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talesfrommedinastation · 1 year ago

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My redneck neighbor Doug reads my fanfiction for 'The Bad Batch'

Proverbs 11:2 “When pride comes, then comes disgrace, but with humility comes wisdom.”

I made the gross error of telling Doug that I was writing a novel length fanfiction crossover of The Bad Batch and The Expanse. It's here if you'd like to take a gander yourself.

A massive fan of both, Doug practically hooted with joy when I mentioned it at a barbeque. So, like a dumbass, I sent him a link to the fic, thinking he’d wax praise on me.

I had forgotten how aggressively irreverent this man is. I was in for a beating.

Hint: I quickly sketched this up and sent it to Doug asking if this is how he imagined Tech and Sjael Drummer in the story. He said yes, and was ECSTATIC. I'm 99% sure it's on his fridge now. Next to @amalthiaph's piece of course.

CW: It's Doug, he's not child friendly. Y'all should've figured it out by now.

They're looking at me like 'We're a clone commando genius and a pilot with a Ph.D in chemical engineering. WTF is this hillbilly shit?"

Anywho, here’s the delightful exchange we had after he finished up the current chapter:

Doug: So, lemme get this straight. We got a nice pretty Belter scientist-engineer, Sa-Jail Drummah, –so the lady’s a space Cajun. She got an undercut, tattoos, some Indian blood in her, and a crazy bitch sister who was in the Navy! Yup, pure Gulf Shore girl, got it. Sa-Jail’s a chemical engineer, I bet she got her degree at USM* like a good gal. And she meets Ryan-from-Accounting, who is a space redneck, because the boy’s a Mandalorian clone. And they’re all out camping, nice. It’s a white trash love story in space, awesome. Love it.

Me: It’s not a white trash love story in space, DOUG.

Doug: Oh, it ain’t? Let’s see here…the first time the boy meets the girl, she’s setting up a shitty perimeter fence around her trailer in the woods and he holds her up at gunpoint in the middle of the night. That’s some bayou romance right up in there. Did she show him her shrimping boat after that?”

Me: …that is true. No shrimping boat, but he joins her on a hike the next day.

Doug: Taking a girl out into the woods to show her what a rough rugged redneck you are! That’s classic white trash mating rituals right there. I’ve seen it in action my whole life, I know it when I see it. Did the boy talk about his guns?

Me: No, but he does talk about his time in the armed forces and his brothers. His guns are in his backpack.

Doug: Guns on the first date? Seriously. And bragging about your time in the USMC is like, the first thing a redneck does to impress a lady besides talking about his truck and his smoker and how much he goes to church. This is real redneck courtship happening in this story. Oh, and the part where they finally start banging?”

Me: (takes deep breath) What about it?

Doug: First of all, my wife, she loved that part!

Me: YOU READ THIS TO YOUR WIFE?!**

Doug: Well, yeah! She loves a good romance and we had a long drive that day. Anyway, Sa-Jail had just been bitching about her ex-oyfriend, or was it ex-husband?

Me: Ex-fiance.

Doug: Same difference. Anyway, Toby***–clearly named after Toby Keith like a good Southern man–left her for some other chick after he joined the Navy because that’s how the Navy man rolls. Just like Toaster Strudel's daddy. Wasn’t Toby a pilot? Yup, sounds like an average day in Pensacola to me. Flew his Blue Angel to different poon. Then, Sa-Jail, well, she needed somebody else to wash her mouth out, per se.

So, after knowing the man for what, two or three days, she flings herself at Ryan-from-Accounting and they proceed to hump like coked-out rabbits all over her trailer. And in TRUE Cajun fashion, Sa-Jail is so impressed by Ryan-from-Accounting’s pipelaying skills that she makes him DINNER. And what does Ryan-from-Accounting do that any self-preserving redneck man would do with a woman he just started dating?

Me: Enlighten my Yankee self, Doug.

Doug: HE CALLS ALL HIS HUNGRY RELATIVES OVER TO JOIN THEM FOR THEIR FIRST DINNER TOGETHER. Which they all enjoy outside the trailer! Cookout style! Nothing says ‘redneck romance’ like ‘Hey sugar, you and me just started getting serious five minutes ago, now HERE IS MY WHOLE FAMILY. FROM MY BROTHER CLAYTON THAT JUST GOT RELEASED FROM ANGOLA TO MY COUSIN CAROLLYNN WHO HAS FIVE BABY DADDIES. ALSO WE ARE GOING TO CHURCH TOMORROW AND GETTING CRACKER BARREL AFTER THAT SO GET A NICE DRESS OR MEEMAW AND MY AUNTIES WILL JUDGE.”

Me: Jesus Christ, Doug, that is not what happened.

::Doug screenshots my longfic and sends it to me and I am deceased because he’s not exactly wrong::

Doug: And of course, Sa-Jail is a good Cajun woman, just rolls up her sleeves and feeds everybody because that’s how the bayou babe do. The rest of the story might as well be called ‘Real Housewives of Space Slidell’ for all of the white trash shenanigans that follow. Let’s see here…there’s knife chasing, screaming, someone gets pregnant out of wedlock, a fist fight while someone’s driving, lots of guns, tattoos, motorcycles, a cowboy bar, a hot Southern nurse, lots of cussing, baby daddy drama, biscuits and gravy, Navy veterans, Ryan-from-Accounting’s various brothers from different daddies show up and they all want food and a place to stay, hooch-making, pimp-slaps, more guns…this is a real Cajun-Redneck tale of love. With spaceships. It’s great!

Me: I’m speechless, Doug.

Doug: Jenny loved the scenes where they cross a river with the motorcycle and then they do the nasty next to it. That’s 10/10 on the redneck Was Ryan-from-Accounting playing ‘Fishin’ in the Dark’ in the background on his phone, too?”

Me: I AM GENUINELY SPEECHLESS, DOUG.

@eyecandyeoz, did he do a good job capturing the essence of the story? LOL

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*=In Doug’s defense, University of Southern Mississippi has an incredible department regarding chemical engineering and specifically, polymer science. So he’s not far off.

**=I DIED, I’M DEAD, A GHOST IS WRITING THIS RIGHT NOW.

***=HIS NAME WAS NOT TOBY FFS.

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mattnben-bennmatt · 6 months ago

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Matt Damon's interview w/ The Hollywood Reporter (30 September 2015)

‘The Martian’s’ Matt Damon Talks ‘Bourne’ Return, Politics and PC Flubs: “Oh My God, I Look Like an Asshole”

The A-list everyman, and star of Ridley Scott's stranded-in-space drama, talks with THR about acting on the red planet, his friendship with "misunderstood" Ben Affleck, thoughts on Trump, and the time Ben Carson performed surgery on him and Greg Kinnear.

By Stephen Galloway

I’m in a plane, banking steeply, near the end of a 22-hour journey. Under normal circumstances, I’d barely have the strength to look out the window. But as the Boeing 737 tilts at a hair-raising angle, I glance down. An island is coming into view, dominated by a massive volcano that rises 12,000 feet above the Atlantic Ocean, crowned by a sea of clouds (or “a sea of clowns,” as my Spanish driver puts it later).

This is Mount Teide, at the very heart of Tenerife, one of the Canary Islands just off the coast of Morocco, unknown to most Americans but as familiar to Europeans as Baja is to Californians. It’s a favorite of filmmakers such as the production team that’s now here shooting the latest, untitled installment of the Bourne franchise. The volcano towers over the land, its black-sand beaches and warren of “calles” (or streets) substituting for Greece in the picture. (Despite that nation’s economic woes, filming is cheaper in this Spanish provence). I’m told the volcano has been dormant for more than a century. But isn’t a dormant volcano the movie equivalent of Chekhov’s rifle, just destined to go off?

The fifth Bourne is shrouded in secrecy. Nobody is allowed on the set, including this reporter, and when I’m taken to see its star, Matt Damon — who seems poised for a major career boost with this and Fox’s much-anticipated space drama The Martian — two days after my arrival in mid-September, it’s under the veil of night. Still, the film’s presence can be felt everywhere: in the trucks stacked end-to-end at the edge of a small park in the heart of the city of Santa Cruz; in the tramline with a stop that’s been shut down for days and won’t open until the production departs for London a week hence; and in the collection of trailers at the picture’s base camp, reminiscent of the circled wagons that formed a line of defense against Indians in old Westerns — the “Indian,” in this case, being me.

It’s been nine years since Damon, 44, last tackled the role of Jason Bourne — and eight years since The Bourne Ultimatum was released — almost as long as he’s been married and a father of four kids (ages 4 to 17), during which he has gone from being a young action upstart to an industry veteran shouldering all the responsibilities of fame, family and middle age. But he retains the enthusiasm he once had for the part.

“I love this character,” he says. “He’s so smart and resourceful and easy to root for. I always wanted to play him again.”

Bourne won’t be out until next summer, and between now and then, Damon’s status as one of Hollywood’s few bankable stars, commanding as much as $20 million per picture, will be put to the test. He has had hits (three Bournes, three Oceans) and misses (We Bought a Zoo, Promised Land), and he admits the prospects of Bourne — and, more imminently, the Oct. 2 release The Martian, which THR‘s Todd McCarthy called “constantly absorbing” — weigh heavily on him.

“I’m not angst-free,” he says. “I mean, look, I’ve got a lot riding on this movie.”

Sitting in his trailer at 1 a.m., as we chat during his “lunch break” in the middle of a night shoot, Damon is hyper-alert, much more so than this jet-lagged reporter. After years of having his weight fluctuate between films, he looks buff in jeans and a tight, collarless shirt — though he claims to be nowhere near as fit as the astronauts he met while researching Martian.

He also seems older and more mature than the boyish figure who has been a familiar presence onscreen since the late 1990s; only traces linger of the perky young man who won an Oscar for co-writing (and starring in) Good Will Hunting in 1998. There’s a gravitas to him, beyond even Bourne‘s. His emotions rarely slip out; whatever passions once rocked him are buried in the past.

He’s also more thoughtful, and far more cerebral, than his regular-guy image might lead one to believe. The intellect he inherited from his university professor mother and onetime stockbroker father seeps through — it’s there in everything from his articulateness when he speaks about clean water (his most prominent cause) to his taste in books. He has just finished Passage of Power, the fourth part in Robert Caro‘s ongoing biography of Lyndon B. Johnson.

“[Bourne director] Paul Greengrass sent it to me a year or two ago and said it was his book of the year,” he says. “I came across it on the shelf and I’d forgotten about it. I looked at [its size], and I went, ‘No way.’ But I read it in a couple of days. I could not put it down. It’s such a comprehensive picture. I walked away thinking, ‘This guy is so f—ing complicated.’ And of course, we all are. We all are.”

He looks at me directly, almost as if challenging me to draw the inevitable conclusion about him. He has a striking mixture of intensity and ease, of emotions held back and wry humor. He hints at moments of loneliness (“lonely in a sense of, you know, you have to make a huge effort to see friends”) and restlessness (“We might move back to New York”) without revealing more. I wonder whether he’s always this contained or whether, like that volcano — dormant, but not extinct — his emotions might one day erupt.

“I had a terrible temper,” he acknowledges of his youth. “I mean, like, a problematic temper. I still get riled up and competitive.”

That’s one of several hints he gives of deeper currents, as is his account of undergoing hypnosis to give up a two-pack-a-day smoking habit just a few years ago. “It wasn’t nerves,” he says. “I think I’m just an addictive kind of person, and I got addicted to cigarettes. I smoked like crazy. Now it seems totally insane.”

Few things ruffle him — not my probing about this, nor the recent kerfuffle over remarks he made on a recent episode of Project Greenlight, the HBO reality series he executive produces with Ben Affleck, when he appeared to question the importance of diversity while speaking to an African-American.

“There was some context taken out,” he insists. Although he saw a near-final cut, he did not see a later, trimmed version. When he did, “I went, ‘Oh my God, I look like an asshole.’ I thought it was a really insensitive thing to say.” Later, he issued a mea culpa. (He was less apologetic during his Sept. 28 appearance on Ellen DeGeneres‘ show, where he addressed a second, more recent kerfuffle over an interview with The Guardian in which Damon seemed to suggest that gay actors should remain closeted. “I was just trying to say actors are more effective when they’re a mystery,” he explained. “And somebody picked it up and said I said gay actors should get back in the closet. Which is like, I mean, it’s stupid, but it is painful when things get said that you don’t believe.”)

The remarks were unexpected, coming from one of Hollywood’s most outspoken liberals, whose support for candidates such as Massachusetts Sen. Elizabeth Warren carries weight among his politically minded colleagues.

He doesn’t hide his disdain for Republican presidential candidate Ben Carson‘s remark that no Muslim should be commander in chief. “What he said is horrible and offensive and also just not true,” he says. “It’s literally written into the Constitution that your religion won’t bar you from any office, you know? So it’s not only horrible and offensive, but also wrong.”

He’s more familiar with Carson than most. “I met Ben Carson 22 years ago,” he recalls. “He gave the convocation speech for Columbia Med School, where my girlfriend at the time was going, and he gave a beautiful speech about who he was and where he came from. And then, because Carson had done the first successful separation of conjoined twins, when I did the movie Stuck on You, there’s a scene where Greg Kinnear and I are separated. Ben Carson plays the surgeon. We shot with him for the entire day. He could not have been lovelier. [But] I can’t believe some of the things that he says.”

Damon does not know Carson’s competitor, Donald Trump. “I’ve never met him,” he continues. “But when people are talking about putting a wall up, I just can’t take them seriously. I can’t. It seems so un-American. We have people running for the highest elected office talking about putting a wall up that would keep my wife and her family out of the country, you know?” (His wife of 10 years, Luciana Barroso, is an Argentine native and naturalized American.)

He says he supports Hillary Clinton on the Democratic side: “I love Elizabeth Warren, but she’s not running for president.” He also likes Joseph Biden and Bernie Sanders and wavers when pressed to choose among them, before coming down for Clinton. “I’m supporting Hillary,” he affirms, noting she’s the only candidate to whom he has given money this go-around.

Damon once was a vocal critic of President Obama for straying from a liberal agenda. But he now says that Obama’s moves since the last congressional election have restored his faith. He went to the White House late last year to screen The Monuments Men (along with co-stars George Clooney and Bill Murray) and found himself seated next to the first lady. Later, Damon spoke to Obama about what the actor had said.

“We talked about it, and look, even when I was giving him shit, he’s somebody who thinks so deeply about everything he does,” he says. “I don’t ever question that it’s coming from the right place with him. He’s a remarkable human being and shockingly easy to be around. He’s incredibly approachable and doesn’t beat you up with his station, though he could.”

In Hollywood, Damon has long been linked to Ben Affleck, his best friend since childhood. They remain close, running a production company together and — since Damon moved from New York in 2013 — even living on the same street in Pacific Palisades in L.A. Both have managed the rare, if not extraordinary, feat of remaining superstars.

It’s impossible not to be intrigued by the apparent opposites that Damon and Affleck represent, one as seemingly held back as the other is emotionally flamboyant — as if one is the other’s id unleashed and spinning out of control. But Damon rejects that impression.

“There’s nobody who’s more misunderstood,” he says of Affleck. “Ten years ago, the public image of him could not have been farther apart from who he actually is. It was like he was being cast in a role, that he was a talentless kind of meathead, with his whole relationship with Jennifer Lopez. He just got cast as this person that he wasn’t. It was just really painful. It was painful to be his friend, because it wasn’t fair, you know? To my mind, nobody really got him at all. And through his work, he climbed from the bottom of the mountain all the way back up to the top and past where either of us had ever been.”

If Affleck’s latest tabloid travails — for allegedly cheating on his wife, Jennifer Garner, with their nanny — trouble Damon, he doesn’t let on. Their friends, speaking on background, insist Matt and Ben are more similar than different.

“In the marketplace, everything gets exaggerated,” says their agent, WME’s Patrick Whitesell. “These guys are both super interested in doing a range of things — Matt’s diversity as an actor and Ben going down the road of writing, acting and directing. They’re all things that come from an artistic place, and they love the challenge of it. That spark is where they are very similar. And on a philanthropic level, they’re both very, very committed.”

In addition to his water concerns, Damon has been involved with his close friend Don Cheadle on Not on Our Watch, which supports those displaced by mass atrocities, and the ONE Campaign, which fights AIDS and poverty in developing nations. Affleck has given extensive support to the Eastern Congo Initiative, helping those affected by the conflict there.

The friends came close to reteaming on a biopic about Boston criminal Whitey Bulger, but they got beaten to the punch by Johnny Depp‘s Bulger film Black Mass.

“We had a very different take on it,” says Damon, noting he has not yet seen the Depp movie, though he has read the book by Dick Lehr and Gerard K. O’Neill on which it is based. Explaining the difference between the projects, he cites a letter he received from a South Boston author. “It was a really moving letter that basically said: ‘Don’t glorify this man any more. Please stop.’ And this is to take nothing away from Black Mass. I hear the movie’s great. But Ben and I agreed with the guy who’d written us. And so we came up with this idea of doing it more like an anti-gangster movie. Make it look like what it was: something grotesque.”

He and Affleck are developing other movies together through their Pearl Street Films, including a Robert F. Kennedy biopic (with Damon playing RFK and A Royal Affair‘s Nikolaj Arcel writing and directing), though no start date has been set. “It’s a wonderful script,” he says, acknowledging that he’s more focused on his next movie, Alexander Payne‘s Downsizing, which starts shooting early next year.

As to the actor’s long-held plans to direct, they’re some time from happening, especially while he is back at the peak of his acting career with Martian and the new Bourne. “I have to find the time,” he says. “I have to find the right project that’s going to fit with my life.”

The Bourne franchise has had its own strange odyssey, and it could have ended for Damon after Ultimatum, the third movie in the series. In Damon’s view, writer Tony Gilroy‘s script for a third was unfilmable. “It’s really the studio’s fault for putting themselves in that position,” he told GQ magazine. “I don’t blame Tony for taking a boatload of money and handing in what he handed in. It’s just that it was unreadable.” (Gilroy declined to comment.)

Damon and Greengrass decided not to embark on a fourth Bourne, leaving Universal to switch stars and create a spinoff featuring Jeremy Renner. The result, 2012’s The Bourne Legacy, grossed a disappointing $276 million worldwide (compared with Ultimatum‘s $443 million) and failed to anoint Renner a new action star. (Universal and producer Frank Marshall have vowed a follow-up with Renner.)

“I always tied myself to Paul,” says Damon. “I always said, if he came back, I would love to come back. And we would talk about it periodically. But we just didn’t have a story to tell. We just didn’t have anything. And the studio was under pressure because they have a deal with the estate: They have to make a Bourne movie or they [lose the rights]. I don’t know what the deal is, but I know that any time there’s a franchise that’s this successful, there’s a lot of pressure.”

He says any conflict is “water under the bridge” and notes that “Tony wrote The Great Wall,” the Zhang Yimou movie that Damon just wrapped in China. Still, he acknowledges, “I did not see [Gilroy] in China.”

In Tenerife, the production team is an ocean removed from those troubles, and crewmembers wander around the hotel where I’m staying exuding a certain joie de vivre. Greengrass, his untamed gray hair flying in all directions, putters cheerfully around the pool, as if happy to be back on the series he took over from Doug Liman.

Damon has no idea whether audiences will be hungry for more. “I don’t want to take that for granted,” he says.

Has he signed on for a sixth in the series? “No. I always just did one at a time. Even on the first one, they suggested me signing up for three, [but] I didn’t know if I was going to like making action movies. I didn’t ever want to be in a situation where I was roped to something and I couldn’t get away.”

More than material, Damon maintains it’s the director who draws him to projects. With The Martian — about an astronaut forced to get by on his wits after being stranded on Mars — that initially was Drew Goddard, who also wrote the script. Then Goddard left to direct Marvel’s yet-to-be-made Sinister Six.

At that point, “It didn’t have a director, so I thought it would go away,” says Damon. “And then I got a phone call from Patrick, who said, ‘Ridley Scott really wants to do this movie.’ ” Damon raced over to his office. “And he just goes, ‘This script is f—ing great!’ And I said, ‘Yeah. Why aren’t we making this movie?’ And he went, ‘I don’t know.’ And that was it.”

Scott remembers the humor Damon displayed in that meeting and how easygoing he was, qualities he valued during the intense shoots. “He is the most polite, nicest guy I’ve ever worked with,” says the filmmaker. “There’s no star attitude; there’s no attitude at all, which is really refreshing and nice. But, underneath it, he’s very sophisticated in his awareness of what he’s doing.”

Early on, the two discussed Damon’s upcoming picture, Interstellar, and whether similarities between the films posed a problem. That movie was the only one Damon had made in 18 months — just a week’s work, interrupting his first prolonged hiatus since he started as an actor, triggered by his move to L.A.

“I said: ‘You know, I really want to do this with you, but I just did a cameo in Chris Nolan‘s movie. Very, very different, but it’s about a guy stranded by himself on a planet,’ ” says Damon. “It might be weird to follow that up with playing a guy stranded on …’ And Ridley said, ‘It’s not going to matter. One year in between the films, that’s a lifetime now.’ “

The $108 million Martian was a risky proposition, given that Damon would have to perform solo through much of the movie, with just a greenscreen.

“We shot about seven weeks in Budapest, and then four weeks in Jordan,” he says, noting the strange, almost otherworldly landscape of Jordan’s sandstone-and-granite valley, Wadi Rum. “It was all greenscreen [in Budapest]. It was a massive greenscreen, and they put the Hab there, the Habitat I’m living in. They put that in the middle, and then everything around was soundstage. Then we had a second Habitat in Wadi Rum, and I’d walk out of the Hab, and I’d be in Wadi Rum.”

One of the major challenges he faced was imbuing the movie’s comedy with an underlying sense of fear. “We had a big conversation about the concept of dread,” he recalls, noting that he and Scott spent several days going over the script line by line, discussing each emotional beat, before they filmed. “Because the movie’s light and funny, we talked about: How do you keep all that? How do you infuse it with this [humor] without losing the stakes?”

During the shoot, he observed Scott with interest, recognizing the director’s stamp on each frame. A former artist, Scott graduated with First Class Honors from London’s Royal College of Art, along with David Hockney.

“There was a shot late in filming, where I was sitting in the MAV, the Mars Ascent Vehicle, getting ready to be launched,” Damon remembers. “And I went to watch the playback with him, and it was really just the top of my shoulder and this helmet and a little piece of my face. But it was unquestionably a Ridley Scott shot. I said, ‘Why do I know that’s a Ridley Scott shot? What is that?’ And he puzzled over it for a second. He said, ‘You know, when I’m setting up that shot, all I’m thinking is, I want to make this as simple and truthful and honest as I can.’ “

It is a testament to Damon’s strong character, or possibly his acting skills, that he can accept slices of marinated dorade from the private chef who serves us in his trailer and still appear wholly uninterested in luxury.

Outside movies and family, most of his energy is devoted to nonprofit work, particularly through Water.org, which he founded with Gary White and which supports clean water projects throughout the world.

He flinches at the memory of a trip to Ethiopia in 2009 when he saw a new well that had fallen into disuse. “There were these children drinking out of a hand-dug well, and they were filling up bottles full of this muddy water,” he says. “It looked like chocolate milk. It was literally brown. And they were taking it to school. And right next to this hand-dug well [was] a state- of-the-art well that an Indian NGO had put in — you know, $10,000 or $15,000. They had raised the money like wonderful people trying to do their very best, and they’d come to this village and put this state-of-the-art well in. But they hadn’t brought any spare parts, and they hadn’t taught the people in the village how to maintain the well, so, obviously, eventually the thing breaks. Then it just sits there and rusts, and people are back to the hand-dug well again, and kids are dying of completely preventable diseases once again.”

If clean water is one passion, his greatest remains his family. He will celebrate a decade of marriage this year; his wife (a former bartender whom he met while shooting in Miami) and four daughters have altered his life profoundly, he says, giving him “a big, kind of existential relief.”

“I remember thinking, in my early 30s, that I wouldn’t [get married], you know?” he reflects. “I didn’t think it was going to happen for me. My brother found his soul mate very young; he’d just turned 26 when they were married. He’d been married for 10 years by the time I even met my wife, and I looked at this really happy, wonderful marriage and kind of went, ‘I guess that’s not going to happen for me.’ And then it did.”

He refuses to be apart from his family for more than two weeks at a time; either they come to see him or he returns to Los Angeles. He is still getting used to the idea that his eldest daughter, Alexia, 17 (his wife’s from a previous marriage), will not join the rest of the family in visiting him when Bourne shifts to London in early October. “She’ll stay back with her grandmother and in school,” he says. “So that’s a big one for us. We’ve never split the family.”

He adds: “I heard once, you spend all of this time trying to protect your heart, and then you have kids, and it’s like you put it in their bodies and send them out into the world, and you can’t possibly know everything that comes with that. It’s a very, very different way to be in the world.”

For just a moment a depth of emotion surges in him. The lava comes close to bubbling up, then subsides.

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aniketsanimationblog · 7 months ago

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Why on earth always my favourite shows get screwed up every time?? Why??

So, if you haven't noticed as of yet already or even don't know what has happened, then after reading the below article, you will realise why I have put this question as a Title.

I cannot believe that, this is frequently happening to this very day.

So, one of the concept artist of Star Trek: Prodigy, Oliver Beck, just claimed that his artwork, which was shown in the S1E10, "A Moral Star: Part 2", was stolen by the makers of the upcoming Bollywood movie, 'Kalki 2898 AD', Vyjayanthi Movies, for their logo in the Trailer of the movie. This was happened after South Korean Artist, Sung Choi, claimed that his artwork was also stolen in the trailer, without their permissions or Giving them the credits.

Like, Seriously!! This Screwing up of ST: Prodigy is just unbearable. Like, C'mon!! First, The Money Mafias, just forced to cancel and wipe ST: Prodigy out of existence, until Netflix Saved it. Then, Lucasfilms and Disney, stole the plot of Star Trek: Prodigy into their upcoming Star Wars animated series, Skeleton Crew, and now This Art Theft by the upcoming Indian Movie!! They are thinking like, 'Star Trek: Prodigy' is no longer a Thing anymore rather than an open-source material, after what Nickelodeon and Paramount Canceled and tried to remove it.

And I am really sorry as an Indian Person. Because, ST: Prodigy don't deserve this to be like screwed up everytime. Bollywood has a history of stealing things that they stole and no one behind the scenes gives any credits to the original artists they stole from. Sometimes, I feel ashamed that this had happened. As I support Originality, I think it has to be said rather than just not tell anyone to obscurity. While I am insanely proud of my fellow Indian artists at Mikros Animation in Bangalore, who are involved in ST: Prodigy, I am equally ashamed that this happened. Also, the Emmy-award winning Art director of ST: Prodigy, Alessandro Taini, worked as a Concept Artist for Bollywood film, "Brahmastra: Part One - Shiva". If he knows what happens on Bollywood behind the scenes in reality, then he would be discouraged altogether. There should be a Global Law about Art Theft and Copyrights. Seriously!!

ST: Prodigy, as well as other good quality animated shows and movies, should not deserve to get art-theft like that.

And to Oliver Beck, and Sung Choi, on behalf of Indians, I am really really Sorry that this happened.

I hope that somehow, things will change for the better. I will try to contact Hageman Brothers and @aaronwaltke as well about this incident happened recently.

But this is the harsh reality of Animation as an Artistic Media we live in, ladies and gentlemen.

And I have nothing to say more.

So, I will see you on 1st July when S2 releases on Netflix. I am trying to renew Netflix ASAP. So, wish me luck.

#star trek prodigy #animation #star trek #animation fans #animation fandom #animated kids show #nickelodeon #television #netflix #art theft #Screw art theft #Animation should be respected.

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mvnandhini · 6 months ago

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Indian 2 - Disappointing | ஷங்கரின் விதவிதமாகக் கொல்லும் obsession!

ஷங்கர் இயக்கத்தில் கமல்ஹாசன் நடிப்பில் வெளியாகியிருக்கும் இந்தியன் ௨ படம் எப்படி இருக்கிறது. சமூக ஊடக கருத்துக்கள் … Saravanakarthikeyan Chinnadurai இந்தியன்-II – @ interval – வர்மக் கர்மங்கள் தவிர மற்றவை நன்று. விதவிதமாகக் கொல்லும் obsession-லிருந்து ஷங்கர் வெளிவரச் சிரமப்படுகிறார். #Indian2 #KamalHassan #Siddharth 1st half-sidharth portion was good-Killings was cringe xD– unwanted set…

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ashesinthewritten · 6 days ago

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right

I need to talk about Indigenous representation in Life is Strange. Because: yikes. To put it lightly.

and preface: the cultures I see in 1&2 are not my own, but have similar features, and this is my OWN OPINION, and I’ve been watching playthroughs of the game(s)

to start off, when I was wee little one, I wanted to get a new game, and I found Life is Strange. I read the summary of the episodes and I thought, “Wow, this looks cool, I’ll watch the trailer for it.” I have no idea what trailer it was, or if it was just photos.

I watched it. I saw the “totem poles” and the use of Raven. I IMMEDIATELY went, “NOPE. I’m not supporting this company ever.”

To my eyes, the totems looked wrong. They looked liked the tourist knick knacks that are made en mass by non-Natives out of the country. I say this because the Formline figures, which is the art style of NWC poles, which determine how and where you carve onto the poles; were BAD

Formline has 3 main components: and this is not all encompassing

Ovoids, which have specific dimensions dependent on their placement in the design, outer ovoids have a thicker top and a thinner bottom, and inner ovoids with the opposite dimensions.

U-Shapes, with thinner sides and a thicker top

Trigons, as they sound, three pointed shapes

as these 3+shapes work together to create the parts that are, in this case carved and not carved, to bring depth to the totem, the negative and positive space in the art

in LiS, there is no depth, no (from what I could tell) ovoids, trigons, or U-Shapes and no negative space in the totem they drew. It was a cartoon caricature of an important part of Cultural Education

I say it is Cultural Education, because it is. Totems are physical representations of our history, who lives on the land you are on, and important historical events to our Clan or Nation. They are teaching us our history, and tools to help us remember our history. They teach us the knowledge of carving from Master to Apprentice.

They are Full of Intention. What do the LiS totems do? They are there, randomly placed, attached to no one, and without history for the Original People of the land.

AND the tribe of that area are talked about ENTIRELY in the third person, as if all the Native People are dead, and have been dead since the colonizers came.

WE ARE NOT DEAD, despite what Western education teaches. WE ARE ALIVE.

and then there is the use of Raven as some kind of harbinger of bad. In my culture, Raven is the Trickster, and always hungry. Raven is not a force of evil.

Many of our Raven stories are Creation stories, but Raven is NOT GOD. Raven brought about many things, like (IN MY CULTURE) the tides, daylight, moon and stars, salmon, among other things, and this is usually because of his greed.

Raven is not whatever Life is Strange is trying to do.

And then they tried putting different figures to certain “Indigenous Meanings” WHAT

I don’t know what is going on there. Just WHAT. In my culture, I don’t know about anyone else’s, but we don’t attach certain traits to certain animals.

OH and then in before the storm! With the Costume of Chloe, I totally saw it very very close to trying to be Raven-esque, or regalia-adjacent, and that may just be me being hypercritical, but with all the feathers and face paint, my immediate thought was, “oh they’re trying to make her look (what non-Natives believe is) Indian (a slur used by colonizers against Native people)”

and while I loved the performance, the outfit just rubbed me the wrong way.

AND NOW INTO LIFE IS STRANGE 2

WHY DOES FINN, A WHITE MALE, FROM THE CONTINENTAL US, HAVE TRADITIONAL AK NATIVE TATTOO(s). the Tattoo on his chin, is what we refer to, as a chin stripe. The reason for this tattoo may vary through cultures, but from my culture. It is a MONUMENTALLY IMPORTANT TATTOO FOR A YOUNG NATIVE WOMAN

it is their FIRST TATTOO, where a young girl would receive it once she begins to menstruate.

it can also be added upon for other major events, such as motherhood, or in todays world, a life achievement, like graduation from school.

So why is the WHITE MAN HAVE IT. My dislike for him happened the second I saw his face.

THIS IS NOT OKAY, NATIVE WOMEN THROUGHOUT HISTORY HAVE BEEN SHAMED AND PERSECUTED FOR THEIR TATTOOS, made to be ashamed of them. So Many Ancestors that were beaten because of the colonizers and what they believed was “wrong” because it wasn’t white social expressions

A NON-NATIVE SHOULD NEVER EVER GET THESE KINDS OF TATTOOS

and I have no idea about the triangles underneath his eye, but I wouldn’t put it past him to appropriate that from a Native Culture.

Traditional tattoos connect us to the strength and resilience of our ancestors, and is a very important decision for many Native Women, where we will still find discrimination because “tattoos are bad; tattoos mean bad people”

Did you know the practice of Tattooing is entirely appropriated from Indigenous Cultures, and that white people thought Natives Lesser than because we have meaningful tattoos for achievements and/or signs of wealth/social standing?

But when a prominent White political figure a couple hundred years ago, it was all the rage for white people. A souvenir of their “exotic travels”

and Finn making up a story about learning wood-carving from an Inuit person in Alaska? I HIGHLY doubt that any respect ivory or wood carver would teach an outsider, much less some random white boy, how to carve:

All in all. Unhappy with Life is Strange franchise. I have heard about them working with the Huna Hertitage Foundation, and that’s certainly better, getting real Natives to make Native art, but they did mess with the designs a bit to match the *aesthetic* of the game. So it’s less good, but still better than the rest of them.

#The ashes rant #life is strange #Life is strange games #I hate the game #But the premise was so good #They are continuing the harmful narrative of stereotypes and appropriation of Native Identity #Characters or no #before the storm #life is strange 2 #finn life is strange #Appropriation #Native Tattoos #Not an exhaustive list of my gripes

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theomenmedia · 2 months ago

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Pushpa 2: The Rule Trailer Creates A Frenzy Online!

Pushpa 2: The Rule trailer is here to rule! Allu Arjun returns with more swag and action than ever. Fans are in a frenzy!

#Film Trailer #Blockbuster #Pushpa 2 The Rule #Allu Arjun #Rashmika Mandanna #Fahadh Faasil #Sukumar #Pushpa Raj #Telugu Cinema #Indian Cinema #Trailer Reaction

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buzzerbizz · 25 days ago

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The Role of Social Media in Shaping the Success of Modern Cinema

In today’s digital age, social media has become a cornerstone of movie marketing, shaping how films are discovered, discussed, and celebrated. Platforms like Instagram, Twitter, YouTube, and TikTok have turned into global stages where trailers go viral, memes spark engagement, and fans create communities around their favorite films. At Buzzerbizz, we understand the immense power of social media and harness it to craft impactful campaigns for South Indian movies. Let’s explore how social media plays a pivotal role in driving the success of modern cinema.

Building Anticipation Through Teasers and Trailers

The journey of a successful film begins long before its release. Social media provides filmmakers with the perfect platform to unveil teasers and trailers, building anticipation among audiences. For example, the trailer for RRR broke records on YouTube, thanks to strategic promotions and a visually stunning presentation.

When a trailer is launched on platforms like Instagram and YouTube, it doesn’t just announce the film; it sets the tone, hints at the storyline, and sparks curiosity. Effective use of hashtags, engaging captions, and collaboration with influencers amplify reach, ensuring maximum visibility. At Buzzerbizz, we specialize in optimizing trailer launches to capture audience attention and drive conversations.

Engaging Fans Through Interactive Content

Social media thrives on interaction, and modern cinema marketing leverages this to create a two-way dialogue with fans. Interactive campaigns, such as polls, quizzes, and challenges, encourage fans to engage with the film’s content. For instance, fans of K.G.F: Chapter 2 participated in fan art contests and trending challenges, further fueling excitement for the movie.

Interactive content not only builds a sense of community but also turns fans into brand ambassadors. When audiences share content they’ve created, they expand the film’s reach organically. At Buzzerbizz, we design engaging campaigns that resonate with fans, ensuring they feel personally invested in the film’s success.

Creating Buzz with Viral Trends

The power of virality cannot be overstated. Social media trends, whether they’re hashtag campaigns or dance challenges, can make a film a global sensation. Take the Pushpa phenomenon: the “Srivalli” step challenge on TikTok became a worldwide craze, driving millions to theaters.

For a trend to go viral, timing and creativity are key. Leveraging trending formats, like reels and short videos, ensures that content is shareable and relevant. Buzzerbizz excels at crafting viral campaigns, aligning them with audience interests to maximize impact.

Leveraging Influencer Collaborations

Influencers have redefined the way films are marketed. By partnering with popular influencers, filmmakers can tap into their established audiences and add authenticity to their promotions. For example, regional influencers played a significant role in promoting Drishyam 2, connecting with local audiences in a relatable manner.

Collaborations with influencers work because they build trust and credibility. Audiences are more likely to engage with a film recommended by someone they follow and admire. At Buzzerbizz, we curate influencer partnerships that align with your film’s message, ensuring meaningful and impactful promotions.

Driving Conversations with Memes and Humor

Memes have become a language of their own on social media, offering an easy way to connect with audiences. Films like Baahubali and KGF became meme goldmines, with dialogues and scenes inspiring endless creativity among fans.

Humor is a powerful tool in cinema marketing. A well-crafted meme not only entertains but also keeps the film relevant in everyday conversations. At Buzzerbizz, we specialize in creating and distributing shareable meme content that resonates with fans, ensuring sustained engagement.

Fostering Fan Communities

Social media is home to countless fan communities where enthusiasts come together to discuss, analyze, and celebrate their favorite films. These communities play a crucial role in keeping a film’s buzz alive. Dedicated fan pages, Twitter threads, and Reddit discussions drive word-of-mouth promotion, one of the most effective forms of marketing.

Engaging directly with fan communities—through exclusive behind-the-scenes content, live sessions, or shoutouts—helps build loyalty and excitement. At Buzzerbizz, we ensure that your film’s promotional efforts extend to these passionate circles, amplifying its reach.

Enhancing Visibility with Paid Campaigns

While organic reach is essential, paid advertising on social media can significantly boost a film’s visibility. Platforms like Facebook and Instagram allow for highly targeted campaigns, ensuring the right audience sees the content. For instance, promoting a film’s teaser to specific demographics—age, region, language preferences—can generate higher engagement.

To learn more about creating impactful campaigns, check out the Top 10 Digital Marketing Strategies to Promote Movies for expert tips that can complement your efforts.

At Buzzerbizz, we design data-driven paid campaigns that deliver results. From crafting compelling ad creatives to analyzing performance metrics, we ensure your investment translates into box-office success.

Showcasing the Magic of Behind-the-Scenes Content

Audiences love getting a glimpse of what happens behind the camera. Sharing behind-the-scenes photos, videos, or anecdotes on social media humanizes the film’s cast and crew, making fans feel closer to the production.

Such content builds a deeper emotional connection with audiences, as they see the passion and effort behind every frame. At Buzzerbizz, we help you curate and share behind-the-scenes stories that add depth to your film’s promotional narrative.

Analyzing Campaign Performance for Continuous Improvement

One of the greatest advantages of social media is the ability to track and analyze campaign performance in real-time. Metrics such as engagement rates, impressions, and shares provide valuable insights into what resonates with your audience.

At Buzzerbizz, we use advanced analytics tools to monitor campaign success and refine strategies. This iterative approach ensures that your film’s promotions remain dynamic and impactful, adapting to audience behavior and market trends.

Conclusion: Empowering Cinema with Social Media and Buzzerbizz

Social media has transformed the way films are marketed, offering unparalleled opportunities to connect with audiences and drive success. From crafting viral trends to building loyal fan communities, the possibilities are endless.

At Buzzerbizz, we are passionate about using the power of social media to elevate South Indian cinema. Our tailored strategies, creative campaigns, and data-driven approach ensure that your film doesn’t just reach audiences—it captivates them. Ready to make your next movie a social media sensation? Contact us today and let’s turn your vision into reality!

#digital marketing #cinema #films #performance marketing #social media marketing #movies

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