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aboutcaseyaffleck · 4 years ago

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Casey Affleck Gets Philosophical About Life, Time & The Whole Damn Thing

“Time,” reflects Casey Affleck, “is something I have been thinking about lately. It is ironic how the older you get, the better you are at being patient. With less time left, people become better at waiting. But this year, I feel much older and a lot less patient. I guess you’ve got to accept that time is never wasted? That doing is no different than not doing? That you can’t kill time no matter what you do, and that no matter what you do you can’t prevent the opposite from happening either? I don’t know. It’s a double-edged sword.”

It’s a Wednesday afternoon in early January, and Affleck and I are doing the Zoom thing, ostensibly to discuss his two new movies, the recently released indie Our Friend and the upcoming 19th-century period drama The World to Come. Yet our virtual tête-à-tête has become far more interesting, jumping wildly from his love of trains and travel to weightier topics like family, the future and the search for something more, something meaningful.

“I like the idea that time is an illusion. That past, present and future are all happening at once. I like it even though I can’t totally get my head around it. But either way, the me in the mirror gets older every day.”

Like most of us, he’s not only had plenty of time on his hands in recent months, housebound in L.A., but he’s tried to use his downtime wisely. “I tried to use this year of quarantine constructively,” the 45-year-old Oscar winner says. “I tried to see it as a winter season for shutting down and restoring something inside, but I just couldn’t. I’m not that evolved, I guess. I didn’t take up a new hobby or learn an instrument or get better at ‘self-care.’ If anything, I let my better habits and routines fall off. It was all I could do to keep my head above water and help buoy my friends and children when I could.”

As a guy with two teenagers at home — Indiana, 16, and Atticus, 13 — it hasn’t been easy, but he’s doing his best. He tried taking his sons on their annual camping road trip over the summer, but it was short-lived. Instead, he’s been focusing on making a happy home. “My kids don’t get to see their friends a lot, so I’m doing a lot more stuff with them, coming up with activities for the three of us, which they mostly hate, and I mostly let drop. And then I try again with the same outcome 90 percent of the time.”

While trying to create innovative plans to sustain his boys, he came up with one he thought might do some good, too. In June, he launched Stories from Tomorrow, a social-media initiative focused on creative writing by kids.

“At the beginning of all this last March, the first thing that occurred to me was that the quarantine would have a big impact on young people’s emotional well-being — the disruption they’re going to feel is really going to affect their mental health more than anyone else,” he says. “When I would sit down to write creatively, I felt better. But I couldn’t get my sons to journal or do creative writing much. I didn’t want to twist their arms about it. So I was like, ‘I’ll make a social media platform that inspires young people to write creatively, because it is such a good way of working out difficult feelings. And the way I will do that is have well-known people read the kids’ writing publicly.’ I knew that hearing your own writing read was exciting. I thought it would be really inspiring, that creative writing would be a great outlet for kids stuck at home.”

He enlisted some of the biggest names in Hollywood, including Robert Redford, Matt Damon, Don Cheadle, Jon Hamm, Matthew Broderick, Kyle Chandler and Danny Glover, as well as two current costars, Vanessa Kirby and Jason Segel, and arranged for donations made through the program to go to children’s hunger nonprofit Feeding America and Room to Read, which supports female education. He reached out to schools in Africa, Asia, the Middle East and Haiti, hoping to create a global community.

Affleck was excited to make progress, to have done some good, but the initiative didn’t take off as planned. “In the end, an Instagram account for creative writing by tweens just couldn’t possibly compete with the quintillion bytes of daily data generated online. I don’t know. But I tried! And anyway, since then lots of other organizations started doing basically the same thing, and they are more organized than I am, and they have done a better job. So be it.”

Yet, adults have been disrupted, too, including Affleck himself, who is aware that, relatively speaking, he has gotten through mostly unscathed. “Am I happy? I mean, I’m relatively okay. It’s been a hard time to find balance and to keep it. I would say it’s been a hard time in my life, but I know that it’s been harder for other folks. So far we haven’t lost anyone, and we haven’t lost our house. And I rediscovered that when you’re feeling bad, there’s nothing better to do than to try to help other people. Being of service not only helps others but is a great way of getting outside of yourself. Also — and I really believe this — I think this time will be remembered as one when our country made leaps and bounds in the right direction; we are changing and growing and it’s uncomfortable, but we will be much, much better. I wish I could see the next couple hundred years. It’s going to be amazing.”

At the end of the day, it’s family that’s keeping him going. “Having my kids around and being able to spend so much time with them has been amazing. It is the brightest silver lining in all of this. They are what gives me the most joy. They are funny and smart and interesting and interested. They are just the best company ever,” he says. “Anytime I try to parent out some ‘teaching moment,’ I find they are two steps ahead. They help me make sense of stuff just as much I help them, if not more. I don’t have any answers, but batting the questions around, back and forth, is a good way of coping.”

CALEB CASEY MCGUIRE AFFLECK-BOLDT feels he is luckier than most. Although he and many of his peers have gone jobless for a full year, he spent 2019 working hard. He had not one but three films done and dusted prior to the start of the pandemic; the last one wrapped a week before mandatory quarantine. Two of these have back-to-back release dates: the tearjerker indie Our Friend came out in January, and sweeping period drama The World to Come will be released February 12. Thriller Every Breath You Take is slated for later this year. “I am so, so, so glad I spent 2019 working that much. It is what kept us afloat all through 2020,” he says.

The films themselves are radically different, but there are a few common threads. In both of his winter releases, Affleck plays a man who has lost a family member and whose marriage is in shambles. In both, he is a man in pain.

In the LGBTQ masterpiece The World to Come, which revolves around the love that blossoms between two married women on the mid-19th-century American frontier, his character, Dyer, says very little but manages to convey a wealth of emotion with his eyes alone. He may seem stoic, but he is suffering.

“The World to Come is a story about a couple who have lost a baby. They’re dealing with the grief in totally different ways and having a very hard time coming together again,” he explains. “My character wants to heal that by having another, but his wife [played by Katherine Waterson] is coping in a different way. She is severing all emotional attachment to him because it triggers more and more grief. She [only] seems to come alive when she is with their neighbor, a woman on the next farm [played by Vanessa Kirby]. He wants his wife happy, but he also would like her to love him. To me, this is the story of how couples can have their relationship shattered by a sudden loss. And it’s definitely a beautiful story about two women who feel that they have to hide their love and find the courage to love each other anyway.”

Affleck likes layers. He himself has many, so it shouldn’t come as a surprise that he’s drawn to roles written as fully formed characters, not caricatures. With Dyer, that’s abundantly clear. “Crisis is fun to play, [and Dyer] is in an interesting crisis,” he says. “I think he’s a really good person — a really decent, solid, loving person — which is what I loved so much about playing him and what I love so much about the writing. It’s more interesting when there’s no bad guy, just a conflict of circumstances and feelings that get so complicated that it drives two people apart.”

In Our Friend, a different set of circumstances drives the leads apart. Affleck and Dakota Johnson take on the true story of Matthew and Nicole Teague, whose imperfect marriage was strained by his long absences and her affair, neither of which seem at all important when she’s diagnosed with terminal cancer.

“To me, Our Friend is really a story about how petty grievances between people can divide them and then be forgotten when a gigantic tragedy is dropped in their laps. [Matthew] was wronged, it’s true — his wife cheated on him. On the other hand, he wronged her in a bunch of ways; [they] were just more passive and not quite so salacious. He wasn’t around. Matt got to be a dad and he got to travel the world as a journalist. He left her to take care of the kids. She wanted to have a life too, she had dreams of her own — she wanted to be a singer, she wanted to work — but she didn’t get to do that. She just got to be a mom. She was left holding the bag, and it wasn’t fair.”

He spent a fair amount of time immersing himself in the journalist’s life while filming in Fairhope, Ala., in 2019. (The film’s title is taken from Teague’s award-winning Esquire essay, “The Friend: Love Is Not a Big Enough Word.” The friend in question — played by Jason Segel — is a man who puts his life on hold to help the family during their darkest days.) But he did not become Matt Teague, which is an important distinction. “[Director] Gabriella Cowperthwaite asked that we not portray the personality traits of the real people. No accents, no mannerisms. [But] I did steal his style, because I had never seen someone nail the dad look any better than Matt. I say that with affection.”

As for the dreams Nicole gave up for her family, Affleck says, “If you were to ask Matt, I’m sure he would acknowledge that he was neglecting his role. He was neglecting her dreams, and that is a part of marriage, supporting what the other person wants. Like all relationships, it was complicated.”

Like life itself, really. This is why he can identify with both sides. He understands Nicole’s pain about the deference of her dreams as well as Matt’s desire to escape through travel — especially now, when Affleck himself has been completely grounded. Since the age of 17 he’s taken 20 cross-country road trips. His love of driving is secondary only to his enthusiasm for trains: Amtrak is his jam. He even fantasizes about owning his own train car one day.

Immersing himself in each location — whether it’s the sleepy Alabama town of Fairhope or the more exotic locale of Romania, which served as a stand-in for the East Coast of the U.S. in The World to Come — is actually one of the most desirable parts of the acting life, he says. “One of the things I love about working as an actor is that you go to some brand-new place and the community invites you in in a way that they don’t usually if you’re a tourist,” he confides. “You get to see what it’s like to really be there and imagine yourself living there.”

And he has — over the past ten years he’s spent so much time in cities including his hometown of Boston; Vancouver, British Columbia, the location of Light of My Life; Atlanta, where he shot the 2016 action flick Triple 9; Argentina, where he made Gerry; Dallas, for A Ghost Story; Calgary, Alberta, where much of the epic western The Assassination of Jesse James by the Coward Robert Ford was filmed; Our Friend’s Fairhope set; Cincinnati, for The Old Man and the Gun; and Braddock, Pa., where he filmed the 2013 drama Out of the Furnace. “I have loved moving in and settling down and living a character’s life and then moving on. But I feel most at home in places that are struggling to get by. It reminds me of the neighborhood I grew up in. I feel lighter in those places, more relaxed. I feel like myself. I fit in.”

For him, the where is almost as important as the who — immersing himself in the place is imperative to understanding his character. This is part of what makes him such an accomplished actor — he and most of the parts he plays merge. I draw a crappy analogy about how the characters are like a coat, which he very obligingly works with. “You have to build the coat from all of the scraps and pieces of yourself; all these characters are made up of little pieces of me,” he says, noting, “Obviously, sometimes they can’t be. Sometimes I have no connection whatsoever, and those are the jobs I look back on and I either feel nothing for, or worse. But sometimes you have to take the job that is available, like most people in the world. You know? I don’t think my dad wanted to be a janitor. But he did it.”

He’s won an Oscar, a BAFTA, a Critics’ Choice Award, a Golden Globe and an Independent Spirit Award, among others, and appeared in films that run the gamut from box-office juggernauts like the Ocean’s 11 franchise and Tower Heist to indie darlings like brother Ben’s directorial debut Gone Baby Gone and Manchester by the Sea. He has even written and directed, most recently 2019’s Light of My Life, a bizarrely prescient movie about raising children in a pandemic. At this point in his career, he should have his pick of parts. “Not really,” he says. “There are a lot of people out there who have done good work, who are driven, and who have something to share. I have never been someone studios embraced as a ‘movie star,’ never knighted. I have always had to fight for the parts I have gotten. And you know what? That’s fine. Let me fight. It’s how I cut my teeth, and it is how I will keep them sharp. You can’t ask for more than a chance to be in the ring. Also, movies and TV aren’t all I care about. Sometimes I think, ‘Well, jeez, I have to work, and there are two jobs available to me, and the one that isn’t as good is the one that is close to home and I can see the kids, so I guess I am doing that.’ I love movies and really try hard to make them good. I really bust my ass every day when I get the chance to make one. I care more about my family than any movie. It’s not [always] the job I love, but this is the reality of my life. But maybe life will be long enough for a few more chapters.

The forward momentum of his future is an interesting topic. At the moment, he isn’t so much planning for the future as he is exploring it, because Affleck is not someone who likes to live with regret.

“I guess [at the end of the day], regret should be reframed as a reminder to be different,” he observes. And so, with this in mind, he embarked on a personal journey several years ago and decided to go back to college (at the Simon Fraser University in British Columbia). He had completed two years at Columbia University, but he never graduated — his film career kept getting in the way.

“I went back to school because I hadn’t finished, and I wanted to think about new things in a way that school can help you do,” he says. “I couldn’t go in person, so I found a strong online school and got started. You know, I’m 45, and I just thought, ’This is halftime. This is where you hit the locker room and think about how you want the rest of the game to go.’ You know what I mean? Like, ‘Okay, we went out, we played our best, we didn’t know what the other team was going to be like, we made some mistakes, we are in the game, so let’s adjust like this.’ Also, I’m not sure I want to be an actor forever. I had made a small pivot from acting into directing, and into producing more. And I like to direct movies. The most satisfying creative experience I’ve had in a long time was being a director. But ultimately it wasn’t quite enough. So I wanted to go study some of the things I was interested in. I wanted to do more with my life.”

Although he needed general credits to graduate, he found an unexpected passion for juvenile justice along the way, with a particular focus on alternative accountability programs. “I don’t know where this will lead me, or why I am so interested in it, but finding and implementing better systems for addressing harm and conflict among kids, adults too, but mostly young people, is something I care about. And the work that I have done so far has been fascinating and deeply rewarding.”

When I ask if this stems from his own experiences as a troubled kid growing up in Cambridge, Mass., with Christine, a single mom — his parents divorced when he was 9; his father, Timothy, an alcoholic tradesman, checked into a rehab facility in Indio, Calif., when Affleck was just 14 — he muses thoughtfully, “I love my parents and think they both did the very best they could and cared a lot. Period. Did I get into some trouble as a teenager? I got into some trouble when I was a kid, and I struggled a lot through high school with depression and substances, yes. Much of it I didn’t even know wasn’t normal. I don’t know if I was ‘troubled.’ Either way, as an adult, I’ve come to see that, regardless of how I compare to anyone else, I want less conflict in my life. That might be part of the reason why I’ve been so interested in learning about better ways of resolving conflicts, both with children and with grown-ups. It isn’t something they teach in school for some reason. Man, there is a lot they don’t teach you in school, huh? A lot you’ve got to learn on your own.”

And on this journey, mistakes will be made. That’s par for the course, and Affleck is no exception. “I have made so many mistakes, but life is the time for mistakes. I do believe people should hold themselves accountable and repair harm they have caused. That is important to me, and I try hard to do that whenever it is called for: apologize for mistakes and repair them,” he admits.

This is when our conversation, as such conversations are wont to do, comes full circle. Before we say goodbye, Affleck remarks, “You know, I heard Bono talking on Howard Stern’s show, and he said something about Frank Sinatra that was interesting. He said that he heard two versions of Frank singing ‘My Way.’ One version was recorded when Frank was young, and the other version was recorded when Frank was old. Each had the exact same words, same arrangement, same everything. But when Frank was young the line ‘I did it my way’ sounded proud, and when Frank was old it sounded humble. Whatever else time does to a person, I think it also does that.”

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collectorscorner · 4 years ago

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TOYS - T-SHIRTS & COLLECTIBLES DC Gallery DCeased Harley Quinn PVC Statue, AR Godzilla 1964 Ghidorah 3-Headed Monster Movie Pint Glass, AR Godzilla 1974 Godzilla Vs Mechagodzilla Movie Pint Glass, AR Marvel Gallery Handstand Spider-Gwen PVC Statue, AR POP Coke Coca Cola Bottle Cap Vinyl Figure, AR POP Games Fortnite Midas Mt Vinyl Figure, AR POP Hostess Donettes Vinyl Figure, AR POP Kool Aid Original Kool Aid Packet Vinyl Figure, AR POP Town Bob Big Boy Restaurant With Big Boy Vinyl Figure, AR

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aftermathdb · 5 years ago

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DEATH BATTLE Review: Leonardo vs. Jason

Many years ago, Leonardo was destined to do battle with Tommy Oliver, but instead did battle with Zitz… And today, we see him do battle with Jason Lee Scott.

Ground rules for this fight: No zords, no turtle-mechs, no teammates. Just a good old fashioned, 1v1 battle to the death.

Leonardo′s Preview.

Beneath the streets of New York, four ordinary turtles were mutated by contact with a strange mutagen, and were trained by a equally mutated Rat-Person who named them after Renaissance artists and trained them in ninjutsu. If that sounds like a parody… That’s because it is…

Regardless, these Genetically Altered Shinobi Terrapins were in need of a leader. Donatello was smart and technical but he wasn’t a strategist for battle, Raphael was too hotheaded, and Michelangelo… is Michelangelo.

So the true leader in blue was chose to lead the team. Though most just call him Leonardo.

Leonardo embodies Bushido. For those of you confused, don’t worry, Boomstick is too. For those of you who don’t understand why ninjas and samurais have a lot of beef, it’s because ninjas were literally made to fight samurais.

And they make a quick note: As there is no “definitive” version of Leonardo to choose from, anything that’s reasonable is fair game. As in, if at least two Leos can/have done it, it’s on the table.

So, no double-mutations, dragon transformations, or anything too out of the ordinary.

The hosts go over Leo’s mastery of martial arts, and his weapons. Essentially, the Ninjaken Swords are just Katanas without the curve. As well as multiple other ninja needs like smoke bombs, grapple guns, kunai and ninja stars, and the works.

And we lead into a Wiz and Boomstick animated segment where… I’m not sure why or how, but Boomstick’s smile looks… better? Maybe it has something to to do with the way the teeth are drawn.

(please ignore the typo. I was in a bit of a rush)

A mixture of both a joke and part of the analysis. I like it.

Leonardo knows how to heal with (a missed opportunity for a Boomstick joke) the ninja magic of self-healing. While not potent enough to fix fatal wounds, it’s still handy nonetheless.

The hosts also go over how Leonardo is fast enough to dodge lightning,

Push over this giant pillar onto a giant mutated cockroach

And was even able to hold back this mutated tyrannosaurs’ bite.

And across multiple timelines, he’s usually the one who deals the finishing blow to the Shredder.

While teen angst and immaturity can hold him back from his full potential, Leo’s one heckuva fighter.

Jason′s Preview.

After 10000 years of being trapped in a magic space dumpster, the evil witch Rita Repulsa was set to conquer earth. So the galactic sage Zordon recruited some overbearing and overemotional humans to defend Earth. And every team needs a leader. So enter the levelheaded martial arts teacher: Jason Lee Scott.

Jason draws power from the Morphin’ Grid, and i order to gain access to it, he just needs to shout out three words.

“It’s Morphin’ Time!”

With this power on his sai-aye-aye-aye-aye-ide

The hosts apparently deduce that the Morphin’ Grid takes the hits for Jason, as evidenced by the sparks.

And after going over the weapons, we go into our next Wiz and Boomstick segment.

And after going over the Power Sword and a whole lot of weapons, and some key weaknesses. Like the whole thing about how they can’t escalate a fight.

So the Power Blaster is off-limits if it’s not actually needed.

But Grid-Enhanced individuals are still strong in their own right. Like when Jason lifted this enormous boulder over his head.

Nice.

Other Grid-Enhanced feats include

Pushing over a boulder weighing in at about 125000 tons, dodging lightning for a bit, and surviving the Power Rangers’ command center exploding.

And while Jason does lose his powers when he takes too much damage, he’ll still be one heckuva fighter. Especially with the power on his si-i-i-i-i-ide!

The Battle Itself.

Luis and Zack are the main animators for this, Leonardo will be voiced by Jon Allen and Jason will be reprised by Alejandro Saab, Audio Lead by Chris Kokkinos, and soundtrack of Teenage Morphin’ Ninja Power by Therewolf. And before we get into it, I gotta say that that track name is awesome!

So the fight starts off with Jason trying to get somewhere while Leo is eating his pizza, and Jason runs into Leo.

Which causes…

The pizza to fall.

Leo calls him out on it, and Jason sees him as one of Rita’s monsters.

And after a quick scuffle, Jason morphs.

So we get into a quick stand-off, and we seriously get into another opportunity where the “Fight Byte” could come back. They don’t have to do it for all of them, they can just choose which ones they do want to use it for.

At least make it a ringtone.

So, right off the bat, Leo narrowly takes speed, as they seem to land an equal number of attacks on each other. But it’s also clear that Jason takes strength early on as well, as he basically shrugs off all of Leo’s attacks.

Jason summons his Power Sword, and we get into a really cool sword fight sequence. Not as cool as Sasuke vs. Hiei’s sword clash, but still cool nonetheless.

And after a quick scuffle, Jason shows off for a bit…

And Leo’s swords break.

Jason goes in for a Tyrannosaurus Charge, and we get a recreation of that scene from Johnny Cage vs. Captain Falcon when the other guy was just blown away from how cool the other guy is.

Leo retreats into the sewer after knocking a drain cover at Jason, and he recovers the damage that was done to him.

As well as getting his newer weapon.

So now we’re at a teleport spam, where Jason is trying to hit Leo, but Leo is just too quick to actually strike.

And once Jason does land a hit, Leo’s shell is stopping him

Leo teleports high up, and we go into our finishing blow in

5…

4…

3…

2…

1…

What’s bonkers here is that Power Rangers have finally ended their losing streak! Woo!

Verdict + Explanation.

After some quick joking around with Boomstick, we get into the reason why Jason won. While Leo has dodged lightning more reliably and had better training, he was simply outclassed everywhere else.

And that training wouldn’t really be that much help because Jason’s morph gives him extra skills to work with. Call it cheating, but whatever. It’s Power Rangers.

Leo can reasonably scale to a Turtle Villain named Baron Draxum in terms of durability.

Now, the Barron survived this 12 ton explosion. Which is impressive, but not compared to Jason who survived the Command Center exploding. That blast was nearly 54 times greater than what Leo could scale to.

Strength was also in Jason’s favor too. While Leo could push over large stone pillars, Grid-Enhanced beings could push around 125000 ton boulders.

It wasn’t as one sided as it might seem though. Leo certainly was more skilled and was faster. If those were the only stats that mattered, that would have gotten him more wins. But Jason ultimately came out on top.

Overall impression.

Overall, this fight really does feel like an interesting episode. It’s definitely one of those “Playground Debates” that you probably would have had if you were a kid watching one or both of these shows.

The fight is interesting, and the dialogue is delightfully corny. The fight is certainly longer than Canary-Sindel, so it’s easier to soak in how each ability and stat stacks against the other. Like I said, speed was only a narrow win on Leo’s end, and it showed because he was able to dodge more easily, but it also showed that strength and durability was on Jason’s simply because he was able to tank any attack Leo threw at him no problem, and was able to basically shatter Leo’s weapons casually.

The soundtrack is awesome, and it definitely makes it feel like an 80s/90s nostalgia trip where your childhood tries to kill the other childhood.

8.7/10.

Next Time…

Well so much for Genos vs. Cyborg or War Machine vs... Uh… Huh. I guess War Machine is like how I view Dinobot. Not a whole lot of options for him that aren’t super shallow.

Is there a fight that you want me to review? - Send an ask/request, and I’ll look into it!

Do you want to read my fanfic based around DEATH BATTLE itself? click here!

Thank you for reading, and I hope to see you next time for…

Cyber Fighter Smackdown.

#Death Battle #Deathbattle #review

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thisdayinfavrd · 5 years ago

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September 24, 2009

Someone dumped a filthy, stained futon on the sidewalk. Then, someone tagged it. Then, a dog shat on it. So, yes: comments were enabled. @hotdogsladies (Merlin Mann) – 117

Came back from the bank with 3 rolls of quarters in my front pocket. And discovered a great way to avoid having to share the elevator. @adamisacson (Adam Isacson) – 95

In Hell, a coworker will tell you there are cookies in the breakroom. You will run. They will turn out to be date squares. Forever. @sween (Jason Sweeney) – 87

A 19-pound newborn? That baby's lifestyle disgusts me. @badbanana (Tim Siedell) – 78

With Gmail down, I have no idea what Justine Bateman wants me to do. @badbanana (Tim Siedell) – 74

Whoa whoa WHOA. Hold up. Take a breath and calm down. Now. Start at the beginning. Uh-huh. Uh-huh. Uh-huh. So. You're a seagull. And? @sween (Jason Sweeney) – 74

The day I sell out is the day I stop sticking my dick in the tangy zip of Miracle Whip® with half the fat of mayonnaise. @fireland (Joshua Allen) – 71

When the only tool you have is a hammer, you're probably Thor. @sween (Jason Sweeney) – 69

I can tell when she's expecting company because suddenly the toilet paper rolls have to go on the dispenser. As if we're French royalty. @tj (Fun Size Bytes) – 69

For the sake of defeating irony, I propose we change the word 'minimalism' to 'm'. @Zaius13 (Damn Dirty Ape) – 67

Suddenly embarrassed by my 'Mamas and Papas' tattoo. @badbanana (Tim Siedell) – 64

Coworker stood to make an announcement, saying "Everybody..." Naturally, I shouted "dance now!" and did the Roger Rabbit. @CcSteff (Stephanie) – 63

When the only tool you have is gravy, every problem looks delicious. @Moltz (Moltz) – 63

"I'm sitting in one of those TGI Friday's places, and everyone looks like they want to shove a shotgun in their mouth." @shitmydadsays (Justin) – 62

No, I don't wanna play Frisbee with you. Because I just don't, that's why. Because I don't feel like it. LOOK, I NEVER WENT TO COLLEGE OKAY? @sloganeerist (jtdobbs dur) – 60

G-20! Made it to downtown Pittsburgh. with my "MY OPINIONS ON CLEAN COAL ARE TOO COMPLICATED FOR A PROTEST SIGN" protest sign. @CranberryPerson (N/A) – 59

A proposed Postal Service bailout? I would send my congressman a letter of support if I could remember how to do that. @badbanana (Tim Siedell) – 57

Food baby jokes are really insensitive to those of us without a fooderus. @biorhythmist (matt) – 55

I'll be honest; without the stock art of a guy on a cliff pumping his fist at sunrise, a lot of self-help lists might seem like bullshit. @hotdogsladies (Merlin Mann) – 54

I primarily use Google Latitude to update my friends with my location nine days ago. @lonelysandwich (Adam Lisagor) – 53

#favrd is down

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blacknerdproblems · 6 years ago

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Remember a couple months ago, when the collective DC nerd community huddled close to their computer screens and heard the words that caused a shift in the multiverse: “Fuck Batman”? Because I do, and I thought about it a lot as I sat down to watch the open arc of DC Universe’s Titans.

As an unabashed fanboy for all things DC Comics, I was… looking forward to it? The original Teen Titans was a staple of my adolescent animation years and for whatever reason, I am an ardent watcher of all of the Arrowverse. Titans looks like what happens when you blend the general premise of the former, the aesthetic of the later, and then you grab some of the filters they used for the DC Cinematic Universe and then set it to max intensity to see what happens.

And look, I try to keep an open mind. I try not to be beholden to canon and all of the preconceptions I have fostered due to nostalgia. Titans was very clearly going to appeal to a different sensibility, and it was very upfront about that. But on a scale of Telltale’s Batman, a stunning reinvention of the character that made targeted changes in order to bolster certain characteristics, to Gotham, a haphazard slapdash of various Batman-related sound bytes and errant fan wiki pages that were organized by a random number generator, Titans definitely errs more on the side of Gotham. Legit, Teen Titans Go! is a better encapsulation of the characters as sacrilege as it might be to type that. As such, your enjoyment of the series is going to be entirely dependent on your ability to forget everything you knew about the characters and just sort of go with the stuff they place in front of you. But y’all, it kind of makes you remember all the thing earlier series did better.

The first few episodes felt very anthology-esque, giving a spotlight to various characters. At the center of the story, we have Brenton Thwaites playing a very convincing Jason Todd with the notable caveat being that he is actually supposed to be Dick Grayson. Dick is a regular ole Dick Tracy, working as a detective in Detroit, MI (yeah, I know) after a “falling out with his old partner.” Rachel Roth a.k.a. Raven, played by Teagan Croft, is the supernatural empath we are all familiar with sans being significantly younger than most iterations. Starfire is our other leading lady, played by Anna Diop with what I’m told is an exceptionally questionable wig. And finally Beast Boy, played by Ryan Potter, rounds out of the main cast, although he’s had about maybe 15 minutes of screentime in the first three episodes, so I’m not really sure if I like him or not yet.

There will be people who will enjoy seeing a live-action Titans with Robin, Starfire, Raven, and Beast Boy at the helm regardless of how weird it feels at time. There will be others who absolutely, and rightfully, eviscerate everything the show does. For me, it takes a lot for me personally to hate on a show. I know exactly what type of ire Titans is going to get, and I’m gonna side-eye anyone who gives this series excessive praise. Like its cousins on the silver screen, Titans is an aggressive average at its very best and aggressively aggravating when it stumbles. I’m going to keep watching, because I need something to satiate my appetite until my CW shows come back in full force or Young Justice makes it triumph return, but y’all…don’t feel compelled to watch Titans. Lots of other media available in the DC Universe package that you can find true enjoyment with, but we’ll recapping it if you’re undecided.

Titans premieres on October 12, exclusively on DC Universe.

Read on here. [x]

#titans #dc universe #dc streaming service #early review #blacknerdproblems #black nerd problems #robin #star fire #beast boy #raven #live action

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favhere · 2 years ago

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Plex Bytes: A Creative Journey in Vlog Videos

Introduction: In the vast ocean of YouTube, there are countless creators who strive to entertain, educate, and inspire their viewers. Among them, Plex Bytes has emerged as a rising star, captivating audiences with their unique vlog videos. With a distinctive style and a passion for storytelling, Plex Bytes has carved a niche for themselves in the world of online content creation. In this…

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euro-journal-english-news · 2 years ago

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Serial entrepreneur shares 3 key ingredients for a great startup name (podcast episode)

How do founders come up with startup names? And what makes a great startup name? Well, if you are feeling lazy, you could use a startup name generator. However, if you want something that will really make an impact, then you will want to hear this. In this episode of the Brains Byte Back podcast, Jason Keck, CEO & Co-Founder of Broker Buddha, a startup using online smart forms to speed up…

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thisdiscontentedwinter · 6 years ago

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Two Man Station is one of my fav books! Will there be a sequel? On Amazon it looks like its part of a series?

Yup! Next one is out in September–I don’t have a date yet though, since I’m waiting on my awesome cover artist to come back from her much-deserved vacation!

The next one is set int he same universe, but it’s focussed on different characters. But I’ll get back to Gio and Jason (and Taylor!) eventually!

Here’s the blurb:

Paramedic Hayden Kinsella is single and the life of the party. He likes driving fast and saving lives, and he doesn’t do relationships—he does hookups. Except he wouldn’t hook up with copper Matt Deakin if he were the last guy on the planet. Hayden thinks the feeling is mutual … until clearing the air leads to a drunken one-night stand, which leads to something neither of them was expecting: a genuine connection.

Police officer Matt Deakin moved to Townsville to take care of his elderly grandfather. In between keeping an eye on Grandad, renovating his house, and the demands of his job, he somehow finds himself in a tentative relationship with Hayden and very slowly gets to know the damaged guy beneath the happy-go-lucky persona.

But the stressors of shift work, fatigue, and constant exposure to trauma threaten to tear Hayden and Matt apart before they’ve even found their footing together. In the high-pressure lives of emergency services workers, it turns out it’s not the getting together part that’s hard, it’s the staying together.

And if you want to check out an excerpt, you can find one here at Love Bytes Reviews!

#my books #lisa henry #lights and sirens

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calliecat93 · 6 years ago

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Callie Reviews: TMNT 2012 Season One (Part Three)

(Part One) (Part Two)

Here is where we look at the season as a whole. For this, I will be looking at four things: Animation, Voice Acting, Characters (Heroes, Villains), and Story. I’ll be going more into depths about some stuff I skimmed over here as well. So lets dig in!

Animation

This is the Turtles first CGI show... okay yeah the 2007 movie was CGI, but that was a movie. When I first heard this, I was reluctant as I felt like 2D was becoming more and more of a lost out. But the CGI was really good! Mind you it looks a tad bit dated now as every season they pushed more and more to improve it. But still, it’s very well done. I can’t recall any point where I thought it looked bad or cringy...aside form when they wanted you to cringe anyways. What helps is that the show does add in some 2D elements, There’s the comic-style flashbacks of course, but even past that. They use these anime-like quirks like the sweatdrop, blushing, wide blank eyes when reacting in shock, vein burst when a character is angry, all these tiny little things that give it a more cartoony feel. I can’t recall any other Nickelodeon CGI shows that were doing this prior, so it helped it stand out among the other shows.

Another plus side? The character designs. Aside from a few background characters they re-colored, none of the important characters look the same. Like I know that some don’t like April’s design, but at least they gave her and Karai their own distinct character designs. Then there are the Turtles. Something I don’t like about the upcoming show is how much.. accessorizing they add in to make the Turtles look distinctive. 2k12 kept it very simple. Different heights, eye color, shade of green, and of course body build. For example Donnie, the genius who is mroe invested with machines than training, is both the tallest and most slender. Raph, the strongest, is the most buff and Mikey, the youngest, has larger eyes and freckles to show his child-like nature.And even with Raph,a ll four boys have kind of high school athlete-like builds. Nothing over the top like say... the Michael Bay films. Basically, I can believe that these guys can do the ninja-like agility more than I can with the overly buff, giant versions that have been used.

When ti comes to the mutants, the animators get creative. There are so many unique mutant sin the show. Snakeweed, Spyder Bytez, Dogpound, Fishface, Splinter, Leatherhead, all the mutants have their own unique design that work for them. They also know when to get creepy, like with the mish-mash... thing... from The Alien Agenda. That was disturbing as heck, and it’s not even the creepiest one they come up with! Oh just wait for next season, haha... but yeah, mutant designs are great!

Now the settings are kinda... meh. I mean The Lair is cool, but it’s mostly just either the the Lair, the New York landscape, Shredder’s lair, or an empty warehouse most of the time. It’s nothing really... creative I guess is the right word. We also don’t explore new York much, mainly settling on skyscrapers as the setting. It’s understandable why since New York is the setting, but still it juts gets kind of boring after awhile. But for what it’s worth, they do try to do creative stuff when they can like in Baxter’s Gambit with the black and white screens.

And of course, there is the fight choreography. As I said before, it’s fantastic. All the fights in the series are fluid, well-paced, and fun to watch. If I had to give some examples off the top of my head, there’s New Friend, Old Enemy when the Turtles rise form the water. The mix of black and red is absolutely perfect. There’s the first fight against Shredder in The Gauntlet which despite the boys getting constantly knocked down by Shredder, they give it everything they have. It looks freakin’ badass. Then there is any Splinter fight scene. There’s not many, only about three in this season (It Came From the Depths, I, Monster, The Showdown two-parter) but they are excellent. I said that the Splinter vs Shredder fight was the best and nothing after ever topped it, right?

So yeah, if I was going to rate the animation on a 1-5 scale...

Rating: 4.5

Voice Acting

The series was voice directed by veteran Andrea Romano, so you know that the performances are gonna be solid. As far as casting goes, they got in a LOT of big names both in the voice acting industry and out. There’s of course Greg Cipes (Mikey), Mae Whitman (April), Nolan North (The Kraang), Kevin Michael Richardson (Shredder), Phil Lamar (Stockman), Clancy Brown (Dogpound) and of course Rob Paulsen (Donnie). Rob’s casting was actually a pretty big deal as along with being a veteran with nearly 30 years of experience, he was also the voice of Raph in the original 80′s show. So getting him back even as a different Turtle? Yeah... that’s pretty big!

Then you have more well-known on-screen actors, like Sean Astin (Raph) and Kelly Hu (Karai). Now they both actually have very solid VA-ing careers and still do voice work to this day, but if you’re say... a Lord of the Rings fan and known Sean only for that, this may entice you. The newcomers to voice acting are Jason Biggs (Leo), Christian Lanz (Fishface) and Hoon Lee (Splinter). There’s also guest actors like Jeffrey Combs (The Rat King) and Roseanne Barr (Kraang Prime), so a solid mix of professional voice actors and a few newcomers. The result?

The voice acting is fantastic. Like even as the show goes on and you see more and more mixed reception, the acting is NEVER one of the things you see go down. If anything, it is one aspect that continues to improve episode by episode. All four Turtle actors do an amazing job conveying their characters, able to go from comedic to dramatic in a split second. I’d say that out of everyone, Hoon Lee impressed me the most since he’s the only one aside from Biggs (and... e’ll talk more about him next season) I hadn’t heard of. And he gave a very solid performance. Everyone did. Even for just minor characters like Pulverizer (Roger Craig Smith... yes Pulverizer is Sonic the Hedgehog) or some of the villains like Snake (Danny Jacob who voices King Julian outside the Madacgascar films) or Spyder Byte (Lewis Black), they convey their characters perfectly. Like Black’s character is a rude slob you want to punch, and he does such a great job in making you feel that way!

So yeah, you got a strong cast, a veteran voice director, and a crazy group of characters for them to voice. All of them nail it. And just wait, this is only the S1 cast. Wait until you see who they bring in for future seasons!

Rating: 5

Characters

As I said in Part One, this is the best part of the show. I know a lot of people who fell off TMNT as it went on, but still kept interest because of the characters. To me, this is always the most important part of storytelling. Yes having a good story itself is important, but a good story will be nothing without likeable characters to move it. A cliched story may be annoying, but if the characters are likeable and strongly written, people are usually more forgiving because they care about the cast. This show is no different. To this day, the thing that kept me attracted to the show was the Turtles, April, and Splinter and what they’d get into next. All of them have strong personalities that get you to care about them, or at least see where they’re coming from. I could gush about each of them one by one... so on we go!

Lets start with Mikey because he is the least developed this season... and most of the show sadly. I’d even say that his focus episodes dropped massively in quality after this season as he was forced mroe and mroe into the comedy relief/designated victim/little brother role. It’s a shame too because this season did an excellent job in balancing out both the comedy relief and the more innocent side of the character. Mikey is the most naive of the brothers and the least serious among them. It’s not to say that he can’t take situations seriously, it’s just that he’s more easy-going and fun-seeking than the other three. His biggest problem is his inability to focus and goof around, which has caused several instances of accidentally setting off alarms.

While not the best of the four, Mikey is a talented ninja and the best at going off just raw talent. He doesn’t think through fighting moves, he can just go with the flow and be perfectly fine. His strongest skill hpwever is his empathy and desire to make friends. While this has backfired on him before, like in New Friend, Old Enemy, where Bradford used and then kidnapped him for a trap, Mikey is incredibly non-judgemental and open-minded. It’s why he could befriend Leatherhead so easily in It Came From the Depths. He saw that the Kraang were attacking him and decided to simply talk to him like he would anyone else, even pointing out that maybe LH only acts like a monster because that’s how he was treated for so long. Mikey may not be book smart, but he’s very emotionally smart. As I said, Mikey’s character sadly devolves into annoying comedy relief as it goes, but for this season he had a strong start. No meaningful development aside form slow progression on paying attention (Parasitica being the final payoff... also if you’re afraid of wasps then avoid that one), but his character is strong enough to carry him through.

Raph is the brawler of the group and the quickest to anger. Hie’s the strongest fighter and incredibly confident... unless he has to deal with bugs. His biggest flaws are his both his anger and his jealous towards Leo. The first half of the season has Raph frequently back-talks and argue with Leo all because he got made the leader over him. For example, in Never Say Xever he is unhappy with Leo using mercy because bad guys don’t deserve it. Leo does eventually use the more Raph-like approach when kidnapping Bradford... and it fails miserably. What saves them? Leo’s act of mercy causing the Purple Dragon to repay the favor sand saving their shells. While he does slowly get a better grip on his temper once Splinter tells him of how dangerous it can be (Turtle Temper), it takes until New Girl in Town for him to overcome his jealousy once and for all. It’s very well done too by having Leo finally get fed up and give Raph what he wanted. Ultimately Raph can’t handle the pressure once things get rough and comes to understand both what Leo deals with essentially every day and how his own actions made it worst.

After that, Raph becomes the perfect example of a follower. While he’s still question Leo, he has good reasons for it, like everything involving Karai for instance. But he actively looks out for him more and stops mocking him outside just brotherly messing around. And even during that point, while Raph could be an insensitive jerk, he does love his family and will make amends when he goes too far. When he mocked Mikey wanting friends in New Friend, Old Enemy, at the end he comforted him after the fallout with Bradford and assured him that he’s a good person. When he mocked Donnie’s crush in Operation: Break-Out and led to Donnie going on a mission solo, Raph was worried about him, realized that he way too harsh, and tried to make amends by giving Donnie all the credit once back home. While Raph doesn’t conquer his temper completely, over the season he does get a better grip on it, can admit when he goes to far, became overall nicer, and by the end is a much better person. It was good stuff!

Donnie is probably the most... divisive of the four. Not because he’s badly written per say. He’s intelligent, but also high-strung and prone to stress. He’s not a bad ninja, but because of his focus on machinery, he’s the least skilled. The two episodes that focus on this are Metalhead and Monkey Brains. Metalhead has an admittedly meh plot where he gets sick of his bo staff and therefore creates the robot Metalhead to act as his weapon. The ‘meh’ plot is IDT it addresses the message of ‘the weapon doesn't make you a good fighter, you do’ very well, ut still Monkey Brains does a much better job, demonstrating Donnie’s tendency to over-think everything and how that is detrimental in a fight. By the climax, he’s able to get himself to rely on his instincts against a mind-reading villain (we’ll get to him later) and kick his ass.

Then there’s The Pulverizer episodes, which are the most interesting but sadly don’t go anywhere after this season. It has Donnie accept Pulverizer as an apprentice of sort, mainly so the kid can have some form of self-defense if he’s going to put himself into danger. It’s ultimately ineffective, but mainly because of Pulverizer wanting to rush and not listening properly. The most important part though is Splinter telling Donnie that by doing this, anything that happens involving him after will be his responsibility. Which we see in The Pulverizer Returns where Pulverizer decides ot let the Foot mutate him to gain awesome mutant powers. Donnie tries to save him, but sadly he fails and Pulverier.. it’s not pretty. While Donnie does still save him after, he’s left with the guilt of ultimately failing his student. I’ll go into mroe about how horribly the writers wasted this next season, but here? It was interesting to give Donnie this plot since you’d expect t to go to say... Leo. I think it really worked for what it was worth and let us see a side of Donnie outside just being the smart one.

So with that said, why is he divisive? Well... it’s because another major part of his character is his crush on April. He doe snot... manage it well, to say the least. He is rather, well... stupid and kinda creepy with it. But I do want to point this out. Yes, it is annoying but I think there’s a good reason for it: he’s an awkward teenager. Yeah him asking her to feel his goosebumps (Metalhead), accidentally calling her ‘his April (The Gauntlet), accidentally saying awkward things when she acknowledges him (pick any episode) are incredibly facepalm worthy at best. And yeah, they should have done better setup than have him just find her pretty when seeing her once. However he does genuinely care about her and int he premiere, he was driven more because he saw an innocent girl scared and was unable to help than his newfound crush. The feelings are genuine and Donnie being awkward about is because... well, Donnie is awkward in general and he does slowly improve. Honestly I’ll have mroe to discuss about this next season cause haha... boy is THAT a clusterfuck. But ultimately while Donnie can be annoying, overall it’s pretty bearable and he has plenty of positive traits to balance it out.

Finally, we get Leo. He’s the group leader, but unlike the past series where he pretty much grew up with that role, here he gets the role halfway through the first episode. He starts as a goody-two-shoes with a mischievous side who had a very basic view of leadership. He see sit as a position of authority, greatness, and unstoppable. That’s not to say that he doesn’t take the role seriously, he does. He devises plans, does his best to keep his brothers focused, and frequently asks Splinter for advice on how to best do things. But he also frequently uses cheesy one-liners and does his best to be as over the top with his heroics as possible, thinking it’s cool when it isn’t. It gives Leo a more naive feel to him, someone who is serious but also is still a teenaged kid who has a lot of learning to do.

The pressures of leadership are Leo’s primary focus as a character. While he has some doubts, the biggest blow to his confident comes in The Gauntlet after there massive defeat against Shredder. The following episode has him unsure of if he can properly lead the team and feeling guilty when things go wrong. But the ultimate meltdown comes in New Girl in Town where Raph finally pushes him too hard and he quits. He’s realized at this point that leadership is not like it is on TV. it’s unforgiving, stressful, and you’re gonna be the one facing the consequences when things go wrong. His difficulty dealing with this is what attracts him to Karai. She’s fun, does whatever she wants, and doesn’t care about the rules. She offers him a form of freedom that he hasn’t had before. It’s why he tries to get her to change sides, he doesn’t want her to be an enemy. Unfortunately things end badly between them this season, but you can see where Leo is coming form no matter how naive he was about it.

Leo evolved a lot over the season. He went from a naive teenager who quoted old TV episodes to a serious, determined leader who was willing to do whatever it took to get his team through. He never quit being optimistic and he does still have his stress with leadership later down the road. But the season is about him easing not the role an understanding the weight of that role. It’s very easy to feel bad for Leo because he tries incredibly hard, but he doesn’t receive a lot of gratitude or payoff, and he just has to accept that. By the finale, he’s willing to make the ultimate sacrifice to ensure both success and his family's safety... something that becomes a bit of an issue in later seasons (looking at you Space Arc). I’d say that because we got to see Leo actually having to come to terms with the role, it makes this imo the best version of the character. We actually have to see him accept the role and how he hate show it limits his free time, something IDT the past versions really did. And all while having this dorky, idealistic side that keeps him likable and all the mroe relateable. Overall, I’d say that the leader in blue was handeled very well here!

April is my favorite character in the show, but her writing this season has some issues. Now as a character herself, she’s perfectly fine. She’s an independent sixteen year old and incredibly proactive. Whenever she finds info on the Kraang or about her dad, she looks into it. When everyone is ready to quit in Panic in the Sewers, she’s the only one who actively tries to do something and get everyone else to not give up. When Splinter offers to train her, she accepts it and we see bits and pieces of her progressing. But it’s done realistically as demonstrated in Karai’s Vendetta where it’s very clear that April is nowhere near her level. But it also demonstrates her determination and how she never gives up, getting back up after every blow and at east trying to put up a fight. While she’s forced to sit most things out and does on occasion get kidnapped, she still tries to be an asset and does very well as an intel gatherer. She’s also incredibly stubborn and can get in over her head without thinking things through, like in Metalhead and the finale episodes. But ultimately her proactiveness and need to take action are her strongest traits and what makes her a useful ally.

The issues with April are in the writing of the plot. I already mentioned how the early episodes could have done mroe in having her ease into the group. There’s also after Karai’s Vendetta where despite living with the guys, we don’t see her until the penultimate episode. We see her express hating it in that episode, but we don’t get to explore the fallout of her losing her normal life. In fact we...d on’t see April’s life outside Turtle stuff until next season, and even then not by much. Now of course the show is about the Turtles and you gotta keep the focus on them, but still we get a bunch of ‘show, don’t tell’ problems with April. We’re told things like she’s living with her aunt, but we never see them interact. Hell, IDT April’s aunt is ever mentioned outside the pilot. We also find out that April is the Kraang’s target... and we never see how she feels about it. If she’s scared, if she’s worried. We can assume that she has some stress about it, as indicated when she vents in Karai’s Vendetta, but little to no showcase of how she feels about it. Mind you we don’t with the Turtles either, but still. Still, overall April is a solid character imo.

That brings us to Master Splinter, the best written character by far. Splinter is the perfect balance of a mentor and a father. He’s firm, strict, and not afraid to dish out punishment when it’s necessary. But he’s also gentle, patient, knows how to give his sons proper guidance, and when to let them figure things out for themselves. He’s also snarky as Hell, so it’s good that he has a sense of humor. He’s also a flawed person. He lost his wife and daughter because of hat is essentially a sibling rivalry that went WAAAY too far and his own inability to control himself worsened things. He lost his family and then his humanity, ending his life as Hamato Yoshi. Since then, he’s hidden int he sewers and tried to focus his energy on raising and protecting his sons. It makes letting them go topside difficult, as it is for any parent whose children are growing up. He can make mistakes, like letting his fear control him and press his sons far too hard in Panic in the Sewers, but he can admit those mistakes.

Splintr’s largest plot in the season, outside mentoring the boys and April, is accepting his mutant status and overcoming his fears. Many epsiodes such as the premiere, Turtle Temper, Monkey Brains, Panic in the Sewers and the finale show how much pain the rat master carries and while he’s move don to a new life, it still haunts him. The episode that best displays this however is a filler episode called I, Monster. In it we get this version of the Rat King, the mind reading villain from Monkey Brains, who uses his power to swarm New York. When he senses Splinter, he proceeds to try and brainwash him too. The episode does an amazing job at showcasing all of Splinter’s fears. The boys outgrowing him, his past tragedies, ending up alone, and the Rat King slowly uses all of it to break him down. Splinter fights back, but the thought of the boys moving on without him is ultimately what defeats him until the boys remind him of who he is. He is Hamato Yoshi, Master Splinter, but most of all their father. They need him and always will. Which lets Splinter overcome the mind control and essentially Airbend Rat King through a wall. It was awesome~

Despite that episode being filler, it’s one of the season's best. It is a strong character exploration piece about a father who has gone through Hell and is faced with the fear of his kids not needing him. It is very relatable and makes Splinter all the mroe sympathetic. And we see Splinter truly embody who he is now when faced with the Shredder again and upon learning that his daughter had survived. He went into full rat mode and gave Shredder the beating that we all wanted. And the season ends on a perfect lead in for the next one. Splinter now knows that Karai is his daughter while she was raised to hate him. It’s any parent’s worst nightmare. He now has to deal with that revelation as well as how he’s going to break it to his students. Splinter has some solid growth int he season, something that a lot of mentor figures in cartoons don’t get, and it’s done perfectly. He has his flaws, but is still a strong father figure to his sons. Add that to Hoon Lee’s absolute perfect performance and you have what is in my opinion the best incarnation of Master Splinter in any TMNT series.

While the main cast is strong, the supporting cast and villains are... not so much. There isn’t really a supporting cast honestly. The best we have is Leatherhead, who is awesome. He’s a damaged character. One treated like a monster and tortured for who knows how long. It left him damaged and prone to trauma-induced outbursts. But he is a good person who knows that what happened to him was wrong and can be quite sweet when given the chance. He didn’t have to save humanity, especially since most would scream and run if they saw him, but he didn’t want anyone else to endure what he did. It’s best exemplified with his sacrifice in TCRI, going back to Dimension X and knowing fully well what’ll await him there. But he does so to save his friends and give them the chance to save the Earth. LH is freakin’ badass and I love him!

The villains though are... kinda boring. Most of the mutants, while the designs are cool, are incredibly one-note. Not all of them, like the Rat King is so dramatic and twisted and his VA does such a great job with the delivery that you both love him and want to strangle him. But others like Snakeweed or Spyder Bytez are just... well, evil for the heck of it. The Kraang are the worst though since at least the mutants are only in like one or two episodes. The Kraang are annoying as HELL. They can be dangerous but the redundant speech pattern and all fo them having essentially the same personality (aka none) is so... boring. Min you in Season 4 we kind of get an explanation to why, but it doesn't change how grating they can get. That being said in large groups they can be dangerous and with things like the Technodrome, they’re not to be taken lightly. Still, GAH I HATE THEM!!!

The Foot are somewhat better. Stockman is pathetic and remains pathetic throughout the entire series. Bradford is a pompous asshole. Xever is a little more interesting in that he kidn of was forced to work for Shredder or go to jail... but sadly after that reveal, he reverts to typical henchman status sadly. Shredder is the Big Bad and a no-nonsense leader. He has no empathy and is more than willing to inflict physical violence on his troops if they fail him. He even threatens to harm Karai, his daughter (kinda...) if she questions him. He is a very single minded perosn, his only goal beign to kill Splinter and his students by any means necessary. Hell. he only starts caring about the Kraang when he realizes that they can advance his goal, but has zero issues letting humanity fall to them. Oh, and there’s his glee when Karai tries to kill Splinter. WOrst? THis isn’t even the worst that he does int he show. Oh just wait for next season. JUST WAIT. Otherwise though, while a powerful fighter, he just mopes in his throne for most of the season, but Richardson’s badass voice acting was nice to hear.

The most interesting villain by far is Karai, and Thank God for it. While Leo is a good-good, Karai is a bad girl. She’s laid-back, does what she wants her way, and doesn’t play by the rules. She’s introduced as a competent fighter, but unlike the other Foot she’s more interesting in talking to the Turtles than killing them. I think she did become genuinely fond of Leo, but ultimately she’s going to be loyal to what she thinks is her family. She also started off realizing that there were bugger problems, like the Kraang, that required more attention over the vendetta until the Turtles betrayed her. Then she pretty much went ‘screw it’ and decided to go with the vendetta, which only got worst when she met Splinter for the first time. Still, ti was nice to have someone actually question Shredder and try to be sensible. She’s definite the most well-written of the villains, and the revelation about her being Splinter’s daughter means that there is MUCH more to come for her. Like I said, just wait for Season 2!

Okay, this section was a LOOOT longer than I thought. So I’ll just finish by saying that the villains aren't all that interesting, but the main characters are very well written. They have strong personalities, plenty of room for growth, and their interactions always gel really well. Very well done!

Rating: 4.5

Story

The main plot threads are the Turtles against the Foot, and the Turtles feud against the Kraang. All with some subplots, like Pulverizer and the mutant of the week stuff, and filler episodes thrown in. I say that the plots are handled very well. For example well go with... say two or three Kraang-centric episodes. Then we may or may not get a filler episode before shifting over to the Foot Clan for awhile. It never felt like we got smothered with one faction over the other, which is good. The plots also slowly intertwined and it felt like they came together at just the right time during the last six or so episodes. Hence hwy the finale worked so well, giving some kind of payoff on both ends.

Many of the episodes were very basic and outright bizarre. Like Cockroach Terminator having a mutant cockroach tr to murder Raph... it’s kinda gross, but entertaining! Every episode normally has at least something small that’ll carry over as the story goes along. For example, Donnie built Metalhead in... well, Metalhead and brought him back in the finale, plus it helped him learn mroe about Kraang tech. In Baxter’s Gambit, April finally gets her own weapon and she attempts to use it in Karai’s Vendetta. The episodes all play a part, even if just minor, in the larger narrative and I feel some of the later seasons kind of slacked on that. This season had a perfect balance.

That’s not to say that it was perfect. Like at the end of TCRI, we find out that April is the Kraang’s true target which makes us wonder why... and the next episode is about Raph’s fear of bugs! So TCRI was episode 17, we don’t even mention this fact again until Karai’s Vendetta, which is episode 21. Five episodes later, and even then we get one tiny hint (April doesn't get damaged by mutagen-laced water) and... that’s it. The.show has a bit of an issue with not exploring fallout, which is weird because Panic in the Sewers did and id it excellently. Maybe it’s because they have to make episodes to sell toys, IDK. It doesn't do too much damage, but it makes it feel like they both wasted character opportunities and like there’s something missing. But at the very least the episodes remain entertaining, so there’s that.

Rating: 4

Final Thoughts

You know what I like about this series and why I ran it above the other ones? Well it does something that I feel that the previous incarnations lacked: The Teenage Mutant Nina Turtles felt like teenagers. They felt like a bunch of kids truly entering the world for the first time. They screw up, they have problems to overcome, and they don’t always learn it immideatly. Like their cockiness is a frequent pain in the shell for example. But the reason that I like pretty much all of the episodes aside form Episode 11 is because it feels like we’re watching a group of kids truly starting to grow up and learn about how rough life can be. How they have to change, how they have to fix their mistakes, and just become better people. As a nineteen year old who was just staring to figure my life out, when I started the show, that drew me in. I related to these characters so much. I felt like I was growing with them and coming to understand who I was due to it.

It felt really nostalgic to go back over this season. Imo, it still holds up big time. It’s funny, action-heavy, well animated, and the characters are just as enjoyable as I remember. Would I call this the best season? Hmm... maybe. I still have three more to look over. But it was a really fun ride and it got TMNT 2012 off on the right track. Can they stay on it during Season 2? Come back next week, and we shall see!

#tmnt #2k12 #tmnt 2012 #callie reviews

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hallowedgrounds03 · 3 years ago

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I came into the TW fandom as a whole almost a year ago now. I had gotten on a CW vampires binge, TVD universe and such, but I always preferred werewolves. Even TVD Werewolves over all the other supernaturals on that show. So, I was on TVD tiktok, and because their target audiences and tags and such are so similar, Teen Wolf popped up a lot on my feed.

I even remember the exact line that I heard that made me go looking for where to watch Teen Wolf. It had been used in a lot of videos, the audio, but I never had seen the voice match the face, so I knew it meant something, but it took a while for a video of the actual clip came up on my FYP.

From episode 3x15, "Galvanize", Lydia is trying to find Kira and Barrows. She says, "It literally makes me want to scream."

And because Stiles is amazing at what he does, he says,

"Then scream. Lydia, scream."

And that sound byte, less than 3 seconds, every single time I heard it, it made me shiver. I knew it meant something very important way before I had context. Stiles, before I knew him at all, brought me to Teen Wolf.

And then I met his surly, leather-suited boyfriend from the woods.

And when I say that I literally cannot explain how Sterek makes me feel, I am being totally honest.

I've been in fandom since 4th grade. So, 8 years, now? And some of the biggest for me have been Harry Potter, Supernatural, the Riordanverse, and The 100.

I've had all the standard reactions over the years. Throwing OotP across the room when Sirius died, being furious when Bellarke never went canon on the show, DESTIEL, the-chapter-that-shall-not-be-named from The Burning Maze. I've found understanding and accpetance and belonging in these fictional worlds. I've been writing fanfic for ages.

But Sterek is different.

I connected with Stiles immediately, even before I was diagnosed with ADHD. He was this crazy, semi-confident nerd, who was loyal and dependable, craved touch and validation, and took care of his dad. He was me... in so many ways.

And at first, I didn't see any connection between myself and Derek, but looking back, we're more alike that I could have anticiapted. We take blame that isn't ours, we struggle with boundaries and accepting love. We both have a strange sense of humor.

And I saw sparks from the second Derek stepped out of the trees, in a leather jacket a few sizes too big and a scowl meant to hide his curiosity about this kid who smelled like new wolf, and his gangly, shaved-head, dorky friend who had the sweetest eyes.

I dove headfirst into fanfic, because I also had a feeling that I would never get to see what I wanted on screen.

I picked up on every look, every unspoken confession and question.

And, fanfic has never really made me cry. I'm a sucker for fix-it fics. And ones where Sirius lives, or Charlie comes back, or Piper and Jason get married, those make me feel whole, but I don't cry. And if I do, it's because of a profound moment built up from the first chapter, like crying over a novel.

My emotional bond to the residents of Beacon Hills, I have since discovered, go way deeper than that.

A simple throw-away line about how much Stiles calms Derek, or lets him touch his beta-shifted face could have me in tears, because it's like I can literally see the emotional growth it took for that to happen.

Once, I was reading a one-shot, and Derek and Stiles were goofing off under the fake mistletoe when Peter remarks that Stiles brought Derek back. The one we got a glimpse of in S4. And Derek proposes to Stiles, and Peter comes up to them and says to Derek,

"They would have been so proud of you."

He turns to Stiles and says,

"And they would have loved you."

And I physically feel so much want for the Hales to still be alive. I sob for a half-hour.

And once, at the end of a time travel, save the Hales fic, Stiles is driving out to the Hale House to see if it worked, and Derek calls him, panicked. I can't even read what Stiles said in response because it hit me then that Derek would get to see Laura again. And his parents. His siblings and cousins. He was getting that back, and I felt so emotionally connected to these characters, it was as if I had gone through high schools and the corresponding horrors. As if I had experienced first-hand what the effect of losing his family had on Derek and what it would mean to get the back.

I know so many people talk about belonging in their favorite fictional world over this one. But to be honest, I feel like my soul already lived a life in Beacon Hills, and all of these emotions are because I lived and felt and hurt with the pack.

I found a rewatch podcast that changed my world. I found a couple I would never stop loving. I found a show that has flaws and short-comings but it still worth it all. I found home, because of Stiles. Because of Sterek. It brought me closer to my cousin. It gave me understanding of myself. It gave me hope.

I wouldn't trade it for anything in the world.

anyway, I think everyone should share their story about joining the sterek fandom and all the good things you got from it 💙🧡

#sterek #teenwolf #fanfic #fandom

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suzanneshannon · 4 years ago

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Chapter 9: Community

In April of 2009, Yahoo! shut down GeoCities. Practically overnight, the once beloved service had its signup page replaced with a vague message announcing its closure.

We have decided to discontinue the process of allowing new customers to sign up for GeoCities accounts as we focus on helping our customers explore and build new relationships online in other ways. We will be closing GeoCities later this year.

Existing GeoCities accounts have not changed. You can continue to enjoy your web site and GeoCities services until later this year. You don’t need to change a thing right now — we just wanted you to let you know about the closure as soon as possible. We’ll provide more details about closing GeoCities and how to save your site data this summer, and we will update the help center with more details at that time.

In the coming months, the company would offer little more detail than that. Within a year, user homepages built with GeoCities would blink out of existence, one by one, until they were all gone.

Reactions to the news ranged from outrage to contemptful good riddance. In general, however, the web lamented about a great loss. Former GeoCities users recalled the sites that they built using the service, often hidden from public view, and often while they were very young.

For programmer and archivist Jason Scott, nostalgic remembrances did not go far enough. He had only recently created the Archive Team, a rogue group of Internet archivists willing to lend their compute cycles to the rescue of soon departed websites. The Archive Team monitors sites on the web marked for closure. If they find one, they run scripts on their computers to download as much of the site as they could before it disappears.

Scott did not think the question of whether or not GeoCities deserved to exist was relevant. “Please recall, if you will, that for hundreds of thousands of people, this was their first website,” he posted to his website not long after Yahoo!‘s announcement. “[Y]ou could walk up to any internet-connected user, hand them the URL, and know they would be able to see your stuff. In full color.” GeoCities wasn‘t simply a service. It wasn’t just some website. It was burst of creative energy that surged from the web.

In the weeks and months that followed, the Archive Team set to work downloading as many GeoCities sites as they could. They would end up with millions in their archive before Yahoo! pulled the plug.

Chris Wilson recalled the promise of an early web in a talk looking back on his storied career with Mosaic, then Internet Explorer, and later Google Chrome. The first web browser, developed by Sir Tim Berners-Lee, included the ability for users to create their own websites. As Wilson remembers it, that was the de-facto assumption about the web—that it would be a participatory medium.

“Everyone can be an author. Everyone would generate content,” Wilson said, “We had the idea that web server software should be free and everyone would run a server on their machine.” His work on Mosaic included features well ahead of their time, like built-in annotations so that users could collaborate and share thoughts on web documents together. They built server software in the hopes that groups of friends would cluster around common servers. By the time Netscape skyrocketed to popularity, however, all of those features had faded away.

GeoCities represented the last remaining bastion of this original promise of the web. Closing the service down, abruptly and without cause, was a betrayal of that promise. For some, it was the writing on the wall: the web of tomorrow was to look nothing like the web of yesterday.

In a story he recalls frequently, David Bohnett learned about the web on an airplane. Tens of thousands of feet up, untethered from any Internet network, he first saw mention of the web in a magazine. Soon thereafter, he fell in love.

Bohnett is a naturally empathetic individual. The long arc of his career so far has centered on bringing people together, both as a technologist and as a committed activist. As a graduate student, he worked as a counselor answering calls on a crisis hotline and became involved in the gay rights movement at his school. In more recent years, Bohnett has devoted his life to philanthropy.

Finding connection through compassion has been a driving force for Bohnett for a long time. At a young age, he recognized the potential of technology to help him reach others. “I was a ham radio operator in high school. It was exciting to collect postcards from people you talked to around the world,” he would later say in an interview. “[T]hat is a lot of what the Web is about.‘’

Some of the earliest websites brought together radical subcultures and common interests. People felt around in the dark of cyberspace until they found something they liked.

Riding a wave of riot grrrl ephemera in the early 1990’s, ChickClick was an early example. Featuring a mix of articles and message boards, women and young girls used ChickClick as a place to gather and swap stories from their own experience.

Much of the site centered on its strident creators, sisters Heather and Heidi Swanson. Though they each had their own areas of responsibility—Heidi provided the text and the editorial, Heather acted as the community liaison—both were integral parts of the community they created. ChickClick would not exist without the Swanson sisters. They anchored the site to their own personalities and let it expand through like-minded individuals.

Eventually, ChickClick grew into a network of linked sites, each focused on a narrower demographic; an interconnected universe of women on the web. The cost to expanding was virtually zero, just a few more bytes zipping around the Internet. ChickClick’s greatest innovation came when they offered their users their own homepages. Using a rudimentary website builder, visitors could create their own space on the web, for free and hosted by ChickClick. Readers were suddenly transformed into direct participants in the universe they had grown to love.

Bohnett would arrive at a similar idea not long after. After a brief detour running a more conventional web services agency called Beverley Hills Internet, Bohnett and his business partner John Rezner tried something new. In 1994, Bohnett sent around an email to some friends inviting them to create a free homepage (up to 15MB) on their experimental service. The project was called GeoCities.

What made GeoCities instantly iconic was that it reached for a familiar metaphor in its interface. When users created an account for the first time they had to pick an actual physical location on a virtual map—the digital “address” of their website. “This is the next wave of the net—not just information but habitation,” Bohnett would say in a press release announcing the project. Carving out a real space in cyberspace would become a trademark of the GeoCities experience. For many new users of the web, it made the confusing world of the web feel lived in and real.

The GeoCities map was broken up into a handful of neighborhoods users could join. Each neighborhood had a theme, though there wasn‘t much rhyme or reason to what they were called. Some were based on real world locations, like Beverley Hills for fashion aficionados or Broadway for theater nerds. Others simply played to a theme, like Area51 for the sci-fi crowd or Heartland for parents and families. Themes weren’t enforced, and most were later dropped in everything but name.

Credit: One Terabyte of Kilobyte Age

Neighborhoods were limited to 10,000 people. When that number was reached, the neighborhood expanded into suburbs. Everywhere you went on GeoCities there was a tether to real, physical spaces.

Like any real-world community, no two neighborhoods were the same. And while some people weeded their digital gardens and tended to their homepages, others left their spaces abandoned and bare, gone almost as soon as they arrived. But a core group of people often gathered in their neighborhoods around common interests and established a set of ground rules.

Historian Ian Milligan has done extensive research on the mechanics and history of GeoCities. In his digital excavation, he discovered a rich network of GeoCities users who worked hard to keep their neighborhoods orderly and constructive. Some neighborhoods assigned users as community liaisons, something akin to a dorm room RA, or neighborhood watch. Neighbors were asked to (voluntarily) follow a set of rules. Select members acted as resources, reaching out to others to teach them how to build better homepages. “These methods, grounded in the rhetoric of both place and community,” Milligan argues, “helped make the web accessible to tens of millions of users.”

For a large majority of users, however, GeoCities was simply a place to experiment, not a formal community. GeoCities would eventually become one of the web’s most popular destinations. As more amateurs poured in, it would become known for a certain garish aesthetic, pixelated GIFs of construction workers, or bright text on bright backgrounds. People used their homepages to host their photo albums, or make celebrity fan sites, or to write about what they had for lunch. The content of GeoCities was as varied as the entirety of human experience. And it became the grounding for a lot of what came next.

“So was it community?” Black Planet founder Omar Wasow would later ask. “[I]t was community in the sense that it was user-generated content; it was self-expression.” Self-expression is a powerful ideal, and one that GeoCities proved can bring people together.

Many early communities, GeoCities in particular, offered a charming familiarity in real world connection. Other sites flipped the script entirely to create bizarre and imaginative worlds.

Neopets began as an experiment by students Donna Williams and Adam Powell in 1999. Its first version—a prototype that mixed Williams art and Powell’s tech—had many of the characteristics that would one day make it wildly popular. Users could collect and raise fictional virtual pets inside the fictional universe of Neopia. It operated like the popular handheld toy Tamagotchi, but multiplied and remixed for cyberspace.

Beyond a loose set of guidelines, there were no concrete objectives. No way to “win” the game. There were only the pets, and pet owners. Owners could create their own profiles, which let them display an ever expanding roster of new pets. Pulled from their imagination, Williams and Powell infused the site with their own personality. They created “unique characters,” as Williams later would describe it, “something fantasy-based that could live in this weird, wonderful world.”

As the site grew, the universe inside it did as well. Neopoints could be earned through online games, not as much a formal objective as much as in-world currency. They could be spent on accessories or trinkets to exhibit on profiles, or be traded in the Neopian stock market (a fully operational simulation of the real one), or used to buy pets at auction. The tens and thousands of users that soon flocked to the site created an entirely new world, mapped on top of of a digital one.

Like many community creators, Williams and Powell were fiercely protective of what they had built, and the people that used it. They worked hard to create an online environment that was safe and free from cheaters, scammers, and malevolent influence. Those who were found breaking the rules were kicked out. As a result, a younger audience, and one that was mostly young girls, were able to find their place inside of Neopia.

Neopians—as Neopets owners would often call themselves—rewarded the effort of Powell and Williams by enriching the world however they could. Together, and without any real plan, the users of Neopets crafted a vast community teeming with activity and with its own set of legal and normative standards. The trade market flourished. Users traded tips on customizing profiles, or worked together to find Easter eggs hidden throughout the site. One of the more dramatic examples of users taking ownership of the site was The Neopian Times, an entirely user-run in-universe newspaper documenting the fictional going-ons of Neopia. Its editorial has spanned decades, and continues to this day.

Though an outside observer might find the actions of Neopets frivolous, they were a serious endeavor undertaken by the site’s most devoted fans. It became a place for early web adventurers, mostly young girls and boys, to experience a version of the web that was fun, and predicated on an idea of user participation. Using a bit of code, Neopians could customize their profile to add graphics, colors, and personality to it. “Neopets made coding applicable and personal to people (like me),” said one former user, “who otherwise thought coding was a very impersonal activity.” Many Neopets coders went on to make that their careers.

Neopets was fun and interesting and limited only by the creativity of its users. It was what many imagined a version of the web would look like.

The site eventually languished under its own ambition. After it was purchased and run by Doug Dohring and later, Viacom, it set its sights on a multimedia franchise. “I never thought we could be bigger than Disney,” Dohring once said in a profile in Wired, revealing just how far that ambition went, “but if we could create something like Disney – that would be phenomenal.” As the site began to lean harder into somewhat deceptive advertising practices and emphasize expansion into different mediums (TV, games, etc.), Neopets began to overreach. Unable to keep pace with the rapid developments of the web, it has been sold to a number of different owners. The site is still intact, and thanks to its users, thriving to this day.

Candice Carpenter thought a village was a handy metaphor for an online community. Her business partner, and co-founder, Nancy Evans suggested adding an “i” to it, for interactive. Within a few years, iVillage would rise to the highest peak of Internet fortunes and hype. Carpenter would cultivate a reputation for being charismatic, fearless, and often divisive, a central figure in the pantheon of dot-com mythology. Her meteoric rise, however, began with a simple idea.

By the mid-90’s, community was a bundled, repeatable, commotized product (or to some, a “totally overused buzzword,” as Omar Wasow would later put it). Search portals like Yahoo! and Excite were popular, but their utility came from bouncing visitors off to other destinations. Online communities had a certain stickiness, as one one profile in The New Yorker put it, “the intangible quality that brings individuals to a Web site and holds them for long sessions.”

That unique quality attracted advertisers hoping to monetize the attention of a growing base of users. Waves of investment in community, whatever that meant at any given moment, followed. “The lesson was that users in an online community were perfectly capable of producing value all by themselves,” Internet historian Brian McCullough describes. The New Yorker piece framed it differently. “Audience was real estate, and whoever secured the most real estate first was bound to win.”

TheGlobe.com was set against the backdrop of this grand drama. Its rapid and spectacular rise to prominence and fall from grace is well documented. The site itself was a series of chat rooms organized by topic, created by recent Cornell alumni Stephan Paternot and Todd Krizelman. It offered a fresh take on standard chat rooms, enabling personalization and fun in-site tools.

Backed by the notoriously aggressive Wall Street investment bank Bear Stearns, and run by green, youngish recent college grads, theGlobe rose to a heavily inflated valuation in full public view. “We launched nationwide—on cable channels, MTV, networks, the whole nine yards,” Paternot recalls in his book about his experience, “We were the first online community to do any type of advertising and fourth or the fifth site to launch a TV ad campaign.” Its collapse would be just as precipitous; and just as public. The site’s founders would be on the covers of magazines and the talk of late night television shows as examples of dot-com glut, with just a hint of schadenfreude.

So too does iVillage get tucked into the annals of dot-com history. The site‘s often controversial founders were frequent features in magazine profiles and television interviews. Carpenter attracted media attention as deftly as she maneuvered her business through rounds of investment and a colossally successful IPO. Its culture was well-known in the press for being chaotic, resulting in a high rate of turnover that saw the company go through five Chief Financial Officer’s in four years.

And yet this ignores the community that iVillage managed to build. It began as a collection of different sites, each with a mix of message boards and editorial content centered around a certain topic. The first, a community for parents known as Parent Soup which began at AOL, was their flagship property. Before long, it spanned across sixteen interconnected websites. “iVillage was built on a community model,” writer Claire Evans describes in her book Broad Band, “its marquee product was forums, where women shared everything from postpartum anxiety and breast cancer stories to advice for managing work stress and unruly teenage children.”

Candice Carpenter (left) and Nancy Evans (right). Image credit: The New Yorker

Carpenter had a bold and clear vision when she began, a product that had been brewing for years. After growing tired of the slow pace of growth in positions at American Express and QVC, Carpetner was given more free rein consulting for AOL. It was her first experience with an online world. There wasn‘t a lot that impressed her about AOL, but she liked the way people gathered together in groups. “Things about people‘s lives that were just vibrant,” she’d later remark in an interview, “that’s what I felt the Internet would be.”

Parent Soup began as a single channel on AOL, but it soon moved to the web along with similar sites for different topics and interests—careers, dating, health and more. What drew people to iVillage sites was their authenticity, their ability to center conversations around topics and bring together people that were passionate about spreading advice. The site was co-founded by Nancy Evans, who had years of experience as an editor in the media industry. Together, they resisted the urge to control every aspect of their community. “The emphasis is more on what visitors to the site can contribute on the particulars of parenthood, relationships and workplace issues,” one writer noted, “rather than on top-tier columnists spouting advice and other more traditional editorial offerings used by established media companies.”

There was, however, something that bound all of the site‘s together: a focus that made iVillage startlingly consistent and popular. Carpenter would later put it concisely: “the vision is to help women in their lives with the stuff big and small that they need to get through.” Even as the site expanded to millions of users, and positioned itself as a network specifically for women, and went through one of the largest IPO’s in the tech industry, that simple fact would remain true.

What’s forgotten in the history of dot-com community is the community. There were, of course, lavish stories of instant millionaires and unbounded ambition. But much of the content that was created was generated by people, people that found each other across vast distances among a shared understanding. The lasting connections that became possible through these communities would outlast the boom and bust cycle of Internet business. Sites like iVillage became benchmarks for later social experiments to aspire to.

In February of 2002, Edgar Enyedy an active contributor to a still new Spanish version of Wikipedia posted to the Wikipedia mailing list and to Wikipedia‘s founder, Jimmy Wales. “I’ve left the project,” he announced, “Good luck with your wikiPAIDia [sic].”

As Wikipedia grew in the years after it officially launched in 2001, it began to expand to other countries. As it did, each community took on its own tenor and tone, adapting the online encyclopedia to the needs of each locale. “The organisation of topics, for example,” Enyedy would later explain, “is not the same across languages, cultures and education systems. Historiography is also obviously not the same.”

Enyedy‘s abrupt exit from the project, and his callous message, was prompted by a post from Wikipedia’s first editor-in-chief Larry Sanger. Sanger had been instrumental in the creation of Wikipedia, but he had recently been asked to step back as a paid employee due to lack of funds. Sanger suggested that sometime in the near future, Wikpedia may turn to ads.

It was more wishful thinking than actual fact—Sanger hoped that ads may bring him his job back. But it was enough to spurn Enyedy into action. The Wikipedia Revolution, author Andrew Lih explains why. “Advertising is the third-rail topic in the community—touch it only if you’re not afraid to get a massive shock.”

By the end of the month, Enyedy had created an independent fork of the Spanish Wikipedia site, along with a list of demands for him to rejoin the project. The list included moving the site from .com to .org domain and moving servers to infrastructure owned by the community and, of course, a guarantee that ads would not be used. Most of these demands would eventually be met, though its hard to tell what influence Enyedy had.

The fork of Wikipedia was both a legally and ideologically acceptable project. Wikipedia’s content is licensed under the Creative Commons license; it is freely open and distributable. The code that runs it is open source. It was never a question of whether a fork of Wikipedia was possible. It was a question of why it felt necessary. And the answer speaks to the heart of the Wikipedia community.

Wikipedia did not begin with a community, but rather as something far more conventional. The first iteration was known as Nupedia, created by Jimmy Wales in early 2000. Wales imagined a traditional encyclopedia ported into the digital space. An encyclopedia that lived online, he reasoned, could be more adaptable than the multi-volume tomes found buried in library stacks or gathering dust on bookshelves.

Wales was joined by then graduate student Larry Sanger, and together they recruited a team of expert writers and editors to contribute to Nupedia. To guarantee that articles were accurate, they set up a meticulous set of guidelines for entries. Each article contributed to Nupedia went through rounds of feedback and was subject to strict editorial oversight. After a year of work, Nupedia had less than a dozen finished articles and Wales was ready to shut the project down.

However, he had recently been introduced to the concept of a wiki, a website that anybody can contribute to. As software goes, the wiki is not overly complex. Every page has a publicly accessible “Edit” button. Anyone can go in and make edits, and those edits are tracked and logged in real time.

In order to solicit feedback on Nupedia, Wales had set up a public mailing list anyone could join. In the year since it was created, around 2,000 people had signed up. In January of 2001, he sent a message to that mailing list with a link to a wiki.

His hope was that he could crowdsource early drafts of articles from his project’s fans. Instead, users contributed a thousand articles in the first month. Within six months, there were ten thousand. Wales renamed the project to Wikipedia, changed the license for the content so that it was freely distributable, and threw open the doors to anybody that wanted to contribute.

The rules and operations of Wikipedia can be difficult to define. It has evolved almost in spite of itself. Most articles begin with a single, random contribution and evolve from there. “Wikipedia continues to grow, and articles continue to improve,” media theorist Clary Shirky wrote of the site in his seminal work Here Comes Everybody, “the process is more like creating a coral reef, the sum of millions of individual actions, than creating a car. And the key to creating those individual actions is to hand as much freedom as possible to the average user.”

From these seemingly random connections and contributions, a tight knit group of frequent editors and writers have formed at the center of Wikipedia. Programmer and famed hacktivist Aaron Swartz described how it all came together. “When you put it all together, the story become clear: an outsider makes one edit to add a chunk of information, then insiders make several edits tweaking and reformatting it,” described Swartz, adding, “as a result, insiders account for the vast majority of the edits. But it’s the outsiders who provide nearly all of the content.” And these insiders, as Swartz referes to them them, created a community.

“One of the things I like to point out is that Wikipedia is a social innovation, not a technical innovation,” Wales once said. In the discussion pages of articles and across mailing lists and blogs, Wikipedians have found ways to collaborate and communicate. The work is distributed and uneven—a small community is responsible for a large number of edits and refinements to articles—but it is impressively collated. Using the ethos of open source as a guide, the Wikipedia community created a shared set of expectations and norms, using the largest repository of human knowledge in existence as their anchor.

Loosely formed and fractured into factions, the Wikipedia community nevertheless follows a set of principles that it has defined over time. Their conventions are defined and redefined on a regular basis, as the community at the core of Wikipedia grows. When it finds a violation of these principles—such as the suggestion that ads will be plastered on the article they helped they create—they sometimes react strongly.

Wikipedia learned from the fork of Spanish Wikipedia, and set up a continuous feedback loop that has allowed its community to remain at the center of making decisions. This was a primary focus of Katherine Maher, who became exectuvie director of Wikimedia, the company behind Wikipedia, in 2016, and then CEO three years later. Wikimedia’s involvement in the community, in Maher’s words, “allows us to be honest with ourselves, and honest with our users, and accountable to our users in the spirit of continuous improvement. And I think that that is a different sort of incentive structure that is much more freeing.”

The result is a hive mind sorting collective knowledge that thrives independently twenty years after it was created. Both Maher and Wales have referred to Wikipedia as a “part of the commons,” a piece of informational infrastructure as important as the cables that pipe bandwidth around the world, built through the work of community.

Fanfiction can be hard to define. It has been the seeds of subculture and an ideological outlet; the subject of intense academic and philosophical inquiry. Fanfiction has often been noted for its unity through anti-hegemony—it is by its very nature illegal or, at the very least, extralegal. As a practice, Professor Brownen Thomas has put it plainly: “Stories produced by fans based on plot lines and characters from either a single source text or else a ‘canon’ of works; these fan-created narratives often take the pre-existing storyworld in a new, sometimes bizarre, direction.” Fanfiction predates the Internet, but the web acted as its catalyst.

Message boards, or forums, began as a technological experiment on the web, a way of replicating the Usenet groups and bulletin boards of the pre-web Internet. Once the technology had matured, people began to use them to gather around common interests. These often began with a niche—fans of a TV show, or a unique hobby—and then used as the beginning point for much wider conversation. Through threaded discussions, forum-goers would discuss a whole range of things in, around, and outside of the message board theme. “If urban history can be applied to virtual space and the evolution of the Web,” one writer recalls, “the unruly and twisted message boards are Jane Jacobs. They were built for people, and without much regard to profit.”

Some stayed small (and some even remain so). Others grew. Fans of the TV show Buffy the Vampire Slayer had used the official message board of the show for years. It famously took on a life of its own when the boards where shut down, and the users funded and maintained an identical version to keep the community alive. Sites like Newgrounds and DeviantART began as places to discuss games and art, respectively. Before long they were the launching pad for the careers of an entire generation of digital creators.

Fandom found something similar on the web. On message boards and on personal websites, writers swapped fanfiction stories, and readers flocked to boards to find them. They hid in plain sight, developing rules and conventions for how to share among one another without being noticed.

In the fall of 1998, developer Xing Li began posting to a number of Usenet fanfiction groups. In what would come to be known as his trademark sincerity, his message read: “I’m very happy to announce that www.fanfiction.net is now officially open!!!!!! And we have done it 3 weekss ahead of projected finish date. While everyone trick-or-treated we were hard at working debugging the site.”

Li wasn’t a fanfiction creator himself, but he thought he stumbled upon a formula for its success. What made Fanfiction.net unique was that its community tools—built-in tagging, easy subscriptions to stories, freeform message boards for discussions—was built with fandom in mind. As one writer would later describe this winning combination, “its secret to success is its limited moderation and fully-automated system, meaning posting is very quick and easy and can be done by anyone.”

Fanfiction creators found a home at Fanfiction.net, or FF.net as it was often shortened to. Throughout its early years, Li had a nerdy and steadfast devotion to the development of the site. He‘d post sometimes daily to an open changelog on the site, a mix of site-related updates and deeply personal anecdotes. “Full-text searching allows you to search for keywords/phrases within every fanfiction entry in our huge archive,” one update read. “I can‘t get the song out of my head and I need to find the song or I will go bonkers. Thanks a bunch. =)” read another (the song was The Cure‘s “Boys Don’t Cry”).

Li’s cult of personality and the unique position of the site made it immensely popular. For years, the fanfiction community had stuck to the shadows. FF.net gave them a home. Members took it upon themselves to create a welcoming environment, establishing norms and procedures for tagging and discoverability, as well as feedback for writers.

The result was a unique community on the web that attempted to lift one another up. “Sorry. It‘s just really gratifying to post your first fic and get three hits within about six seconds. It‘s pretty wild, I haven’t gotten one bad review on FF.N…” one fanfic writer posted in the site’s early days. “That makes me pretty darn happy :)”

The reader and writer relationship on FF.net was fluid. The stories generated by users acted as a reference for conversation among fellow writers and fanfiction readers. One idea often flows into the next, and it is only through sharing content that it takes on meaning. “Yes, they want recognition and adulation for their work, but there‘s also the very strong sense that they want to share, to be part of something bigger than themselves. There’s a simple, human urge to belong.”

As the dot-com era waned, community was repackaged and resold as the social web. The goals of early social communities were looser than the tight niches and imaginative worlds of early community sites. Most functioned to bring one’s real life into digital space. Classmates.com, launched in 1995, is one of the earliest examples of this type of site. Its founder, Randy Conrads, believed that the web was best suited for reconnecting people with their former schoolmates.

Not long after, AsianAve launched from the chaotic New York apartment where the site‘s six co-founders lived and worked. Though it had a specific demographic—Asian Americans—AsianAve was modeled after a few other early social web experiences, like SixDegrees. The goal was to simulate real life friend groups, and to make the web a fun place to hang out. “Most of Asian Avenue‘s content is produced by members themselves,” an early article in The New York Times describes. “[T]he site offers tool kits to create personal home pages, chat rooms and interactive soap operas.” Eventually, one of the site‘s founders, Benjamin Sun, began to explore how he could expand his idea beyond a single demographic. That’s when he met Omar Wasow.

Wasow was fascinated with technology from a young age. When he was a child, he fell in love first with early video games like Pong and Donkey Kong. By high school, he made the leap to programmer. “I begged my way out of wood shop into computer science class. And it really changed my life. I went to being somebody who consumed video games to creating video games.”

In 1993, Wasow founded New York Online, a Bulletin Board System that targeted a “broad social and ethnic ‘mix’,” instead of pulling from the same limited pool of upper-middle class tech nerds most networked projects focused on. To earn an actual living, Wasow developed websites for popular magazine brands like Vibe and Essence. It was through this work that he crossed paths with Benjamin Sun.

By the mid-1990‘s, Wasow had already gathered a loyal following and public profile, featured in magazines like Newsweek and Wired. Wasow’s reputation centered on his ability to build communities thoughtfully, to explore the social ramifications of his tech before and while he built it. When Sun approached him about expanding AsianAve to an African American audience, a site that would eventually be known as BlackPlanet, he applied the same thinking.

Wasow didn’t want to build a community from scratch. Any site that they built would need to be a continuation of the strong networks Black Americans had been building for decades. “A friend of mine once shared with me that you don’t build an online community; you join a community,” Wasow once put it, “BlackPlanet allowed us to become part of a network that already had centuries of black churches and colleges and barbecues. It meant that we, very organically, could build on this very powerful, existing set of relationships and networks and communities.”

BlackPlanet offered its users a number of ways to connect. A central profile—the same kind that MySpace and Facebook would later adopt—anchored a member’s digital presence. Chat rooms and message boards offered opportunities for friendly conversation or political discourse (or sometimes, fierce debate). News and email were built right into the app to make it a centralized place for living out your digital life.

By the mid-2000’s BlackPlanet was a sensation. It captured a large part of African Americans who were coming online for the first time. Barack Obama, still a Senator running for President, joined the site in 2007. Its growth exploded into the millions; it was a seminal experience for black youth in the United States.

After being featured on a segment on the The Oprah Winfrey Show, teaching Oprah how to use the Internet, Wasow‘s profile reached soaring heights. The New York Times dubbed him the “philosopher-prince of the digital age,” for his considered community building. “The best the Web has to offer is community-driven,” Wasow would later say. He never stopped building his community thoughtfully. and they in turn, became an integral part of the country’s culture.

Before long, a group of developers would look at BlackPlanet and wonder how to adapt it to a wider audience. The result were the web’s first true social networks.

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