerge later, like, “Damn, that was a bad look”?

SP:  Yeah. My first time taking an 8th to the face (I ate it on a burger) after getting to and past the point of looking in a mirror and not recognizing my face for a sec. I later came upstairs and my BM had made some, like, lasagna? And it was so good that I’m just there demolishing it over the stove—like I was Garfield. Her friend walked in the kitchen at that moment and I should have been mortified, but in that moment there was only delicious lasagna.

CP:  Real Gs move in silence like lasagna…

CP:  Listening to Terror Management on Xmas morning. Is “Marlow” your beat/song with the most synchronicity between you and the rapper?

SP:  It’s up there. That album is interesting to me because of the repeating motif of having two beats from different producers for one song—always thought that was cool. The intro on that beat had the spoken part added after the fact, so it did really feel like some good ole fashioned teamwork. 

CP:  And specifically the serendipity of you naming the beat for your late father, correct? I imagine an artist won’t typically name their song after the name of the beat. Was there a reason you named that beat, out of so many, after your father?

SP:  Originally it was a play off of the artist’s name I sampled (a lot of my song titles are born this way), but I can also say it makes me think of my father’s dark side. He was one of the happiest, generally cheerful people I’ve ever known, but I’ve seen him go into green belt mode when pushed too far—only a few times, but it was like, Oh snap. 

woods closed his set with “Marlow” at a Philly show last year shortly after my pops passed, and it’s one of the nicest gestures anyone has done for me. I was at the bar crying like a newborn fucking baby, god.

billy woods:  That was a special moment for me, too. I really love that song. Pro and I have not worked that much together, but a lot of what we have done is really dope. He has produced a handful of Armand Hammer songs but they all hit, in my opinion. But [“Marlow”] is a song I really love and has come in and out of my setlist, but always makes it back in. The fact that it happened at that moment, and that it had that extra meaning for him was an honor for me.

SP:  That album [Terror Management] as a whole has always intrigued me because of the repeating motif of two producers each having a beat on one track (this happens on some Armand Hammer albums too, now that I think about it, but it’s a different effect when it’s two MCs on each beat instead of one). 

CP:  Lots of doubles—the name, the sides of your father, “Small Pro” versus “Small Professor,” two beats, etc. Double-consciousness, perhaps. Not necessarily in a Du Bois sense; more so in the sense of realities. 

SP:  I’m all about man’s rugged duality.

CP:  Did you and your father connect over music?

SP:  Oh, absolutely. Our music rooms were down the hall from one another when I got started in college, and over the years he would start wandering in to hear what I was working on. Eventually, as he started transitioning into working in DAWs, he would ask for advice with things he knew I would be able to help with. He loved showing me whatever he was working on, and I knew he valued my opinion as one of the people responsible for a lot of my music edumacation in the first place. 

[December 26, 2023 | 12:26 AM]

CP:  Would you reciprocate and show him what you were working on? Did he look upon hip-hop favorably?

SP:  He was from probably the last generation that didn’t grow up with hip-hop, and by and large it was probably offensive to him on two fronts: as a pretty religious dude the language and subject matter was too much, and musically all he heard were the loops, repetition, and sounds he loved and recognized being used all over again in an inferior, simple way. (I found a lot of the samples from Mobb Deep’s second album amongst his tape collection.) But over the years, as he saw how seriously I took it—as well as being impressed as a person who played 7-8 instruments by what I was able to do with two computer programs and mp3s—he was able to appreciate it as an artform (at least, the production side) even if it wasn’t quite his thing. 

He’s also half the reason I’ve always been enamored with non-common time signatures, a key feature in a lot of the music he dug—that Weather Report, Yellowjackets, Return to Forever, Herbie Hancock, Steely Dan, late ’70s, early ’80s chamber. My mother was more into “traditional” jazz and classical. They shared gospel personally—and professionally—as working church musicians. On my first album, there’s a 5/4 beat that I remember excitedly showing him because it took me forever to get the chops lined up in an un-choppy fashion, and there’s a switch on there between drum pattern grooves much like what you would find on a jazz fusion-type song. I felt like if I could impress him, I must be doing something right. The last time we hung out before the cancer did him in, he was showing me how far he had gotten learning how to play drums, and I got on the sticks and tried to replay the patterns on some of my beats (emphasis on tried). The “trouble don’t last” jawn, in particular, to which he responded by telling me I was already a drummer. Memories live. 

The times I saw his email pop up in my Bandcamp purchase notifications, I figured it was just a proud dad supporting his firstborn…nah, he was actually listening. His favorite project was the album I did along with my group Them That Do, which was my version of Madlib’s Shades of Blue on the beat tip. Besides digging the actual sound (updated jazz rap), I think he was most taken by the fact that he couldn’t quite tell what was sampled from where and that I had made all these sound from sometimes vastly different records seem like they were supposed to be together, and the beats made sense from the perspective of a person who understood music theory.

CP:  “I said, Well Daddy, don’t you know that things go in cycles.” Beautiful that you guys got to share those moments.

SP:  (I even said the part about two beats on Terror Management twice.)

SP:  My brother (the actual drummer of the family) just sent me “Spain” by Chick Corea, one of our dad’s favorites. Speaking of my brother—who I credit with teaching me how to program drums and how to count bars and all that—one time we were on our way to church with my dad, and Steely Dan’s “Black Cow” was on. Pops started to try to explain the lyrics, what a “black cow” was, why they were very high…all that. 

So a few years back I was proud to send [my father] “Gas Drawls” from Operation Doomsday because this story has always cracked me up, but also that’s a great-ass sample chop (and one that he appreciated, as opposed to the time my broski and I were buggin’ out over the beat for Jay-Z’s “Kingdom Come” and he was like, Is nobody doing anything original anymore?). 

[December 28, 2023 | 12:56 AM]

CP:  You should’ve sent him Lord Tariq and Peter Gunz after “Gas Drawls” and been like, “See.” As a drummer, does your brother fall more in line with your musical tastes or your father’s? 

SP:  I’d definitely say my brother has a much more diverse and varied musical vocabulary/understanding/tastes than I. We both grew up hearing, and then eventually listening, to rap. Twenty-three to twenty-four years ago when the neo-soul era was beginning, we were smack-dab in the middle of it, in the literal eye of the storm. Things Fall Apart, Like Water For Chocolate, Black on Both Sides, Reflection Eternal were just coming out. Musiq Soulchild was on the radio. Voodoo (which I didn’t get into until much later when I listened to it riding through Zanesville, Ohio countryside in 2007 [it’s still “Brown Sugar” over everything, though]) was everywhere. But there was also his actual school music education from primary to college, as well as listening to people from all instinctive travels and paths of rhythm, so he knows it all—or because he’d be like, “Shiiii, no I don’t!—a bit about a bit.”

I keep saying “my brother” when I have two. My younger bro is the drummer but my older brother’s tape collection was everything in high school (actually, even before that I was stealing his It Was Written tape when I was in seventh grade to play on the way to school). Being eleven years older, he was in high school when the great 90s east coast revolution was happening, and his Nike shoebox archives reflected the sounds of the time. As far as his tastes go, if DMX was still with us and dropped an album today, he’d get it without a second thought.

[December 28, 2023 | 11:10 PM]

CP:  Sorry to trail off. Got a bit busy on my side. Would you be down to hit me with a handful of your most interesting beat names at the moment?

CP:  This is art.

SP:  The “Will Smith as…” series is new. They all slap.

[Small Professor posts a since-deleted message on X quoting Werner Herzog talking about stealing a 35mm camera from a Munich film school. The quote: “I don’t consider it theft. It was just a necessity. I had some sort of natural right to this tool. If you need air to breathe, and you are locked in a room, you have to take a chisel and hammer and break down a wall. It is your absolute right.”]

CP:  I love this. “A natural right” to make something. Like a compulsion within. (I also love Herzog, so I appreciate the anecdote.) Do you remember where you first acquired that cracked Fruity Loops (and maybe Cool Edit, too)? If I think back, I probably had a friend hand me a disk, a CD-RW, back in like 1999 or something. God knows what sketchy site he downloaded them from.

SP:  In college when I first started doing beats, I torrented everything—movies, programs, especially music—with nary a second thought. It’s a good way to give your computer a bad cold, which I did on several occasions. And I too appreciate Herzog because I love no myth more than my own as well.

CP:  Have you got any myths on par with rescuing celebrities from wrecked cars or nonchalantly brushing off bullets to your abdomen?

SP:  No, but I can say I did albums with both Sean Price and MC Paul Barman.

CP:  Indisputable. I think this is an appropriate spot to (un)officially close this. Anything else you want to talk about?

SP:  Gotta give a shout-out to the Jungle Brothers for making Crazy Wisdom Masters in 1991. PremRock told me legend was that they made it on shrooms and when I listened to it on acid I was like, Oh, yeah, y’all were high as fuck when this was made. I could tell not only because the music itself is bugged out but even the pace of the record is accelerated. They had some songs on there that were a minute-and-thirty-seconds but so much was going on , sometimes different things in either stereo channel that it gives off the effect of being on a trip and you’re noticing—for what feels like the first time again—that everything is happening everywhere at once.

Listen to Crazy Wisdom Masters when you get a chance. It’s a personal classic that I’ve listened to at least fourteen times this month. Warner Brothers did them dirty (this was their M.O. apparently—this was the same time period they were beefing with Prince) by delaying the entire record two years and having them clean up the tracks, and disrupting the carefully curated listening experience by taking tracks away and rearranging the entire thing. J Beez wit the Remedy, the resulting hodgepodge, would drop on my birthday in 1993, and when I first heard it, I was like, Hmm, something’s awry here, and that’s how I found out about Crazy Wisdom Masters. 

CP:  I think I downloaded it or thought about downloading it recently when people started talking about it again. Is there a “definitive” version to look for? I know Bill Laswell had uploaded a version to his Bandcamp page a while back. 

SP:  That’s a good question. The version I found that concludes with “For the Headz At Company Z” is the album as the god(s) intended.

Just as Small Pro is distinguished from “Small Professor”, “Crazy Wisdom Masters” is a distinct personality from “Jungle Brothers.” Small Pro is a definitive, lost Laswell version—a ra ra kid who catches wreck with randomness. He doesn’t channel, but grooves, as the most psychoactive Afrika Baby Bam and Mike G doppelgänger. We end up doubled-over; “dope-sick,” if you will. You sleep on it, then you wake up in the morning and dwells on it, as Small Pro casts his spells on it. (It’s as Simple As That.) SP’s Comin’ Through, and when he does, multiple realities accelerate as he explores radical possibilities. He’s chewing on the chemicals and raising up the levels on the decibels. We—his audience of lab assistants, his dilated pupils [and peoples]—“experience the ultimate, the infinite.”

Images:

Most images are from the Vol. 1, No. 10 October issue of the San Francisco Oracle or unknown issues of the Chicago Seed | Small Professor “Sith Lord” photo courtesy of Matthew Shaver for WXPN | The Grateful Dead tapers section photo, Unknown | Screenshots by Small Professor | Apache tape photo by Caltrops Press | Gilbert Shelton, “The Fabulous Furry Freak Brothers,” East Village Other (detail) | “Deadhead” poem by Joseph Rathgeber

[tjsgreenteamints]

so fun fact for my public speaking class this year I had to give a speech on something I'm passionate about and why it's important to my entire class so I did mine on falsettos (slideshow attached)

"When most people think of a musical, they think of big jazz hands and kicklines and cheesy plots. What they are unaware of is how a musical can be much more than that. While big dance numbers are entertaining, music can be used to convey deep emotions and stories that just can’t be translated through regular words. Because of this, Falsettos is one of the most important musicals of our decade. It touched on topics most people in its time wouldn’t even talk about, let alone make a musical on. William Finn and James Lapine, its writers, were able to remind us that families can be much more complicated and deep than a husband, wife, and 2.5 kids. A lot of people don’t live inside that norm, yet it’s the primary one that is represented. Then you get a show like this, which explores conceited parents, difficult love stories, coming to terms with things that are hard, and coming of age. All of these are relatable topics. In this speech, we’ll get into the history, the characters, and the representation in Falsettos. “Love can tell a million stories.” This is the main idea of the show. Because there really are countless different ways a family can be. The show has some trigger warnings: AIDS, death, abuse, somewhat sexual scenes, and cursing. Also, spoilers ahead!

First, we’ll get into the history. The creation of Falsettos is rather unique compared to other musicals. It was originally a trilogy of three one-act, off-broadway musicals, all created by William Finn. All the shows take place in New York City, in the late 70s to early 80s. They center around Marvin, and him exploring his sexual identity. This is mostly what In Trousers (1978) focuses on, and how the women in his life helped him accept that. It was critically acclaimed as a flop, largely based on the topic it portrayed in its era. In the second installment, March of the Falsettos (1981), Marvin’s partner Whizzer gets more involved, and this act focuses on how their relationship affects Marvin’s ex-wife Trina and child Jason. Finally, in Falsettoland (1990), the dynamics of the family are shown much more, especially with Trina and Marvin planning Jason’s bar mitzvah. In 1992, the last two one-acts were combined into one full length show, simply titled Falsettos. (This was nominated for seven Tony awards that year!) The show had a broadway revival in 2016, which spread its popularity (and also what I’ll be referencing here). Also, the history behind the name of the musical is fascinating as well; According to a 2019 interview with SFist, Finn says he was “inspired by the idea of the falsetto — a man singing in his head voice outside his range — as a metaphor for people who exist ‘outside the normal range.’”

Next, the characters. Almost every character is a primary one, but the main character is arguably Marvin. He’s a possessive and insensitive man. He left his wife and child after realizing he wants to be with a man named Whizzer. He’s not exactly a good father and wasn’t a loving husband, but over the course of the play, his character development is prevalent and interesting to watch. Second, Whizzer is Marvin’s live-in boyfriend. According to Marvin, Whizzer is “delightful, stylish, and romantic,” but also “spiteful, sorta-kinda mean, and evil.” Marvin and Whizzer’s relationship is pretty toxic, but improves. Alternatively, there’s also Trina, Marvin’s ex-wife. She’s often described as insecure. A lot of her conflict is her coming to terms with Marvin and Whizzer’s relationship. Trina and Marvin’s son, Jason, is 10 years old, and thinks he is “too smart for his own good, and too good for his sorry little life.” Friendless, he plays chess all day, and has anger management problems. Finally, there is Mendel, the family psychiatrist. He was Marvin’s long-term therapist, but after Marvin insists Trina sees him too, Mendel immediately falls in love with her. Mendel honestly is kind of manipulative, but also a fun character to watch onstage. There’s also Charlotte and Cordelia, the “lesbians from next door.” They’re close family friends, and godparents to Jason. A large part of it is showing how real people behave, including the good and the ugly.

Now into how they’re all important as representation. The main theme is the various family dynamics and relationships- most of us can see aspects of our own families within the characters and plot. For example, in my own family my parents divorced then found new partners or remarried later and I have good friendships with them. First, there are three different types of gendered relationships as shown: a straight relationship, a gay relationship, and a lesbian relationship. Oftentimes in the media, the only kinds of relationships that are shown are straight ones. And for them to all be parents in some sort of way to Jason is even more important- it’s showing queer parents can be good ones too, which is a misconception many people hold (this is, that lgbtq+ parents are inadequate). Second, Falsettos touches on the AIDS crisis, which Whizzer contracts and later dies from. During the ‘80s it was a very big problem but now next to no one talks about it. How it’s portrayed in the show represents how it affected real families and people. Third, Jewish households. This year we all were able to read Night, which showed what Jewish people went through during the holocaust, but not what regular cultural home life is like. One of the main plot points is about Jason’s bar mitzvah, and how he’s not sure if he wants one or not. Jewish expectations and customs are brought up throughout the whole show.

To conclude, Falsettos is a fantastic installment to musical theater. It has original history, complex characters, and overall is an amazing testament to different types of American families. Not only that, its music and book are award winning, according to Broadwayworld.com. And this speech is really only the tip of the iceberg–there’s much, much more to it. Falsettos is definitely the musical you’ve been looking for!"

[thebladeblaster]

Vanguard Divine Z episode 6 reaction Ooh this one was kinda fire

Sorry for the late reaction I was busy yesterday

I think the masked person is someone from Overdress who Akina will meet later. Mostly because Taizo recognizes them and it seems that they told Taizo about Akina’s sister. I feel like it has to be a character we would recognize otherwise why the mask? The only ones short enough that I can think of is Yu-yu, Urara, and the gremlin (but I don’t think they met). I’m pretty sure the masked person is a guy so that leaves Yu-yu or the gremlin. Those are my guesses for now. They could be putting on a voice or something.

Taizo is so nice 😊

I love these dorks. It’s interesting that Akina already knows to aim for a winning image though he has a very experienced friend teaching him so it makes sense.

Haha, I LOVE this man🤣! He really said “fuck it we ball��. Okay, I feel like Akina is already my second favorite Vanguard protag behind Aichi. He’s just so funny and likeable. I like the way he won was through catching his opponent off guard with a crazy and unique strategy. I was thinking that I didn’t want him to win because it would feel like he has plot armor but the explanation is actually pretty satisfying. I was EXTREMELY worried that Akina would become Chrono 2.0 but I was wrong. This man isn’t trigger sacking he actually has some skill. Specifically this man pulled a Jotaro and bluffed like hell to win🤣. It was a real cool mind game strat. Like I don’t blame Taizo for getting sucker punched by his mad strategy. So it’s…

Favorite Vanguard Protagonists:

1. Aichi

2. Akina

3. Shinemon

4. Yu-yu

5.Emi

6. Kai (This is as a protagonist not a rival. I just don’t think he works well as the protagonist. He’s best as a rival.)

7. Chrono

Of course Masanori can smell the bs. This plushie is definitely secretly evil I’m calling it. Though, who knows maybe Vanguard will try to subvert our expectations with that as they do often. Otherwise I’m thinking the plushie is linked to Gyze somehow.

Hello, the gremlin is returning in the next episode 👀!

I’ve definitely been appreciating a return to tradition with Vanguard focusing back on character strategies and connecting to Cray.

Also I’ve been reading the comments and the haters seriously boggle my mind. It feels like they’re trying to hate it for the sake of it. Geez, they’re making og fans look bad. Like I am THE og Vanguard fan. I talk about it leagues more than the rest of the franchise but these people are seriously acting like this is the most boring and predictable series. Like dude this is not G or V series calm down. If anything those two were predictable af. The most unpredictable series have been og, Shinemon, and the D era. They’re like “oh Akina is so perfect that he isn’t a person” as if Akina didn’t lose his first fight and lose a bunch during his training 😅. The writers also went out of their way to actually justify his crazy win. Like it’s not like he trigger sacked to victory. He did a crazy aggressive and unorthodox strategy to catch his opponent off guard and win that’s actually good writing and reminds me of og. For instance when Aichi blindsided Goki with Soul Saver Dragon and it’s skill. Much like this win it didn’t come out of nowhere and was foreshadowed before and during the fight. That’s why I like the D era it reminds me of og in spirit. The characters actually have strategies to win that are explained like og. Honestly, I just really don’t get the hate. Some won’t be satisfied by anything.

[uttersorcery]

10 Horror films for Halloween

By David K Frampton

The Curse Of Frankenstein (Terrence Fisher 1957)

Hammer’s classic features a fine pair of performances from Chistopher Lee and Peter Cushing.

It also features the first time in cinema history to feature red blood. It’s so atmospheric and deep

And I love the way that Dr Frankestsein (Peter Cushing) becomes more and more evil as the film progresses yet somehow we still care about him. Classy early Hammer with tons of charm, atmosphere and darkness.

Les Yeux Sans Visage (Georges Franju 1960)

This French horror from the late 50s pioneers body horror. Beautifully shot and featuring some of the most haunting imagery of the era. There are some heart in mouth moments and a powerful performance my it’s cast…

Lake Mungo (Joel Anderson 2008)

This Australian horror flick might be the most terrifying movie I have ever seen…at least the most upsetting. But it is extremely well made and realised. A mockumentary with an edge it recounts the last days of a persons life. The gut wrenching finale is unforgettable and truly deeply scary.

Skinamirinck (Kyle Edward Ball 2022)

For true fear and originality try Skinamirink this film utilises atmosphere and tension to build a truly terrifying portrait of a young girl alone in her house. Too say anything more would spoil it but from a technical perspective this film uniquely creeps it’s way into your mind through showing and hiding key information leading to a disorientating and captivating stew of pure dread.

Raw (Julia Ducourno 2016)

Sometimes horror needs to be gut wrenching to truly have fun. And it doesn’t get much more gut wrenching than Raw. What makes this horror film so elemental is that this sort of pairs up as a coming of age tale as much as a cannibal horror. Beautifully shot and finely acted by Garance Marillier).

Jennifer’s Body (Karyn Kusama 2009)

Megan Fox arrived in this sensational witty and huge fun demon flick alongside Amanda Seyfried, writer Diablo Cody and director Karyn Kusama. The film deals with themes such as female sexuality, male gaze and the occult. It’s great fun, very bloody and somehow strangely moving.

From Beyond (Stuart Gordon 1986)

It’s always a pleasure to see some good old 80’s slime in a horror movie. This “slime classic” from Stuart Gordon is fun to watch, intense and woozy. When a scientist opens a portal to hell it is up to Jeffrey Combs to try and close it with disastrous results. This is a staple in the body horror diet as we witness flesh giving birth to flesh.

Audition (Takeshi Miike 1999)

Japan’s “Audition” is about as extreme as it gets as a film maker holds a fake audition to find a wife with terrible consequences. Takeshi Miike’s skill is to never let go of empathy for all of the characters leading to a finale that is both visceral and horrific aswell as heartbreaking. Essential horror.

Prevenge (Alice Lowe 2016)

If like me you think Alice Low is a genius then you’ll truly love her take on the slasher genre incredibly written and directed when she was pregnant. This movie contorts gender roles of men and women into new shapes as one nightmare situation bleeds into another. It’s dark…very dark but also shot with blackest humour. Stunning cinematography by Ryan Eddlestone.

Thanksgiving (Eli Roth 2023)

Eli Roth likes to make horror movies. He’s very good at them. And this is his best yet. My final entrance is a bit of fun. This slasher movie gets more and more crazy and gory as it progresses..almost a love letter to slasher movies the kills get more creative…and he keeps it in at a tight 90 minutes. It’s exhilarating, a little bit exploitative but the tension throughout is crafted immaculately.

[asknarashikari]

Ngl, Gotchard so far just might potentially be the first Reiwa rider season to have it's potential secondary rider make it's first debut the latest, surpass Revice to a lesser extent. (Daiji became Live later than Evil but even then Evil debut earlier on) Considering in most recent times the secondary rider often makes his debut pretty early like the second episode or so.

The last time we have a secondary rider debut pretty late (as in like the mid-late teens or so) like the earlier Neo-Heisei seasons and some later early Heisei seasons was Kamen Rider Beast from Kamen Rider Wizard...approximately like 10-11 years ago!

Or maybe they're trying to break the status quo of the rider classifications? (like how they don't outright call Neon/Naago a tertiary rider) Hmm...then again, that's just speculation. But even if we pretend that speculation turns out to be true, (it probably won't because maybe marketing reasons and then again the show is still going and again, the secondary rider can still make their debut in the mid-late teens like we got a decade ago) I would sort of respect them for trying to make new changes for this new era of Kamen Rider... (whether it's for better or for worse is an entirely different matter) At the same time, I have to admit it won't exactly feel the same not exactly having an official secondary rider again as that's pretty much been a staple since Agito... (Then again, it's highly highly unlikely we get a show like Kuuga again where the main rider is the only rider in the show. It's theoretical possible and manageable, don't get me wrong but I can't deny it's still improbable by this point in this)

So yeah, my speculations for potential possibilities for why the secondary rider is making it's debut later than we expected...is either: - One, they try to replicate the secondary debut element that we have gotten back in later Phase 1 Heisei seasons to early Neo-Heisei seasons - Two, they're trying to, at least partially break the status quo of rider classifications and trying something new or replace with a new status quo of classifications Which one of the two is more likely than the other, who knows? But hey, maybe there's a third possibility/theory or more I might be missing... now let's hear your two cents in all this, Ms. Kari.

Daiji debuted as Live in ep 10, so yeah, Gotchard already holds the record for the latest debut of an official secondary Rider as far as Reiwa is concerned. Kagerou debuted in ep 5. Everyone else (Isamu, Rintaro and Keiwa) debuted in ep 2.

If I’d hazard a guess, the writers of Gotchard are taking a lot of cues from the W-OOO-Fourze era of Kamen Rider, with the (relatively) lighter tone, more episodic plots, etc. This may include scaling back on the number of Riders in the series and spacing out their debuts more. Honestly, I kinda prefer this setup more, because sometimes it does feel like half the cast is just there to be fodder in fights or something.

As far as Rider classifications go, I don’t think they’ll push so far as to be rid of the secondary rider altogether. I can see them discarding the other designations but the secondary rider has been around way too long and and is too important from a narrative perspective (e.g. a rival or foil for the main rider). I mean, some Showa Riders are technically secondaries despite being part of the “main rider” roster because they’re not even the title rider of their series (e.g. Nigou, Riderman).

Yeah, they’re not getting rid of the secondary I think.

[ultraericthered]

When some fool interjects onto one of my posts (responding to someone else) about Disney's Wish discourse:

Okay. Just for clarification. I am an English major and I am only a semester away from having an associates. Breaking down movies and books is a hobby and a past time. So here are my thoughts.

Oh, so immediately this "clarification" doesn't sound very humble.

Without a doubt whether or not you consider this to be good or bad is opinion. It's debatable. I personally fall on the side of not liking it. I see why people can like it and I'm not gonna dox people for liking it. It's definitely one of those movies where you could "theoretically" like and enjoy despite it's multitude of flaws.

Wow, this is a mature, civil, level-headed and reasonable tone to take, and for a rational statement! You almost never see that on social media! I'll give this good sir or miss props for that. Will it last?

The plot was overall basic and uninspired.

Unfortunately yes, it absolutely was. Not one of the film's stronger qualities, I'm afraid, and with such a solid, captivating premise too!

What I mean by this is this... The plot was a carbon copy of other ideas and thoughts previously done from their other works. While this is not necessarily a bad thing, for this movie it brings it down BECAUSE it relies too heavily on them.

✓Sweet dreamy eye protagonist who is so sweet that everybody loves her

✓ talking animal side kick who provides comedic relief

✓wishing on a star

✓ female leading crying on an inanimate object because something didn't go her way

✓evil villain

✓magic saving the day

Nice checklist. Again, nothing too disagreeable so far....

These are all not necessarily bad. In fact these are good ideas to have. We have seen them before. AND THAT'S THE PROBLEM

Oh no. Is this Doug Walker argument really rearing its ugly head? A work of art or entertainment is allowed to derive from earlier made works of art or entertainment as sources of inspiration and creative intake but are not permitted to straight up repeat ideas, scenarios, plot beats and character archetypes "we have all seen before" in other works, at least not without "adding anything new of its own"?

Call me crazy, but I think Disney was heavily considering not only children born in the late 2010s, but also the current 2020s-born generation when putting this picture together. A bunch of youngsters who might've not once seen anything like what's featured in this movie before in their early years, which would make this their first big exposure to Disney animated fairy tales just as the animated fairy tales of old were the first exposure to children of those films' eras. Because every time a type of story is retold and ideas are recycled into that story could be someone's first time. That is a fact of life.

I understand that uniquemess and originality are hard to come by nowadays. I'm a writer and original ideas are the hardest to find. What you have to do is take those old ideas and make them new. What Disney did was not make these old tired tropes their own, they rehashed them and expected us to go, "Oh! That's just like this movie!"

It makes the movie lose its own voice. This movie is too wrapped up in references and tropes they've used before to try and capture nostalgia, that wonder they used to have. What made those movies so special was the heart and care that went into them. This is Disney's 100 anniversary, but instead it feels like Disney's catch 100 references to when we were a better and a more creative studio.

This would be speaking to the side of the movie that was NOT geared towards the kids, however. The side of the movie that, because it's a celebratory centennial milestone event, caters to longtime hardcore Disney fans who will immediately get all the references, recognize the homages and callbacks, spot all the little Easter Eggs thrown all over the film. I've said before that I do not believe Disney should've put so much attention and effort into this side of the movie compared to the original story, especially when they made Once Upon A Studio to better serve the centennial celeberation purposes, and that they did so was a huge mistake, being easily the movie's biggest handicap.

Why is this bad? Well don't I have the answer for you!

Alrighty then, thanks again for the honesty!

They HAD a beautiful story!! The idea and premise for this movie is probably my favorite thing but the execution from a professional and eye is awful! You cannot look at this movie and tell me that it is the Mona Lisa when it is nothing but a carbon Copy of what once was.

No disagreement there. I pray this fellow's not seen the concept art and all the information floating around about what we might've had.

It was done in a manner that was so half hearted and so clearly a cash grab they practically insult themselves. The plot was predictable and falls flat.

I love how the second sentence reads like a non sequitur to the first. I've heard the "half-hearted, cynical and desperate cash grab" accusations and I don't quite think they're accurate. I think this was a production that began with a lot of heart and care put into what everyone was designing and realizing in order to make a worthy new original Disney fairy tale for the 100th year mark, but ended with micro-managing corporate stooges "doctoring" the scripting, the scoring, the pacing (via editing), and the overall presentation of the work to turn out something safe and crowd-pleasing that hits off as much Disney quota as possible. Again, for the 100th year mark. And so what we ended up with was what I've called a "beautiful mess."

The villain was interesting at first! He was giving me a similar two sidedness as Frollo and then the back track his character by throwing in an evil maguffin to make him evil because it is clear to anyone who knows basic plot structure that it was rushed and they didn't know what else to do to progress the story. WE COULD HAVE HAD ANOTHER FROLLO WITH HIM, BUT WE GOT A HALF HEARTED GASTON!

This is starting to ramble, but I'll try to make sense of it. For one thing, I do not think Magnifico was ever at any point of the film's development set to be like "another Frollo". His core influences clearly come from Queen Grimhilde, Maleficent, Gaston, and Jafar. And the evil maguffin was not "thrown in to make him evil" - the tome of forbidden dark magic was set up as a Chekov's Gun earlier in the picture because it was what would be A: what would make Magnifico such a formidable threat to everyone, and B: what would serve as the catalyst for Magnifico to break his bonds of well-meaning rationale and discard the mask of mental and moral soundness. The prompt for him to turn to it was very rushed, yes, and his backstory and motivations behind his possessiveness, paranoia, and iron-fisted tendencies needed to be better set up and conveyed prior to this turn. I will not dispute that. But Magnifico, both in his own character arc and in how his spiral into villainy progresses the story, is so much more than "half hearted Gaston", and it really ain't nothing to do with "knowing basic plot structure" or whatever pretentious rhetoric is being used as criticism here.

Speaking of Gaston: You mentioned that The king being shoehorned in as a villain was like saying Gaston was shoehorned. I have an explanation for this. The reason why...

Yeah? What's the reason why?

Now I hope I don't loose you here. This will get a little difficult...

WHAT'S THE REASON WHY? GET ON WITH IT!

In order to PROPERLY set up a character, this goes for Asha too (more on her later), you have to set up their character and what they are about in the first 5-10 minutes they are on screen. In the movie what we are told is that the king is noble and loves his people. There was no shadow of a doubt if this. And then as the movie progresses, specifically at the 30 minute mark it is revealed that oh hoho he is a narcissist and is obsessed with himself. The way they did this was out of the blue and off putting. It came out of nowhere. There was no build up. It was a sweet song about the wishes and then BAM I'm a narcissist who cares about no one but myself. That 180 came so fast they did not even prep themselves for it. It felt like this was a last minute idea.

Well, King Magnifico was noble in regards to his ideology and his aspiration to see his kingdom continue to prosper while also being the one to safeguard the most precious wishes of the hearts of his subjects. And he loved his people...so long as they loved him, gave him constant appraisal and attention and undying devotion, and remained the good little dreamless drones he wanted them to be. Noble intentions can give way to indulgence in one's darker qualities and impulses if "the ends will justify the means" is subscribed to, and not all love is unconditional love. I have heard the complaints that Magnifico's unveiling plays out like a Twist Villain and that he was likely not intended to be really evil but they changed him last minute to pander to the "bring back traditional Disney Villains!" fan crowd. And I personally find it bollocks when the simpler answer is that King Magnifico is a corrupt, narcissistic manipulator with a God Complex whose benevolence is illusionary and whose wish-keeping system is an oppressive, dishonest, self-benefitting sham. Was the execution of the idea notably off in terms of the pace it moved at? Absolutely. This does not make Magnifico any lesser a villain, at least not to me.

Don't get me wrong, I love Asha.

This is a lie. There doesn't seem to be any "love" for anything in this movie coming from you.

She is sweet and funny, but she is poorly written.

Not only have I not argued that, I have actually stated as much!

We are not shown why she is sweet or why she is caring. We are told.

So we're just told that she's sweet rather than seeing her being so get shown, yet you like her for being sweet and funny? Which is it?

With her fatal flaw, caring too much, she is told this is her fatal flaw. The movie doesn't trust us enough for us to figure out her fatal flaw. And it doesn't even really show us that she cares too much to begin with.

Uh, yes it does. Her interactions with her mother and how far she's willing to go for her grandfather Sabino and how quickly she gets to being protective and cherishing of Star show us this. Like, if Sabino really is 100 years old and gave Magnifico his wish when he came of age years ago, that is years and years and years of life that Asha was not around to witness, as she hadn't been born yet. So you'd forgive her if she didn't invest all that much in getting Sabino's wish granted at last because she doesn't know her grandfather all that well as the gap between how long he's been alive and how long she's been alive is so huge, yet her heart cares so much about him and the idea of his wish being granted to him before he passes away that it becomes a fixation to her. She'd been spared lots of trouble and heartache had she cared less.

There are so many unexplained why's, to her it makes my head spin. Why does she care? Why does she want to be an Apprentice?

She wants to be an Apprentice so that she can be close to the king and the wishes he keeps, learn the inner workings of the system, and ensure that the king grants wishes to those she feels ought to have their hearts desires granted and their dreams realized. And this brings us to another flaw of hers that I wish the movie itself took time to notice and actually address as being such - well meaning or not, Asha was hoping that being in Magnifico's favor would get Magnifico to allow her to push for nepotism in regards to Sabino. It ended up backfiring and unveiling the king's darker nature, but it also unvelied something about Asha that the movie then sadly paid no mind to.

Why is she sweet? Why is she the way she is? Is it cause she is naturally that way like snow white? Was she raised to be that way? Or did she have a rough upbringing that made her this way? We don't know. That's the bottom line.

This movie has so many analytical flaws that I physically do not have the time nor the words to accurately explain to you why this movie is technically bad. But I doubt you care to even consider my points and come up with a half baked response.

Aaaand there's the condescending attitude you were holding back! Aaah, color me so disappointed! The "I cannot accurately convey in words how technically bad this movie is" is a cop-out, but one I'll let slide as it gets you off my back. But that other part? I DID consider your points and have in fact agreed with a few of them, and even ones I disagreed with I can see why you'd think that way about those matters. Yet you pre-emptively say "half baked response?" Sheesh!

I bid you a due. I'm gonna go watch an actually good movie.

"An actually good movie". There's another tacky, needless potshot.

Also, you fool. You absolute buffoon. It's "adieu", not "a due!"

[wafflesinthe504]

The Rookie 5x11 Thoughts

Spoilers for The Rookie 5x11 below. If you've watched the episode or don't care about spoilers, please enjoy!

The cold open with Nolan and Celina responding to an online/ metaverse robbery was pretty funny. I mean honestly what would they even really be able to do. Like the stuff that was stolen in the metaverse probably did cost real money for the woman, but since its all online how would they even try to recover it? Get a programmer to get the stuff back.

Also when Nolan put the VR headset on and was just falling had me cracking up.

Y'all, we are actually in Chenford secret dating era and I am loving it already. Tim is so head over heels for Lucy that he can't even make up a fake story for what he was doing last night other than hanging out with Lucy. The whole first scene with them in break room was just so cute. And Nolan being completely oblivious. Honestly, out of everyone in the Mid-Wilshire crew Nolan is probably the only one who genuinely has no clue about Time and Lucy. Also Tim and Lucy making plans for 'nothing' later on was great.

Everything that happened before the first commercial break just had me smiling so much.

Aaron basically volunteering Tim to coach the little league team when the third coach quits. Him trying to backtrack but the suggestion but its already too late Genny and Tyler both love the idea of Uncle Tim coaching the little league team. Seeing Tim just be so soft with the team and trying to make sure they're having fun was so cute. And then hearing Genny explain why just made my heart break a little for Tim.

Tim and Lucy co- coaching the little league was adorable. Lucy helping Tim give the kids some structure and being so competitive when it came to the actual game. It was funny to see them sort of switch places when it came to coaching because we've seen Tim yelling and jumping up and down while watching a football game but from what we know about Lucy she's not really into football. It seems like she has a bit of a deeper connection with baseball or maybe its because she has a deeper involvement with coaching that we got to see her being more open and competitive about it.

Alright, now to more of the actual plot points of the episode. We get our introduction to the case by now other than Angela's older (and probably best looking) brother Damien. I was so happy to see Damien again. Really any time we get to see more of the team's families I always get excited. I really didn't think we'd see Angela's brothers again after the one episode they were all in.

Damien's reported missing person leads to the discovery of multiple bodies behind a fake wall and the potential start of gang war breaking along with everyone debating whether or not true evil exists.

I really enjoyed hearing the everyone's perspective on the debate and you could tell how their individual experiences and beliefs have informed them of their answers to the question.

When it was revealed that Elijah Stone was the one behind the murders and the setup I wasn't surprised. I figured The Rookie would end up circling back around to Elijah eventually since he was released from jail and forced Wesley to apologize on live TV. Come on the writers couldn't just let the bad guy win. Our protagonists have to get the chance to put Elijah behind bars.

I'm personally pretty excited to see how this storyline with Elijah ends. My one hope is that they don't kill Elijah like they did with Rosalind and La Fiera. There is more than one way to beat the antagonist that doesn't involve killing them.

Lucy got her own case. I really enjoyed seeing her teach the Citizens Academy students. Yo, that one person who was stupid enough to go into a police station with an outstanding warrant was really bold. I was cracking up as she was arrested.

I liked seeing Lucy's empathy shine through as she tried to help the DA victim. She continually reached out to the victim and even tried to get the her to come to the stark reality of her situation. In my opinion I think that this DA storyline was handled better than Bailey's.

Seeing Lucy absolutely wreck that guy was awesome to see. I don't think I'll ever get tired of seeing Lucy engaging in hand-to-hand combat.

Bonus: Bailey and Nolan being to kind to be able to be landlords is too funny. I can't believe that Bailey really let the elderly folks go 6 months without paying rent. And then to find out that the elderly couple were renting it out for *that* was crazy.

______________________________________________________________

Hope you enjoyed. If you want come chat with me in the comments about anything The Rookie related.

Until next time have a good day or night.

[moorheadthanyoucanhandle]

GREEN NEW DEAL

Opening in theaters today:

Teenage Mutant Ninja Turtles: Mutant Mayhem--This new animated feature version of the adolescent DNA-altered martial-arts-practicing chelonians is about mayhem that arises due to mutants. In case the title doesn't make it clear.

The quartet, all named for some reason after Italian Old Masters, dwell in the sewers of New York under the strict protective care of their teacher and adoptive parent, the mutant rat Splinter (voiced by Jackie Chan), but long to go to high school, maybe have girlfriends. On one of their sorties into the city, they meet high schooler April O'Niel (Ayo Edebiri), who's an aspiring journalist. They also run afoul of an evil scientist (Maya Rudolph) as well as a gang of other mutant animals led by the monstrous Superfly (Ice Cube).

It's a striking movie to look at. The visuals have a garish, roughed-out, graffiti-esque look, and the animation has a stylized hint of stop-motion in the Rankin-Bass manner. Among the writers are Evan Goldberg and Seth Rogen; Rogen also provides the voice of the mutant warthog Bebop. The trailer and poster say the movie is "FROM PERMANENT TEENAGER SETH ROGEN."

The jabbery, overlapping dialogue is ticklingly funny, and I appreciated the characterization of the young April, who in the earlier movies has seemingly served as eye candy for the dads in the audience, as a smart and brave but unconfident kid with a typical body shape. As with earlier entries in the series, the film is packed with product placement, to the point that it becomes part of the comedy.

The Turtles made their debut in 1983, too late to be part of my childhood; my nephews were fans. I remember finding the '90s-era live-action TMNT movies annoying, but I found the live-action features of 2014 and 2016 surprisingly fun, even without a nostalgic attachment. Mutant Mayhem, however, may be the best-looking and funniest of them all.

As is so often the case in movies for kids, the ultimate goal that our heroes are seeking is, of course, acceptance, popularity, or simply "to be normal." This persistent theme can be tiresome, but undoubtedly it does reflect a common wish among this film's target audience. Permanent Teenager Rogen and his collaborators know their business.