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raven-at-the-writing-desk · 2 years

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Hi Raven! I just saw your new masterlist (the one with the analysises) and I noticed the whole section about how canon characters would realistically handle romance which I though was funny considering how much fan content revolves around having perfect romances XD I think a lot of people also thought twst was an otome game when it was first being marketed and someone's even working on a twst otome fan game right now. Wondering if you have any thoughts on that?

[Referencing this masterlist!]

Before I comment on the concept of TWST as an otome game, I want to preface this post with the disclaimer that, in sharing my thoughts, I do NOT mean to invalidate anyone that enjoys otome games, anyone that likes the idea of TWST as an otome game, or anyone that likes making and/or consuming romantic TWST content.

This response is meant to be a critical analysis of the otome genre and how well or not well it fits with the lore and the characters presented to us in TWST.

As someone who has admittedly played a number of otome games and dating sims in their lifetime, I think TWST would function poorly as one. This ultimately comes down to two major concerns: the story and the characters.

Now, I don’t mean to imply that the writing for all otome games is bad, but it’s certainly difficult to find a well-written one, even in today’s highly saturated market. I think the issue with otomes is that, by virtue of being a genre that focuses on developing an explicitly romantic relationship with a character of your choosing, it limits what the story can do and where the story can end. You can anticipate some bumps here and there, but you also expect the guy to be head-over-heels for you and you expect a happy ending where you kiss and live happily ever after with him by the end of it. There are only so many times you can follow this formula without it getting stale.

There are also a lot of tropes (as well as subversions) commonly associated with otome games, and it is extremely difficult to avoid them or to put a fresh spin on them when writing. This can make routes entirely predictable so long as you know the basic archetype that a certain character falls into. For example, how many celebrity characters have storylines which involve obsessive fans bullying the poor main character out of jealousy, or the paparazzi getting involved and blasting a secret relationship all over the news? I can almost guarantee you that this would also happen if someone like Vil got an otome game route. In fact, I could sit here and rattle off tropes I can expect to be in every TWST boy’s route, simply by virtue of how ingrained some of them are in otome culture. (It’s not even that I’ve played a lot of otome games, but I’ve certainly seen enough to notice the patterns with little to no changes across various titles.)

The other big problem is that otomes tend to focus on the protagonist--on making them feel loved and important. What usually ends up happening in order to achieve this is that all character development for the potential love interests hinges on their involvement and interactions with the protagonist. Not only does it create this unrealistic expectation for romantic love (ie your S/O will come into your life and fix all your problems), but it creates the weirdly codependent implication that you cannot improve or be a better person without romantic love. It also downplays the significance of platonic relationships with family and friends in favor of propping up romance. It’s not uncommon in otome games where literally no one but the main guys and the protagonist get unique artwork, signifying that the only important people are the ones involved in the romance. No one else matters. Sometimes the parents are just written out entirely, or the friends are jealous, or the family and friends exist SOLELY just to push the romance (“when do I get to see you marry”/“wow, why are you still single, do you need my help?”) Nothing else matters but figuring out how these faceless blobs can be stepping stones for the route. What would become of companion characters like Grim? He would lose his importance in the story. What about Ortho, who is considered too young to date? He’d be made nothing more than a wingman for Idia.

Speaking of the characters, it’s not just the side characters and NPCs that would be watered down; I feel that the TWST boys themselves would also be done a disservice. Since the nature of otome games is to endear you to a character and have them fall in love with the player/protagonist by the end, it would force a lot of the boys (most notably the “nastier” ones) to forego their wrongdoings by the end to shower the player/protagonist with love. Like... you can’t really write the TWST boys being assholes the entire time through because it would harm the player’s enjoyment of the story even if it would be true to the boy’s character. For example, let’s look at Ace. He is the only boy to have canonically been romantically involved with someone. He ghosted his ex-girlfriend. It’s possible he may do the same again--but even if that’s something Ace could very well do, a TWST otome game would probably avoid it altogether because being ghosted in a game doesn’t make the player feel good. In TWST as it is now, the characters are allowed to freely be assholes because their personalities aren’t constrained to being nice to the protagonist all the time or by the end of a chapter. The boys still maintain a lot of their rough edges in spite of gaining some new epiphany, and other boys won’t have changed at all. But in an otome, a lot of the less savory aspects of the boys’ personalities would have to be significantly sanded down to entertain the player’s fantasies. Alternatively, those unsavory aspects could still be included, but it’s more likely that they would be written in such a way that they would be completely gone or not even an issue by the end of a route, OR they would be written such that the nastiness is ONLY directed at anyone that ISN’T their love interest. It’s just kind of odd, and it hampers the boys’ characters, as well as limits how they are able to change throughout their routes.

I believe that character development that relies on being in love with the protagonist fundamentally clashes with what TWST is. In Twisted Wonderland, characters don’t grow only because of Yuu, they grow because of the intervention of many other characters, as well as them coming to realize the faults of their own actions, learning to take responsibility, and making a conscious, active decision to better themselves. What’s more, characters take ample time to recover and learn from their errors, and even 6 episodes into the main story, we still don’t have concise or clear conclusions to anyone’s character arcs--because the characters are continuously changing, and there technically is no end to their development. They help each other out. They feel organic, they feel real--but it wouldn’t hold true for an otome game.

As an example, in episode 1, it was Ace and Deuce that challenged Riddle to a duel because they couldn’t stand his tyranny, then it was Ace that decked Riddle and called him out, and Trey who negated Riddle’s magic with his own when the dorm leader was on a rampage. Riddle eventually realizes that he was being unreasonable and breaks down post-OB, confessing to all the normal things he wants to do instead of so strictly following the rules. Yuu didn’t do much of anything. Even late in the main story, characters are helping each other develop, and some scenes exclude Yuu entirely. Deuce got his unique magic after a compelling conversation with Epel on the beach--and Yuu wasn’t even there to overhear that talk. In episode 6, Riddle-Azul and Leona-Jamil had major moments of growth through their clashing characters AFTER they had split up from MC and Pomefiore.

If TWST were an otome, Overblot battles would be resolved with the power of the protagonist hugging the boy and confessing their love, or the OB boy snapping back to their senses when he realizes he had hurt his S/O. Deuce’s character development and even his unique magic development would be walled off until the protagonist meets all of the requirements to get to the proper happy ending. The same would go for Azul, Riddle, Leona, Jamil, Vil, Idia, and Malleus’s growth. Other characters would not be given as much spotlight or screen time, because the focus would be squarely on the protagonist and their developing relationship with the boy of their choice. The flexibility of the story would be greatly hindered, inorganically railroading all progression and locking it behind one fact and one factor only: the protagonist’s presence, their love. In an otome, all the growth that a character goes through only happens because they found a S/O.

For characters who have particularly sad backstories, it can be difficult to write their route in such a way as to not come off as... insensitive? There’s really no other way for me to put it. Like... especially for the OB boys, a lot of the issues they have cannot be solved with a smooch and positive affirmation. You cannot just tell Riddle’s mom she’s awful, tell Leona it’s okay that he’ll never be king because at least he’ll always be “king of your heart”, tell Azul that you think his octopus form is cute and he should have more confidence in it, free Jamil from his service to the Asims, tell Vil that he’s fairest of all to you, bring back Ortho for Idia, etc. That will not solve their issues. A lot of these traumas are deep-seated (to the point where it has obviously had a major impact on their current personality), or extend to systems a single person cannot influence, or even society itself. The characters would have to realistically work through their issues over a large span of time, and with the proper therapy and other professional resources. People don’t just change overnight or the instant they get a romantic partner, they need time to process and to heal, sometimes by themselves if necessary. To think that “true love can conquer all” can easily oversimplify very complex issues and can do a great disservice to the characters going through these problems. Sometimes it can feel like the main issue is tossed aside in favor of addressing the more “important” thing: the romance--and that can honestly hurt.

Of course, it’s great to have a positive and loyal support system there to help you! But at the same time, it is NEVER someone’s responsibility to be a therapist for their partner, and nor are they responsible for the wellbeing of their partner. This then circles back to the concerns I expressed earlier about the implications that otome games tend to perpetuate (that a S/O can come in and fix all of the problems).

One last thing I want to make note of is that by nature of “otome” games being directed at “maidens”/females (usually straight and cis females; the word “otome” literally MEANS “maiden”), it... alienates a lot of their potential audience pool. Males, nonbinaries, non-straight people, etc.--none of them would be able to enjoy TWST if it were an otome, because most otome already assign and assume a sexuality and gender before you’ve even booted up the game. They cannot readily identify as the protagonist, and they cannot easily self-insert because of that. It’s not fair, and it’s not as inclusive as the TWST we currently have, know, and love. We also need to consider that a lot of TWST’s current fans aren’t into the game to romance the boys; a lot of people also find value in friendships with them, or being able to relate to them on a platonic level. If TWST were an otome, they would be shoehorned into intimacy they didn’t ask for, and it might make them feel uncomfortable or not able to enjoy the game at all. Otome games appeal to a certain audience, and the opposite also holds true: it repels a different audience, thus dividing the current TWST fanbase.

At the end of the day, otome is often set up for that immediate payoff, that happily ever after, because otome is generally not concerned with telling a deep, complex, or thought-provoking story. Its primary goal is to satisfy and to indulge the player, even if it means sacrificing other things, like character complexity or plot, in order to achieve that. The structure of otome is best for guilty pleasure, wish fulfillment, and escapism, which, again, I don’t think that vibes well with the friendship and character growth driven nature of TWST. TWST is allowed to explore mature themes and it is allowed to have all of its characters be equally as important because it is not restricted by the expectations imposed by the otome genre. There’s definitely still some bones thrown at the players in terms of a few main story and home screen lines, but that’s where the fanservice stops. TWST’s aim isn’t fanservice, it’s telling compelling stories with its wonderful cast of characters.

It would have to take an extremely skillful team of writers to pull off a TWST otome game that avoids all the pitfalls I previously mentioned (if the goal is to preserve the charming characters and their development despite the genre shift). You can’t just copy paste TWST’s current main story plot and add dialogue choices that increase affection with various boys and call it a day; you’d seriously need to reconstruct and rewrite literally everything to make it cohesive.

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tea-at-221 · 4 years

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The TJLC Debacle: 3 years out from S4 and counting; the copyright mini-theory; so much salt I’m bloated; but in the end, there is peace (I love you Johnlockers)

Ugh, don't even talk to me about Mary.

Don't even talk to me about the way Mofftiss have said they're sick of responding to fans on the subject of Johnlock. Of how they've said they're "not telling anyone else what to think or write about them" (as if they could stop us; as if they even own Sherlock themselves. Do keep reading, because this point becomes much more relevant and in-jokey later on). Don't even mention how they've bitched and whined incessantly because--god forbid--fans got *really really* into their show and emotionally invested.

They're so eager to discount all the beautiful little moments they wrote as accidents. And Arwel, who planted all those props, continually demonstrates that he's on their side (a not-very in-depth-analysis of his Instagram account and the way he interacted with fans towards the beginning of the pandemic showed as much, but I think maybe he’s grown a bit wiser and quieter since at least in terms of Johnlock and all things elephant-related. I don’t know for sure because I stopped looking.)

Anyway--they'd actually prefer for us to celebrate our own intelligence, is I suppose a charitable way of looking at it: our ability to make connections between things in the show; our metas on symbolism; our insightful fanfic; etc., and denounce them as the bad writers that they ultimately are.

More under the cut.

(This post may be of interest to you especially if you came to the fandom a bit later: multiple links to things of relevance/quotes/explanations appear both within and at the end of this entry.)

Because what makes a writer good?

Well, an ability to make people feel an emotional connection to their work, for one. I know this is just my own perspective, but if not for Johnlock, all my emotion about the show would evaporate. There wouldn't be much else there. Other people might get something, but I wouldn’t. Is some of the writing witty and entertaining regardless of any inferred/implied Johnlock? Yeah but, eh, a lot of shows have some good writing and I just don’t give a damn about them.

What makes a writer good?

Not making promises to the reader/viewer that they'll never keep. Plot holes, leading dialogue ("There’s stuff you wanted to say...but didn’t say it.” “Yeah”) never followed through on, puns that are apparently, I suppose, unintentional (e.g. "'Previous' commander?" "I meant 'ex'").

Uh, not writing continual gay jokes that aren't actually pointing toward the inference that people are making them because there's actually something going on there under the surface. (How about just don't make those jokes ever.)

Not being, apparently, oblivious (? questionable) to the queerbaiting they're engaging in *as they’re writing it.*

Acting like their LGBT audience is in the wrong/the bad guy, instead of choosing to remain respectful in the face of dissent. Instead it's just, "we never wrote it that way" / "We never played it that way."

A lot of those other mildly witty shows don’t actually blatantly drag their most passionate fans face-down through the mud the writers themselves created. Imagine that.

I'm not even a fan of Martin Freeman anymore, for the way he handled the whole thing (getting angry, the comments he made about how the fans made Sherlock “not fun anymore”...apparently Martin’s packing up his crayons and going home?)...no offense to anyone who is still a fan of his. I don’t make it a habit to drag him. I do to some degree understand his frustration with having the whole situation taken out on him--he’s just an actor in the show--but I simply wish he’d remained as cool and professional about it as Benedict Cumberbatch instead of pointing at the fans. You’re pointing in the wrong direction, mate.

What also irks me at the end of the day is this: the subsection of people who legitimately responded badly to the TJLC/S4 debacle and went above and beyond to harass the writers and actors/actresses on social media are *few and far between*, but we've been lumped in with them by what feels like...everyone, Martin included. TJLCers/Johnlockers (not the same group, but often treated as such) have been made to look like a bunch of rambunctious, immature, demanding children time and time and again in the wake of S4.

They'd rather, what, suggest John was so in love with Mary? THAT was the relationship they wanted to uphold in that show as so significant and...what, a demonstration of how honorable it is to respect your heterosexual relationship despite, you know...ANYTHING?

Yeah sorry, I don’t believe in that. John’s text-based affair, whether a disappointment for some as to his supposed character, was a very human reaction and I kinda sorta feel like I would have reacted MUCH more strongly than that had I been John. But nope. He stayed with Mary and was *ashamed* of his wandering eye. Ashamed that maybe he wanted to be admired by someone. I can’t think of a scene, off the top of my head, where Mary ever interacted with John without belittling him in some way--if not with words, then with consistently patronizing glances.

The message here is that heterosexuality is not just acceptable, but VALUABLE, however it manifests--but god forbid anyone see a queer subtext. (Why are lgbt+ writers some of the very WORST offenders where this is concerned? And they defend it! Is this childhood nostalgia/Stockholm Syndrome of the very fondest variety or what? Gay angst is all they got if they got anything at all, so it’s still good enough as far as “representation” goes?)

They really want to tell the story of John as so emotionally/mentally fucked up that he surrounds himself with unstable people time and again. They never give any reason *why* he might do that (which they could have done even soooo subtly), or delve into his past--just, apparently it's okay to assume that Sherlock's comment about "she's like that because you chose her" is exactly that.

No. Sherlock and Mary are NOT the same. Not...*remotely*!

Mary is underhanded and evil. She lies. She manipulates. She schemes. Her “love” is based on selfishness, and her assumption that John is a simpleton and hers to mold. She's in it for herself.

Sherlock hides. He prevaricates. He feels. He loves John. He does fucked up things in the name of love, but always for the benefit of those he loves. When he screws up, which he obviously does, it’s painful to us as the audience because we see that it is painful for him when he recognizes and regrets it.

I have never seen Mary regret anything. Those crocodile tears at Christmas? More manipulation. Inconsistent with anything else we were shown about her as a character.

To even think for a SECOND that people could ship Mary and John and mentally condemn John for cheating on Mary AFTER SHE SHOT HIS BEST FRIEND...as if marriage is the be-all-end-all free pass in which every sin must be forgiven until the end of time...as if John broke any covenant with his wife beyond those she broke from the very moment she walked into his life *with an entire fake past.* Is just. Well. It's asking us to accept gaslighting as healthy, loving, normal, *preferable* behavior, so...given the source that message is coming from, it's all a bit meta.

THAT. Is insanity. Maybe Mofftiss are the sociopaths.

How these men could write characters they themselves understand so little (or tell us they understand so little because their emotional maturity has yet to surpass that of the average three-year-old’s), I will never know. I can only imagine that they have absorbed, by osmosis over their lives, real and nuanced human behavior...then churned it back out again in their writing unaware, a bit like psychopaths who teach themselves what "normal" people do so that they can pass as psychologically sound in regular society.

Remember, we *are* talking about men who do these sorts of things:

Moffat says that Sherlock is celibate and that people who claim he's misogynistic when he does things like make Irene Adler imply she's attracted to the detective (even though she's a lesbian) are, ironically, "deeply offensive" (despite lines like "look at us both" in Battersea. We aren't your therapists, Moffat--we don't care what you meant, we care what you said, and what you *said* was clear. *Implying* it does not let you off the hook).

Gatiss has proclaimed that "I find flirting with the homoeroticism in Sherlock much more interesting" than the idea of ever making a show addressing LGBT issues. (That link is to a reddit forum, and I can't find the original interview anymore, but I assure you I had seen the actual article myself ages back and can't find it online again now along with some of the Martin quotes I wanted to link to. And nevermind what Gatiss has done with LGBT shows/issues since--my focus here is on what he has said, versus what he and Moffat have since claimed regarding their queerbaiting.)

Here’s a transcript of this screenshot:

"...many people come up and say they didn't realise." Despite this lack of public awareness, being part of the gay community is clearly important to Gatiss: "The older I get the more I want to give something back. I mean, I keep meaning to do something." When asked if he'd be interested in making a series about gay issues his response was enlightening:

"No, I don't think I'd make a kind of gay programme. It's much more interesting when it's not about a single issue. And equally, I find flirting with the homoeroticism in Sherlock much more interesting. Of course this reflects the grand picture of everyone's strange make-up; there are good gay people and bad gay people. I wouldn't like to make an issue film around the culture of being gay."

Instead Gatiss' interest seems to lie in making a drama where sexuality is, if not mundane, part of the wider framework: "I'd quite like to do something about a quite happy, ordinary gay person who's just incidentally gay. For example, a three-part thriller for ITV where the lead character just happens to be gay; when they finally go home, say 45 minutes in, and they had a same sex partner. That to me would be genuinely progressive. It wouldn't be a three-part gay thriller for ITV. It would be that this character just happened to be gay."

--End article quote.

And instead, who is canonically gay in the series? Well, Irene Adler. The innkeepers at the Cross Keys. And perhaps most notably, the *villains*, because that's a helpful trope: Moriarty and Eurus are, in S4, both implied to be at least bisexual.

Any character should be able to be any sexuality, this is true. But can we have some main characters, the good guys, give some good representation? Can't we start making that the standard, rather than the villains and the background characters? Because so far, that is the exception and not the rule.

Writers need to be aware of the damage they are perpetuating. We are not quite in a world yet where any character should be able to be any sexuality but isn't, yet we have no problem with saying the villain is LGBT+ or looks different/functions differently than much of the viewing audience.

"Male friendship is important and valid, not everything has to be gay"--this is a popular point with casual heterosexual viewers (and, to my chagrin, some of my LGBT+ friends) who don't fully grasp what "queerbaiting" is, often even when it's pointed out to them.

The lens of heterosexuality is real. My first time through watching BBC Sherlock, I didn't see the Johnlock at all. I had to look for it and read about it. When I saw it, the lens was lifted for me, and it changed my life and the way I view things forever (and for the best).

But back to my point about how little Mofftiss seem to understand their own story/most ardent fans, and then on to my other theory: in S4 it must be that they dropped their “psychopaths emulating empathy” act and indulged in their own "insane wish fulfillment" by doing away with all of the meaning, continuity, and sense. Right?

So, here’s the alternate theory. One which is not, please remember, in their defense.

Remember that S4 is what Mofftiss are *happy* to have us believe is what they'd do with these characters, given the chance to do whatever they wanted. I repeat, in Moffat’s own words: “Insane wish fulfillment.”

Okay I get it, this pasta has been over-salted.

Without further delay: MY COPYRIGHT RESEARCH THEORY THAT EVEN I DON'T PUT MUCH STOCK IN AND WHICH DOESN’T MAKE UP FOR THEIR CRUELTY EVEN IF TRUE

Part of me also raises an eyebrow at S4 as perhaps an example of the effect of the Conan Doyle estate on any modern production in the US. While it’s true that all of Sherlock is part of public domain in the UK and has been for quite a long time, Gatiss and Moffat still talk about it being partially under copyright. Specifically, the last 10 stories. I’m supposing that this means that because Sherlock airs internationally, or due to whatever contract the BBC has with the Doyle estate, they are still limited by the copyright as to what they can “publish”.

The Doyle estate is known for being a pain in the ass when it comes to abiding by copyright law as everyone else knows and practices it. They’ve tried to argue, for example (in 2013 and, much more recently, with the advent of Enola Holmes), that because Holmes and Watson were not fully developed as their final selves until the conclusion of all 10 stories still under copyright, then perhaps the characters themselves should still be protected, basically, in full.

It’s true that certain elements of the remaining stories are still under copyright here in the US (Watson had more than one wife--uh huh, we have that to look forward to, Johnlockers; the Garridebs moment is still under copyright--yeah, I’m getting to that too; and Sherlock didn’t care much for dogs til later so that’s not allowed either, fuck off Redbeard), but the estate’s problem in 2013 seemed to be based around a fear that *gasp* some day--if not right now!--anyone could write a Sherlock Holmes story in any way they pleased, changing the characters however they wished to and giving those characters “multiple personalities.”

See the following excerpt from the Estate’s case:

“...at any given point in their fictional lives, the two men's characters depend on the Ten Stories. It is impossible to split the characters into public domain versions and complete versions.”

(Click for full transcript.)

Obviously, by this point, that’s been done in multiple iterations. So I dunno. Their argument was *more* than muddy to begin with--they just grasp at straws to stay in control, it seems.

But okay. Backing up: wasn’t there sort-of a Garridebs moment in S4?!?? you cry. Yep. But imagine this: the Conan Doyle estate taking Mofftiss to court to argue that they depicted the Garridebs moment--a moment still under copyright--in The Final Problem.

Did they, though? Did they really?

The fandom cried out about the ridiculousness--the utter disappointment--of that moment when it was shown. It was not what we would have expected/wanted. We didn’t see John injured, Sherlock reacting with tender outrage to the good doctor’s attacker.

Instead we saw some ludicrous BS that was as bad as the clown with the sword-gun-umbrella. More of that.

I think Martin probably found that it was easy to produce real tears when he thought about how fucking terrible the S4 scripts were.

Ahem. Yet, this all seems very Mofftiss-flavored in terms of humor.

I can all-too-easily imagine them saying, “HA. We’re going to show some of these supposedly copyrighted things--and if they take us to court, they’ll be laughed out of the room.” Could that explain some of the overall S4 fuckery?

Sherlock wasn’t supposed to like dogs til later stories, as previously mentioned-- is that why Redbeard pulled a “Cinderella’s carriage” and transformed into a pumpkin (Victor Trevor)? Hmm. Sigh.

It...doesn’t actually appear that the estate has any qualms about taking laughable stuff to court, I mean...*shrug.* They have the money to do it, and money is the name of the game, because you’ve got to pay for rights (cha-ching sounds).

Yep, it does seem that the estate is open to the copyrighted materials being made reality, but who knows for what price or with what caveats. The BBC isn’t, so far as I’ve ever heard, known for throwing money around. Early Doctor Who would be so much less entertaining if they’d had any sort of budget. (And in fact, more of the older episodes would exist, but apparently the BBC--in part to cut costs--reused some of their tapes.)

My bottom-line bitter is this: Mofftiss do like to amuse themselves. To please themselves and no one else, as they’ve shown time and again. Sure, they could do whatever they wanted with S4...and they did...but they were also cruel about it, and that’s what I’ll never forgive them--OR the BBC--for.

A lot of fans gave up after series 4. I was very nearly one of them. I was angry, like just about every other Johnlocker and/or TJLCer, but I was really truly heartbroken. I couldn’t look at fanfiction. My days were full of bitterness and I keenly felt the lack of the fandom outlet that had become so essential to my mental well-being. I didn't know how to overcome the disparity between TJLC and what the show actually was. I didn't know how to separate the things I loved so much from the shitty writers and the way the BBC handled things with their whole response letter (that atrocious, childish blanket response they sent to everyone who complained about S4, not just the Johnlockers/TJLCers. Related to your complaint or not, if you filed one post-S4, this was the response you got). I still boycott BBC shows/merchandise, just by the way.

I tried to link to the blanket response letter but the link didn’t want to work (it’s an old reddit post; I had difficulty finding a copy of the letter elsewhere though at one point it wasn’t so hard...Google is weird these days y’all...tell me it’s not just me) so here’s a screenshot:

Transcript:

“Thank you for contacting us about “Sherlock”.

The BBC and Hartswood Films have received feedback from some viewers who were disappointed there was not a romantic resolution to the relationship between Sherlcok and John in the finale of the latest season of “Sherlock”.

We are aware that the majority of this feedback uses the same text posted on websites and circulated on social media.

Through four series and thirteen episodes, Sherlock and John have never shown any romantic or sexual interest in each other. Furthermore, whenever the creators of “Sherlock” have been asked by fans if the relationship might develop in that direction, they have always made it clear that it would not.

Sherlock’s writers, cast and producers have long been firm and vocal supporters of LGBT rights.

The BBC does not accept the allegations leveled at “Sherlock” or its writers, and we wholeheartedly support the creative freedom of the writers to develop the story as they see fit.

We will of course register your disappointment.

Thank you for contacting us.

Kind Regards,

BBC Complaints Team

So how about that? *Did* they “register our disappointment”? We can actually check that. The BBC’s website has a monthly summary of complaints received. So what did they receive in January 2017, the month S4 aired?

Huh, what do you know. Sounds like that blanket response was exactly the “fuck you” it came across as.

But the show--the FANDOM--had filled a need in my life, and so I had to own that and make it mine, or just...let something in me die: something that felt like an actual vital organ. I had to decide that these characters mean something to me beyond what anyone else tells me they should. I had to accept my own perceptions as truth, as I do with everything else in my life. I had to overcome the idea of canon as law (BBC Sherlock isn't canon anyway; ACD is canon. BBC Sherlock is, in the end, badly written fanfiction--or--worse?--decent pre-slash fanfiction distorted by consistent lies and the hazing of the LGBT audience, topped with the dumpster fire of S4′s incoherent nonsense).

I had to take the good and throw away the bad, just like anyone else who chose to stay. The good bits of the show...dialogue, yes. Plot points, yes. These awful writers did write some good stuff sometimes.

They just broke all the unspoken rules of what not to do to your audience. And then did and said everything they could not to apologize, and to justify their own failings. Which, in the years since I began shipping queer ships beyond any others, I have unfortunately experienced more than once.

So, my vulnerability has been yeeted into the vacuum of broke-my-trustdom: no one can tell me what things should mean to me. I will decide.

I decide that all of the FUCKING AMAZING writing in the Sherlock fandom is a staple in my life that makes it worth living. And that that's okay. And takes precedence over anything the writers or anyone else associated with the show could ever say or do.

Johnlock can not be taken away. It doesn't belong to them. It never did, even if they brought us to it. It belongs to us. To the group of amazingly creative, brainy, empathetic, resourceful, vibrant, resilient people who make up this fandom.

So thank YOU, all of YOU, for giving me Sherlock, Johnlock, and TJLC.

I am SO SAD for those who never found a way to make peace with this fandom again. Let me just say that I understand that inability entirely.

I am fortunate that I found the ability in myself to cling to the joy (something it has taken my whole life to be able to do). I hope others will who haven’t yet but wish they could.

Let Mofftiss and whoever sides with them stay angry and bitter and vicious, always looking over their shoulders for anyone who dares to whisper about subtext.

I’m proud to be part of what they’re whispering so angrily about.

Thanks for sticking it out if you made it this far. I know this was very self-indulgent and rambly.

Articles of interest:

A Study in Queerbaiting (Or How Sherlock Got it All Wrong) by Marty Greyson

“We never played it like that.” - Martin on Johnlock

Henry Cavill on the Enola Holmes lawsuit

More on that--and by the way Sherlock isn’t allowed to like dogs

The way Sherlock creators told fans Sherlock & John aren’t gay is so rude

Especially for those new to the fandom who may not know the distinction between TJLC and Johnlockers and want to know more about TJLC's evolution/what it is/meta through the years

Moffat's view on asexuality, offensive to me in particular *as* an asexual person (same article where he claims he isn't misogynistic): "If he was asexual, there would be no tension in that, no fun in that – it's someone who abstains who's interesting."

Yet he says Sherlock isn't gay or straight and that he's trying to keep his brain pure which is a "very Victorian attitude"

(Nice historical research there, Moff--actually the Victorians were sex-positive).

Sherlock fans were robbed of the gay ending they deserved

Benedict Cumberbatch has lashed out at his Sherlock co-star Martin Freeman over his negative attitude towards fans

BBC complaints January 2017

Martin Freeman: 'Sherlock is gayest story ever'

From 2016: UNPOPULAR OPINION: "Sherlock" Isn't Sexist or Queerbaiting; It's Actually Trying to Stage a Revolution

Queer-baiting on the BBC's Sherlock: Addressing the Invalidation of Queer Identities through Online Fan Fiction Communities by Cassidy Sheehan

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chinaberrymahoganytree · 3 years

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SAT / ACT Prep Online Guides and Tips

Quoted from "The Epic History of Garden Gnomes From Ancient Rome to Today"(Carrie Cabral Sep 6, 2019)

Garden gnomes. They might be your favorite decoration or your biggest pet peeve. Garden gnomes are small ornamental statues, typically resembling humans. Garden gnomes have been the subject of cultural fixation, reverence, and scorn, but have stayed an essential part of garden decor and more, even as debates raged about their purpose and pranksters tried to snuff them out. No matter what side of the garden gnome debate you’re on, learning the garden gnomes history is fun and enlightening.

What Are Garden Gnomes? Traditional garden gnomes are male and bearded and have pointy hats. Some are depicted participating in leisure activities. Female garden gnomes are less common and usually don’t have beards. Today, garden gnomes can also portray popular figures or stereotypes. Biker gnomes, for example, have the traditional pointy hats and beards but also wear leather vests. There are a lot of ways to be creative with gnomes. They can be depicted doing different activities, and can have signs, plaques, or props to accompany them. Garden gnomes are modeled after gnomes, small, mythical creatures whose folklore arose during the Renaissance in Europe. Gnomes appeared prominently in Romanticist art and fairy tales as humanoid creatures that lived deep in the forest, primarily underground, and resisted contact with humans. In stories, gnomes sometimes protected and guided humans when they did come in contact with them, and sometimes had magical abilities. In some darker fairy tales of the period, gnomes led humans to their demise by tricking them.

The History of Garden Gnomes How did these little guys wind up in gardens, you ask? Well, first we have to take a little step back to ancient Rome, where the history of the garden gnome begins. Garden statues have always been popular. Ancient Romans placed statues of the fertility god Priapus in their gardens, to help the plants grow and flourish. During the Renaissance and the Romantic period, people also placed status in their garden of figures like hunchbacks, which they called "grotesques." Art influenced these decisions, as people modeled their decor after the culture of the day. In the 18th century, people began adding small gnome-like figures made of wood or porcelaininside their homes. They referred to these figures as "gnomes," inspired by fairy tales. In Germany, the fairy tales further inspired the production of the statues, as people conflated the myths and folklore with the figurines. Because the traditional gnome lived in a forest and was associated with the Earth, people began putting the gnomes in their gardens as well. The appearance of garden gnomes varied by region depending on that region's folklore, so the gnomes sometimes appeared jolly, or older and more human depending on the region. Around this time, garden gnomes took off in Europe and were primarily found in the gardens of the wealthy as a symbol of fashion and status.In 1847, Lord Charles Isham brought 21 terracotta garden gnomes to his home in Northamptonshire to be featured in the garden. Only one of the gnomes, nicknamed Lampy, survives to this day and is on display at the estate. Isham effectively brought gnomes to England and made them fashionable for the upper classes, a major turning point in garden gnome history. Sir Frank Crisp owned the second largest collection of garden gnomes in England, and opened his estate up once per week between the years of 1910 and 1919 to the public so people could view his garden and garden gnome collection. As gnome demand grew, manufacturers in Germany flourished. This meant that cheaper options for gnomes were available, and they were also displayed in the gardens of people from all socioeconomic classes.

Garden Gnomes in the 20th Century The aftermath of World War I was particularly hard on Germany, whose garden gnome manufacturers were met with little demand for ceramic figurines and had very little resources. Garden gnome popularity greatly declined at this time, but the history of garden gnomes wasn't over yet. Some garden gnome manufacturers recovered in the 1930s after the release of Snow White and the Seven Dwarves. They found that there was newly renewed interest in garden gnomes, and the appearance of the garden gnomes was "Disneyfied" to reflect the cartoon-like innocence of the animated dwarves. However, the garden gnome industry declined again during and after World War II, as time and resources were devoted to the war effort. In the 1970s, gnome-makers began producing novelty gnomes, and modeled them after politicians, celebrities, or other popular figures. Gnomes were mass-produced, cheap and readily available. Since they were so cheap and since they were produced in jokey form, they lost a lot of the artistic and whimsical reputation they once had.In the 1990s, garden gnomes re-captured public attention when a group of pranksters in France, called the Garden Gnome Liberation Front, gained fame for stealing gnomes, taking them traveling, and sending pictures back to the owners, or simply taking the gnomes and leaving them in allegedly funny situations for people to find. Often, the garden gnomes are given signs claiming that they wanted freedom, or that they had other motives for "escaping."Some thieves returned the gnomes, and others collected large groups and then set them up in scenes in public spaces. The goal of the GLF was to "free" the gnomes, but many owners of these gnomes were incredibly upset that their gnomes disappeared. Some unofficial gnome liberation groups still operate, though the original group in France was caught and fined.

Gnomes in Pop Culture Yard gnomes have appeared in popular culture regularly over the past few decades, though they don’t necessarily decorate gardens the way they once did. The World of David cartoon aired on Nick Jr. in the 1980s and featured a gnome named David who lived in the forest. The Goosebumps series featured a gnome as a villain in both the book and show, which is a possible pre-requisite to the zombie and horror gnomes that we still see today. Travelocity also used a gnome in their ad campaign starting in the early 2000s, as the gnome traveled the world. This was shortly after their height of the garden gnome liberation thefts, all of which personified the gnomes, showing them with voices and personalities, and going on adventures. This friendly attitude toward garden gnomes had always been there, but the more human the gnomes became, the more actual humans became attached to them. German artist Otto Horl displayed an art installation of 1,250 garden gnomes posing as Nazis in 2009. Though controversial, this did further the viewpoint of lawn gnomes being personified and having a purpose, names, etc. Halloween gnome costumes became popular as people dressed up as gnomes and crossed into other depictions and themes, like Gnome Chomsky, modeled after linguist and philosopher, Noam Chomsky. The Netflix series Trollhunters even includes a character named Gnome Chompsky. Making a costume out of a gnome version of something became popular, and helped repopularize novelty gnomes for a time. The animated movie Gnomeo and Juliet was a take on the classic Romeo and Juliet, and incorporated many Gnome-themes like forests and gardens into the lives of the gnome families.

The Great Garden Gnome Debate Despite their early history as exclusive decorations for the wealthy and powerful, garden gnomes today rarely have the same status and are sometimes even viewed as “tacky.” The Chelsea Flower Show famously banned gnomes until 2013, and permitting them at the show was considered a highly controversial move since it "degraded" the gardens. However, those who complained about the lawn gnomes received significant backlash, and were accused of being snobbish, since garden gnomes are common in middle and working class homes. This debate has been going on for most of the history of garden gnomes, which is part of why gnomes gained and lost popularity repeatedly throughout the years. Also, due to their humanoid appearance, garden gnomes seem to be a target for humans to want to put them in funny situations, like in Travelocity’s ad campaign. Funny videos of gnomes doing human activities like “directing traffic” can sometimes go viral. Today, gnomes are known for being funny rather than dignified. There are still serious collectors of garden gnomes, but they aren't necessarily serious gardeners—hence the view of some gardeners that gnomes are a novelty, not a garden piece. Ultimately, it's up to an individual to decide if they want to include a garden gnome in their home. Some people today make elaborate “fairy gardens” and create a whimsical space in which to place their gnomes. Others add a gnome for a humorous touch. Garden gnomes, however, you feel about them, have long been a part of gardening culture. While gnomes may never have a totally secure place in gardens, they are clearly here to stay and hopefully looking forward to the next step in their colorful lives.

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stella-monstrum · 3 years

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Bobby Roe’s ‘Underestimated Gem’, “The Houses October Built”; [1hr 31mins, Rated R] (2014)

Admittedly, there is a lot to unpack in this review.

I found myself at the relatable point of endless scrolling through horror films on streaming apps, hoping to find something that really challenged and rattled my thinking afterwards. Obviously, film taste is different for everyone, and I am CERTAINLY way too easy to scare. But this wasn’t a film made to elicit jumps—or screams for that matter.

I went into this viewing with a couple expectations. First of all, Hulu’s trailer for the movie was enough to grab my interest by itself. The clips of this group of friends exploring haunted horror attractions and the brief introduction to the eerie actors along with it pulled me in.

[Anecdote; Around the same time that the film came out, I’d gone to my first haunted house. I was separated from my group, and thrown into a “butcher shed,” and proceeded to have the living shit scared out of me. One of the actors knew that their mates had gone too far and pretty much came in to save the day. Afterwards, I thought it was the coolest thing and started to laugh at my own fear—which plays massively to the appeal to watch.]

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Before I go into the review...

I will say that the thriller theme to this film made me squirm and made it difficult to watch all the way through. So if you’re squeamish, have trauma-like responses, or have epilepsy, proceed with caution or skip this one altogether.

This film also contains a bunch of NSFW themes, torture, and graphic images (which basically delivers its main purpose, I guess).

(Written by Stella. Edited by Jacob J )

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The Cast:

Brandy Schaeffer as Brandy

Zach Andrews as Zach

Bobby Roe as Bobby

Mikey Roe as Michael (aka Mikey)

Jeff Larson as Jeff

The casting is fairly straightforward, with the actors playing overly exaggerated versions of themselves. Though technically under the lead of director Bobby Roe, the cast all had a hand in writing the film. Pulling double duty is a feat in itself. (It was unfortunate to find in my research that, after the 2017 sequel, the majority of the cast just dropped off the face of the Earth.)

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Summary:

The five childhood friends from Ohio seek out the thrill of the Halloween season, traveling through the deep south of Texas in an RV. They’re stocked up on junk food, booze, drugs, and pure joy that they’re setting out on this journey. For the six days leading up to Halloween, they visit six attractions in the Lone Star state. (technically)

The team begins at a bar in Tyler, Texas, to celebrate the beginning of their trip. In their wasted stupor (and even while sober throughout the film), they make light and joke about how these “haunted attractions” are tame and as fake as the horror films they strive to represent. (Meta as hell, right?)

With each visit, the attractions grow scarier and freakier. Somehow, they piss off a whole gang of creepy-ass characters. Despite being essentially in the middle of nowhere, the aforementioned creep squad (we’re talking clowns, bloody bunnies, backwoods Vorhees groupies, etc.) stalk and terrorize the traveling quintet. The group moves on toward the ultimate attraction, The Blue Skeleton, which they desperately try to find. This leads them on a mystery hunt through word of mouth (and an online horror attraction forum, to the secret location). They eventually wind up heading towards the deep, dark heart of Louisiana, where The Blue Skeleton exceeds every fear that they wanted in the first place—and ends up being their worst nightmare.

The film also gives a small nod to George Romero, the man who changed the way that zombies were seen in pop culture and films, during their visit to a zombie-themed paintball attraction. On top of that, the creators made the film on a very small budget (allegedly). It was given a brief theatrical release in 2014, but years later became a niche gem with a continuing following amongst horror film fans.

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[Likes & Dislikes]

It was incredibly hard to want to complain, consider how the film left my state of mind after watching. But, ultimately, I had to find something for the sake of this review. So I’ll start with the dislikes first, because it’s so worth saving the best for last in this circumstance.

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[Dislikes]:

1.) The first-person filming: Although capturing themes and moments perfectly to keep suspense, it made me super queasy.

- Now, this nitpick isn’t an end-all film-ruiner. With any first person/found-footage deal, there’s a guarantee to feel the rollercoaster like adventure in your gut. (I recommend having a good bowl of ramen or some ginger tea on hand.)

- The filming style 100% captures and cranks every moment of fear, suspense, and terror. It makes you feel like you’re a part of the team. (Found-footage/first-person filming was the original VR, fight me.)

2.) The full on disrespect that the group shows to the attractions.

First attraction: They find a ladder (that’s conveniently left unsupervised, despite not being for patron use). Mikey decides to climb it and steals a megaphone as well. He causes a scene atop the ticket booth and attempts to get a crowd shot for their film at the Haunt House in Caddo Mills, Texas. This pisses off an entire group of creepy-ass clowns that follow them back to their RV. Living up to his unspoken title of Mister Dumbass, Mikey tries to confront them.

● Second attraction: One of the clowns and a broken porcelain doll actress proceeded to follow the crew to this location in Eureka, Texas. Mikey confronts the “doll” when they find her on the side of the road. She follows onto the bus, screams, then slowly leaves.

● Third Attraction: As the group enters Phobia, located by US Highway 248, they’re told not to film past the point of entry. The camera shuts off. When the camera (one that Bobby set up on the RV) comes back on, we see Mikey trying to hook up with one of the contortionist girls. Afterward, when Zach finds out more information about the acclaimed Blue Skeleton, they get confronted by yet another pissed off clown accusing Mikey of filming when they were told not to.

There’s an entire slew of other incidents that I won’t dive into, but I will say one final con:

3.) Brandy just minds her own business the whole time, yet gets the backlash and crossfire from the boys’ shenanigans and dumbassery.

- Honestly the more she got caught in the middle, the more I felt looming dread.

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[Likes/Loves:]

Amidst the (albeit small) annoyances, there was so much that I loved and enjoyed about this film.

1.) Complete out-of-the-gate blurred lines of the entertainment-yet-fear that we seek out in haunted houses.

● Starting from the opening scenes, there’s VHS like footage of fun and upbeat tours from haunted attractions, which evolves into a slow burn of much much darker and horrible secrets/tragedies from them:

- An employee found hung, mistaken as a prop;

- Houses allegedly hiring murderers and criminals without background checks;

- & Actors going as far as breaking bones (but not killing) to scare patrons.

2.) Continuity that never strayed from the film’s theme and/or purpose.

● Through all six attractions that the crew visit, the actors that they seemingly managed to piss off (looking at the real male hubris issues here) follow and stalk them whilst traveling in the middle of nowhere—even all the way to Louisiana.

● With each haunt, the scare level increases, starting with fun and simple baby-type scares and progressing to pure anxiety and nightmare fuel.

(As an aside, I’m honestly still mad that there was no seizure warning for the amount of strobe lights they filmed in the name of fear.)

3.) Consistent foreshadowing

● At the very beginning, they show a gut-wrenching video of a bloodied and tied-up Brandy being shoved into a trunk

● Also, the film seemingly always lingers on Brandy, which gives a small clue as to the haunt creeps having an unhealthy obsession with her.

● At the first attraction, The Haunt House, while the crew films with high spirits, they convince Brandy to playfully get into one of the prop coffins, thinking it’ll be funny. Then the actor nearby shuts the coffin until she screams to let her out.

- Deeper into their travels, they joke about how much they’d want to get paid to be buried alive. At the end, that’s exactly what happens.

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(Final Thoughts)

There are so many heart- and gut-wrenching moments that force you to never look away from the screen. If I’m being honest, the style and story that Bobby Roe created is honestly on par with something you’d see from the acclaimed likes of Kubric and Zombie, among others.

This is such an underrated find. Minus my nitpicks, I’m giving this [9/10] stabs.

(This is the most I’ve been shaken up by a film in a good while.)

Want to get lost and vicariously (not literally) shit your pants? This is the film for you.

[Just don’t piss any clowns off on your way there,K?]

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ts1989fanatic · 4 years

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Taylor Swift And The End Of An Era

Love her or hate her, Taylor Swift embodied the contradictions of the decade in pop music

“I’m so sick of running as fast as I can,” Taylor Swift sings in the chorus of “The Man,” a song from her latest album, Lover. She chose the up-tempo tune to open her “Artist of the Decade” medley at the AMAs last month, and it’s a return to familiar Swiftian themes; she claps back at unspecified, sexist critics who fail to acknowledge her “good ideas and power moves.”

Whatever one might think of Swift’s underdog complex, it’s not surprising that the end of the 2010s finds her exhausted. Her transformation from tween country sensation to tabloid-friendly pop star to polarizing Twitter talking point and, finally, to celebrity supernova, required — at the very least — plenty of stamina.

There’s no question that straight white femininity still occupies a privileged place in the cultural landscape, which helped pave the way for Swift’s rise and decade-long pop dominance — even as she became a zeitgeisty symbol of that privilege and a target for those seeking to contest it. Yet as many of her similarly situated peers have faltered, she has endured as one of the last pop behemoths of her kind.

Time and again Swift strategically read and rode the decade’s cultural waves, deciding not just which trends and genres to jump on but, perhaps more importantly, what to pass on. As pop music became feud-centric reality television, there was Taylor; as stan culture transformed the way listeners interacted with performers (and each other), there was Taylor; as artists’ rights in the streaming era entered the conversation, there was Taylor; as politics infiltrated music, there was (sort of, eventually) Taylor.

There are definitely plenty of other contenders for Artist of the Decade (a title both the AMAs and Billboard recently bestowed on Swift) — artists who have hugely impacted pop music over the past 10 years and managed to ride out the seismic, industry-wide shifts they’ve contained, from Beyoncé to Lady Gaga to Kanye West. But you don’t have to think Swift was the “best” or even most significant artist of the decade to acknowledge that her cultural domination, and her ability to pivot and reinvent herself, captured many of the defining tensions of pop music over the last decade.

It’s hard to remember (in internet years) that before 2010, Swift was just a teen pop star and not yet a cultural lightning rod. She was already taken seriously as a musician and had plenty of cultural capital coming into the decade; in 2009, having already won Artist of the Year at the AMAs, she was about to accept a Video Music Award for Female Video of the Year when Kanye infamously interrupted her speech. In early 2010, she won Album of the Year for Fearless at the Grammy Awards, beating out Beyoncé and Lady Gaga.

Her early stardom revolved mostly around the fact that she was a precocious young country artist who wrote her own songs, without the risqué edge or sexy-but-wholesome cognitive dissonance of someone like an early Britney Spears to worry white parents and inspire pearl-clutching tabloid magazine covers. And it wasn’t really until Speak Now — when Swift was already a mainstream star but still categorized as country — that she began teasing the media and her fans about the ways her autobiographical lyrics mapped onto her real life, especially regarding the men she was dating.

People are still wondering whether Alanis Morissette’s “You Oughta Know” is about Uncle Joey, so it was startling for a young woman songwriter and musical celebrity of her commercial reach to use her songs to consistently craft such intimate stories about such equally public men, including Joe Jonas, Taylor Lautner, and John Mayer. And there was something uniquely bold about the way Swift started using her confessional songwriting and melodic sensibility to “get the last word” on her relationships, as People magazine framed it in her first cover story.

People hardly batted an eye in 2018 when Ariana Grande’s first No. 1 hit, “Thank U, Next,” literally name-checked her list of ex-boyfriends, and that’s in no small part because of Swift. Because even as reality TV stars like the Kardashians and Real Housewives were figuring out how to create multiplatform storytelling through social media, Swift was already pioneering the strategy in the big pop machine. Yes, she opportunistically used this to shame exes, create fodder for talk shows, and garner magazine covers; and even then, it raised some hackles about the way she was using her power. But it was undeniably compelling theater, and even nonfans were watching.

That multiplatform mixture of music and drama wouldn’t have succeeded without the undeniably catchy earworms Swift’s diary entries were wrapped in, or without the devoted fanbase of Swifties that she cultivated online. This all helped her break chart records with her most explicitly pop albums, including 2012’s Red and 2014’s ’80s-inspired 1989. The latter garnered the biggest first-week sales for a pop album since Britney Spears in 2002, helping Swift keep the tradition of the monocultural pop star alive.

But as Swift’s music saturated airwaves, and her willingness to tease behind-the-scenes details of her life in her songs moved beyond ex-boyfriends like Harry Styles (“Style”) into swatting at other pop stars like Katy Perry (“Bad Blood”) the public began to sour on Swift’s strategic use of her personal life in her music. (To Swift’s credit as a performer, no other pop star could sing the lyrics “Band-Aids don’t fix bullet holes” about a dispute over a backup dancer with a straight face.)

Juxtaposed with Swift’s self-celebrating “girl squad” feminism, her opportunism — and seeming hypocrisy — started to rankle. By 2015, even racist sympathizer and critic Camille Paglia came out of the woodwork to anoint Swift a “Nazi barbie,” calling out her tendency to treat friends as props. And all these contradictions of Swift’s persona would come to a head when Swift’s seemingly buried feud with Kanye came roaring back the following year.

It makes sense that her clash with Kanye and Kim Kardashian West became the first time she experienced a real backlash. Unlike the drama around her dating life or with Perry, it was the first time Swift was up against equally savvy adversaries — celebrities who, like her, were professionals at merging their public and private lives.

The fight was a meta moment by design, inspired by West’s song “Famous,” where he raps: “I made that bitch famous.” In retrospect, it seems clear that West, as much a publicity-seeking pop diva as Swift, was trying to get the last word after going on an apology tour about the interruption heard round the world. Swift claimed to be annoyed over what she saw as the song’s credit-taking message, and she tried to make it part of her own narrative. “I want to say to all the young women out there,” she intoned in her speech accepting a Grammy for Album of the Year in February 2016, “there are going to be people along the way who will try to undercut your success or take credit for your accomplishments or your fame.”

In another era, Swift’s storyline might have won the day. Her publicist denied that she had approved the line in the song, despite Kanye’s claim that he had checked with her before releasing it. But celebrity narratives, to some degree, were no longer being decided just by white-dominated mainstream media. Black publications were the first to tease out the racial undertones of Swift’s lie in the ensuing “he said, she said,” specifically as a white woman playing on the ingrained sympathy and benefit of the doubt that white women are given in US culture.

Still, it wasn’t until Kim’s Snapchat leak that July — where Swift could be heard approving the song — that the Swift-as-victim narrative became a framework for understanding her entire career. Contemporary white pop stars like Grande and Miley Cyrus had faced musical appropriation backlashes, but this time it was Swift’s entire persona — not just her music — that were under scrutiny.

Swift’s memeable response to the leak — “I would very much like to be excluded from this narrative” — was followed by her own disappearance from the media landscape. By the time the 2016 election happened — amid the chatter about white women’s complicity in electing Trump — Swift’s refusal to take a political stand solidly cast her as a cultural villain, and her symbolism as an icon of toxic white womanhood was sealed.

If the clamor of social media (especially Twitter) was central to the Swift backlash, it was also central to her eventual resurgence. Over the past decade, social media (especially Instagram) has tipped the scales in celebrity coverage and helped celebrities tell their stories on their own terms, almost without intermediaries. Swift knew how to use that to her advantage and decided to play the long game.

By refusing interviews for 18 months, wiping her social media clean, and focusing on cultivating her Tumblr fanbase, Swift removed herself from the cultural conversation for a beat. This kind of brand management helped her keep an ear to the ground while in a self-imposed exile. But it’s as if the culture couldn’t stop conjuring her; rumors about her absence spread, including that she had traveled around inside a suitcase.

In August 2017, she wiped her social media clean and reappeared with a snake video — reclaiming the serpent emojis — in what was ultimately the announcement for her Reputation album, and which remains one of the most iconic social media rollouts ever. “Look What You Made Me Do,” the lead single, was endlessly memed — Swift couldn’t come to the phone, a perfect metaphor for her cultural disappearance and, perhaps, a kind of ghostly remake of the Kanye call. The album succeeded because it seemed as though Swift was finally open to owning her melodrama and messiness. She subsequently broke records with the tour and album sales.

Still, her political silence was affecting her image and music. By 2018, insipid corporate wokeness had become the order of the day, and Swift Inc. again pivoted musically and culturally. Swift came out for the Democratic candidates in the 2018 midterms, framing her support in terms of LGBTQ rights and racial justice. And this year, the second single from her latest album, Lover — “You Need to Calm Down” — was a perfect encapsulation of her politics of messiness, conflating anti-gay prejudice with Twitter drama. (And somehow turning the video into a celebration of pop queens supporting each other). This fall, she has made sure to include über-stan–turned–pop star (and video coproducer) Todrick Hall at her awards show moments, attempting to expand the range of racial and sexual identities included in what used to be her mostly straight white “girl squad” feminism.

For all of Swift’s success at updating her persona, she’s never quite regained her massive radio dominance — but no pop star can depend on the success of singles for over a decade. In fact, Swift is one of the most interesting figures of the decade because her stardom is caught between the old-school era of album buying and our current streaming moment.

And, inevitably, Swift has turned her own industry issues around streaming and artistic ownership into a wider commentary on artists’ rights — which happens to work as a canny form of further brand management. She framed herself as an ethical businesswoman when she called out Apple for not paying artists, and she battled with Spotify over streaming royalties but without really pushing for wider systemic industry change.

Earlier this year, Swift started a new artist-versus-industry fight about her music masters being bought out from under her by nemesis Scooter Braun. It’s a complicated story, one that Swift has framed as being about “toxic male privilege,” and the fact that Braun mocked her during the Kanye era — once again blurring, in her trademark mode, the personal with the public and the systemic with the individual.

Instead of being seen as opportunistic, Swift seems to have succeeded in framing her campaign as a fight for unsigned and less powerful artists’ rights, which has resonated at a moment where content creators are all pitted against the 1% of the tech and corporate worlds. This time, even Rep. Alexandria Ocasio-Cortez — a squad member any star would envy — backed her up.

Swift’s response to being anointed Artist of the Decade by the AMAs and Billboard provides interesting insight into how she sees herself now and where she thinks the next decade is going. She chose Carole King, one of the preeminent symbols of pop music authenticity, to present her AMA, squarely placing herself in a genealogy of great women singer-songwriters. She also enlisted shiny next-gen pop stars Camila Cabello and Halsey to join her during her performance of old hits.

In her Billboard speech, Swift name-checked newer stars like Lizzo, Becky G, and Billie Eilish as the future of the industry. Tellingly, they are women who, so far, have not played into the tabloidy pop dramas that dominated the 2010s. If this decade has shown us anything, it’s that blurring public and private through music can reap big rewards, but it also opens up stars — especially the women of pop — to more intense scrutiny and a higher degree of personal accountability.

In a Billboard interview looking back on the decade, Swift spoke about her relationship to fame and learning to hold things back. “I didn’t quite know what exactly to ... share and what to protect. I think a lot of people go through that, especially in the last decade,” she said. “There was this phase where social media felt fun and casual and quirky and safe. And then it got to the point where everyone has to evaluate their relationship with social media. So I decided that the best thing I have to offer people is my music.”

Like Lana Del Rey denying she ever had a persona, or Lady Gaga stripping down with Joanne, there seems to come a point when white pop divas need to declare themselves authentic and all about the music — as if their ongoing narratives aren’t part of the show. But the way Swift used her image and the never-ending soap opera that swirled around her to make space for her music in an increasingly saturated attention economy was itself a kind of art. ●

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blackjack-15 · 5 years

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The Hand(print) of Fate — Thoughts on: Secret of the Scarlet Hand (SSH)

Previous Metas: SCK/SCK2, STFD, MHM, TRT, FIN

Hello and welcome to a Nancy Drew meta series! 30 metas, 30 Nancy Drew Games that I’m comfortable with doing meta about. Hot takes, cold takes, and just Takes will abound, but one thing’s for sure: they’ll all be longer than I mean them to be.

Each meta will have different distinct sections: an Introduction, an exploration of the Title, an explanation of the Mystery, a run-through of the Suspects. Then, I’ll tackle some of my favorite and least favorite things about the game, and finish it off with ideas on how to improve it.

Unique to this game is a section in between Suspects and Favorite Things, titled “The Hardy Boys”. The content it covers should be fairly obvious.

If any game requires an extra section or two, they’ll be listed in the paragraph above, along with links to previous metas.

These metas are not spoiler free, though I’ll list any games/media that they might spoil here: SSH, SCK, mostly non-spoilery mention of TMB and DOG, National Treasure, very spoilery mention of Agatha Christie’s The ABC Murders.

The Intro:

Secret of the Scarlet Hand is the game that introduces one of Nancy’s most enduring and obvious character traits — her interest in ancient cultures. This comes up again in TMB, where Nancy once again chooses to do an internship, and once again it surrounds an ancient culture.

Given that, going forward, Nancy mostly gets “chosen” for her cases, rather than stumbling upon them and choosing to solve, the times when Nancy does make a choice are important for establishing (and re-establishing) her character.

SSH is also the game where Nancy starts being “tested”. It’s not quite as overt as some of the other games, but the culprit does call Nancy into their office at the very beginning of the game, worried that someone will steal from the Beech Hill Museum.

While we know from the tagline on the outside of the box that we’ll be catching a thief (more on that tagline below) so this isn’t a huge spoiler, it does show how the culprit is setting up Nancy to be tested — to answer their one question; can she stop them?

She can, of course, not the least of which because the culprit is obvious. However, this isn’t a negative part of the game — because for the first time, the culprit is obvious to Nancy as well as the player. Heck, everyone else in the game figures it out too — what they’re lacking is concrete evidence, not knowledge.

But this is a mystery game — this is a Nancy Drew game — so why would the devs not care that everyone knows the culprit from the very beginning?

Mostly because that’s not the main mystery in the game. Even the handprint — which should be the main mystery, because it’s on the cover and in the title, right? — is a borrowed clue, or a forged signature, if you’ll allow the pun.

The mystery isn’t who stole the Pacal carving, or who pushed (if anyone) Henrik down the temple stairs, or any other mild mystery that the game sets up. This game isn’t even technically a mystery— instead, as we’re told first thing, it’s about secrets.

This is a game about secrets, lies, and above all, the little inter-personal squabbles going on against the backdrop of a museum exhibit opening. Nancy’s puzzling out who hates who and why, who likes who and why, who each of these people really are at their core, and how this information can help her catch the culprit in the act.

This isn’t a whodunnit, or a howdunnit— it’s a howcatchem, which is fitting when your villain isn’t a murderer or mischief maker, but a smuggler. Generally, smugglers are well known to the police and other organizations; the problem lies not in identifying them, but catching them.

This is further proved by the Historical B-Plot, which once again doesn’t contain a mystery about who killed the Whisperer, but rather focuses on the relationship between the King and the Whisperer, and how secrets ultimately work to both kill (anciently) and save (in the present day).

Come to think of it, maybe this game should have been called “Secrets Can Kill”, and SCK should have been called “the one where murder is taken Lightly and Awfully and also there’s no puzzles”.

The Whisperer is an incredibly important character, not just because she also knew the value of secrets and knowledge, and was ultimately killed for it, but also because she’s one of the few examples of a theme that becomes omnipresent in the later games — she’s a shadow of Nancy. A woman who knows secrets, who is hunted and ultimately hurt by those whose secrets she knows. The game makes this comparison obvious by the end when, like the Whisperer herself, Nancy is shut inside the monolith.

Fate is the other big player in this game (though I’ll get into this later), thematically speaking. The fate of secrets, as popularized by the well-known aphorism “two can keep a secret if one of them is dead”, is to get out. The secret of the smuggling operation tries its best to get out over and over, resulting in Henrik’s fall and amnesia, Joanna’s temporary firing, Alejandro’s machinations, and, of course, ends with Nancy in the monolith.

Outside of the story, I’ll give mad props for this game being an excellent representation of an understaffed museum before a big opening. Sure, the whole thing is an ADA nightmare (all those stairs, the basement portion, etc.), but the game came out in 2002, before a lot of buildings etc. had to be ADA-compliant.

People running around, unpaid interns doing the heavy lifting, red tape everywhere — the game embraces these realities of opening a new exhibit on a shoestring staff and budget, and it’s fun to see.

I’d be remiss in not acknowledging the importance of Secret of the Scarlet Hand as the first game in what I call the “Expanded” series of Nancy Drew games, moving on from the “Classic” series that covers games 1-5. In the “Expanded” games, which runs roughly from SSH through SHA, Her Interactive pushes the envelope, relying on their now-established patterns and tropes, but also working on making the games bigger, more immersive, more detailed, and more complicated.

Here in SSH, the locations are bigger and more detailed, your list of phone contacts is longer, the amount of puzzles expands (especially compared to FIN), and the story has a bit more depth and nuance — a good option considering the game is somewhat longer than the first 5 (especially SCK and FIN).

SSH is also important because it’s the first game where the Nancy Drew Universe is really established.

We have our first mention/appearance of Prudence Rutherford, a character who appears in or is referenced in several games, establishing a canon of celebrities/socialites in the Nancy Drew Universe. There’s also Krolmeister and, perhaps most strikingly, Sonny Joon, whose escapades (and drawings) first appear here.

With the addition of these and of the Hardy Boys (much more on them later), Her Interactive shows that they’re interested in creating a universe rather than one-shot style games. This trend should hardly surprise anyone who knows that this is also the first game where Her Interactive is an independent distributor. With full creative (and distributive) license, Her became wholly free to build the kind of Universe that we know and love and associate with the Nancy Drew games — and the kind of Universe that the games needed in order to really come into their own.

The final section of this absurdly long intro is going to focus on possibly the most important thing SSH gave us: the Hardy Boys. As they’re introduced in this game (through Bess and George), the Hardy Boys are friends of Nancy who haven’t seen her for a while and show up at Bess and George’s place (or rather, one of their houses), crashing into the game with all the elegance of….well, the Hardy Boys.

This introduces the only voice actor who’s voiced their character from first appearance to present day: Rob Jones, voice of Joe Hardy. Joe’s voice is as iconic as Nancy’s herself, combining smarts with a youthful brightness and a high-energy, can do attitude. It’ll be a few games yet before Frank’s voice settles into the best-known incarnation by Jonah Von Spreecken (who debuts in Danger By Design), but the Hardy Boys’ characters are pretty well set in this game: logical, practical, and studious (though slightly anxious) Frank, and laid-back, action-oriented, and conspiracy-enthusiast Joe.

All in all, Secret of the Scarlet Hand keeps to the solid Nancy Drew formula while adding a few key new items that themselves become part of the Expanded formula.

It paves the way for the next section of Nancy Drew games and is, if you don’t have access to MHM or TRT, the single best starting point in the Nancy Drew series. Polished, engaging, and always entertaining, SSH is a fascinating and fun addition to a burgeoning series.

The Title:

The title of this game — Secret of the Scarlet Hand — is a bit of a difficult one. It begs the question what is the secret of the scarlet hand, but doesn’t do much in the way of answering it.

The game isn’t shy about showing us the titular scarlet hand; it’s displayed proudly where the Pacal carving is stolen. It’s much shyer about telling us the titular secret, building up the handprint as a Big, Symbolic Clue but never really satisfying the player’s curiosity about it.

There’s more to the handprint than that, but that’ll be covered in the section immediately below.

The other odd thing about the title is that it’s very indeterminate. In SCK, there’s a person who finds out secrets, and is killed — a rather point-blank title. STFD is an obvious pun on “stay tuned” in a television sense, and is easily understood that way. Both MHM and TRT refer to a definite noun within a location, and FIN takes us back to puns/wordplay. SSH, however, has an indefinite subject tied to another noun, and thus is far less grounded.

The indeterminate nature of the title could represent the distractions in Nancy’s way. Ostensibly, she’s just there to help the museum in its build-up to the opening of the Maya exhibit in her capacity as an intern, but that motivation gets cast aside as soon as things start going wonky — aka, beginning with the culprit’s “worry” that the museum will get robbed, and then solidified by the Pacal carving being stolen.

Along the way, Nancy is distracted by everything: taking care of the museum, solving Sonny Joon’s riddles, interrogating suspects, Henrik’s fall, provenance, Joanna’s departure, the Hardy Boys — the list goes on and on.

Perhaps the indeterminate title is to tell the players that the titular secret is supposed to stay a secret — that while Nancy works out every other secret in the game, the secret of the scarlet hand is just that — a secret.

The MysterySecret:

While there’s no real mystery at the beginning — beyond how a HS graduate from the suburbs of Chicago gets an internship with a Large museum in DC without any credentials besides “I fight crime” — there are secretsfrom the very beginning, starting with the silhouetted Nancy in the cutscene with Joanna.

HER wanted to show off what they could do, and they did it with panache, making the camera its own character rather than Nancy’s eyes, at least for a scene.

The secrets pile up, however, with the monolith in a box, Sinclair warning you about other thefts around the world, the question of if the Pacal carving/monolith are acquired legally or not, the disappearance of the carving, Sonny Joon, the smuggling ring, “Big Bunny”, Henrik’s fall…the list goes on and on.

The tagline for these games often help spell out the “big mystery” of the game. The tagline for this game is “expose buried secrets and catch a thief red-handed”, but does this actually happen?

Nancy does expose several secrets that are “buried” in some form. The mystery of the Pacal carving theft is buried in Henrik’s memories; the Whisperer is buried in the monolith; the final piece Nancy needs is buried in the painting in Sinclair’s office; the answers to the quizzes are buried in the museum. So definite props for the first half of the tagline — which pretty much spells out the first half/three-fifths of the game.

But what about “catch a thief red-handed”?

There are indeed thieves afoot, and Nancy does catch them, in all fairness. She catches the “thief” that steals the Pacal carving and the thief looking to steal the secrets of the monolith. But the phrase “red-handed” is obviously a reference to the titular “Scarlet Hand” (as well as a recognizable aphorism in English), and therein lies the trouble.

The true secret — or mystery, if you like — in this game is what the “scarlet hand” means, and to figure that out, we have to first dive into the significance of a handprint.

Handprints are usually a signature or an identifier – we fingerprint everyone from felons to teachers, and so the primary use of the word “handprint”, whether literal or figurative is to denote a signature.

The word “signature” when involved with crime, however, takes on a slightly different meaning; a “signature” here is an identifying behavior or “quirk” that a criminal has that differentiates their crimes from other criminals’. The obvious corollary that follows from a criminal’s signature and the phrase “red-handed” is the metaphor of “blood on the hands”. All of these sayings mark a specific crime performed by a specific person.

Except that’s not the case here.

When Sinclair is mentioning the other thefts that have him “worried” about thefts at Beech Hill, the red handprint comes up here as a specific signature, seemingly appearing like clockwork when the Pacal carving is “stolen”.

Except it’s not the same culprit at all.

Like the culprit in Agatha Christie’s The ABC Murders committing three murders to conceal the only murder he had motive to commit, Henrik uses the red handprint as a smokescreen, trying to make it seem as if the theft is one of many (so it won’t be questioned) rather than an act of attempting to save the carving by stealing it first.

In this way, the handprint is a mask, serving to identify the culprit without actually identifying him at all. One of the greatest parts of the mystery/secret behind the game is that the handprint is a forgery, confusing the lines of proof just enough to make the player take a step back and think.

In the Introduction, I mentioned that Fate plays a big part in the overall plot of this game, and it’s here that fate really comes into its place of importance.

From the beginning, the Pacal carving is “fated” to be stolen, so much that when it happens it’s not really a surprise as much as a signal to the player that the introductory part of the game is over.

It’s a joke both in- and out-of-universe that Nancy is fated to find mystery wherever she goes, which adds another nail in the pre-determined nature of her internship.

It’s the unchanging fate of secrets that leads Sinclair to bustle around attempting to stop any hint of his smuggling operation from getting out while at the same time watching Nancy carefully as she solves the mysteries and exposes the secrets that he needs to get his hands on the secret of the monolith.

Nothing shows the hand of fate more, however, than Sinclair not actually being caught by Nancy. The Poetic Trio reciting their end-of-game lyrics simply say that the villain is stewing in his own miscalculations, and, other than giving him the wrong "treasure”, Nancy has absolutely nothing to do with Sinclair being caught.

Fate ultimately has more power than even Nancy in this game, leaving her not to “catch a thief red-handed”, but simply giving her the opportunity to “expose buried secrets”.

It’s a solid mystery from beginning to end, as Nancy tries to figure out how Sinclair could have pulled off the theft before realizing that it wasn’t Sinclair after all. Joanna and Alejandro do their best to muddy the waters and distract Nancy (and through Nancy, the player) just long enough to make the game feel like a true adventure.

The Suspects:

Joanna Riggs is the first person you meet in the game in an opening cinematic meant to show off what the game engine could do and to tease us with a silhouette shot of Nancy.

She’s also the least-impactful character in the game, which should stand as a testament to how good this game is with its inclusion of characters into the plot. Joanna’s in charge, basically, and gives Nancy her go-fer tasks until the Pacal carving is stolen.

She’s supposed to be a bit “quirky”, with her non-sensical Latin and her whining to Nancy about how the only thing worse than a highly prized and expensive carving going missing is her mom leaking her prom photos onto the internet (a v weird thing to equate, honestly), but she’s also the most innocent of the bunch, as her only crimes are over-spending on an artifact that the museum really couldn’t afford, and having the worst taste in employees/business associates ever.

As a culprit, Joanna wouldn’t have been a bad pick — it’d be a basic case of theft-for-insurance-money — but she’s certainly the most boring option, so I’m glad that she’s got nothing to do with it. That kind of a crime really wouldn’t fit the Hardy-Boys-aesthetic that’s going on in SSH anyway.

Henrik Van Der Hune is the employee in charge of glyph translation and the man who apparently was the sexual awakening of quite a few of the Clue Crew. He’s also a recent addition to the staff after he heard of their new Mayan exhibition pieces, so I can’t for the life of me figure out why he wasn’t the immediate suspect for the police, especially since it’s his handprint.

Henrik did a bit of a National Treasure-level spoof on the cops, stealing the carving first so that it wouldn’t get stolen later. He orders the cinnabar to make the handprint in Joanna’s name (really Henrik?? Like you didn’t know it was Sinclair all along?? Why??) and pulls off a moderately daring heist, considering he works 50 feet down the hallway from the carving.

Of course, if this were to come to light, the game would be over with no real bad guy nor tension, so Henrik takes a fall down the Insanely Dangerous replica stairs and winds up with a bad case of the forgetsies. At 61 years old, he’s lucky he didn’t bust his hip.

Henrik is a culprit, but he’s not the culprit, which is good, because I’m not sure that HER had the time or space to tackle the moral issue of a thief who loses their memory and can’t technically be tried for a crime that they didn’t knowingly commit.

They definitely could have tried, but I don’t think it would have worked.

As a culprit, Henrik could have worked, but there’s just not enough time to have him fake-steal and then steal for real. It would have been cool to have him be faking amnesia and sneaking out of the hospital to Burgle…but it would have taken a more advanced game engine and a much longer game to pull it off.

Alejandro Del Rio is an ambassador who works at the Mexican Consulate and is the epitome of “just because you’re technically right doesn’t mean you’re actually correct”.

While he’s right in that a ton of artifacts were stolen from Mexico (and other countries, but honestly he only cares about Mexican artifacts), but he’s incorrect in blaming Joanna and others like her, since those thefts didn’t happen in the number and scale that he’s referring to by 2002 (as opposed to, say, British archaeology in the early 20th century, as is touched on in TMB), and Joanna acquired the artifacts legally.

His cause is right, but blaming those who aren’t responsible does him no good — and can actually hurt him, as is the case in the game, where no one really takes him seriously.

He’s also an uptight, rather humorless character, but has a touch of Devilry about him (he’s not above blackmail, for example, or “trading information”) that makes him slightly different from Jeff Akers in DOG.

Alejandro’s biggest claim to fame is in fanfic, where, like in canon, he is Totally banging Joanna, and is apparently Very Physically Gifted. Good on you, Alejandro.

As a culprit, Alejandro would have been a rather hackneyed choice, as he’s the one who’d obviously steal the carving and monolith to transport it back to where it came from. It would also include giving him more to do in a game than setting up his Hate-FWB to take a call for something he, in all honesty, knew she didn’t do.

Taylor Sinclair is an art dealer with facial hair that’s sort of a grotesque work of art in and of itself, and also happens to be the culprit. He also has a CrimeFursona named “Big Bunny”, which is honestly enough to lock him up and throw away the key.

Sinclair is part of the black market and is looking to sell the carving and the secrets of the monolith in order to make it rich, which is a pretty standard motive, but is notable for including smuggling in a Nancy Drew game rather than a Hardy Boys novel, so that’s a point for him.

SSH is a howcatchem, so Sinclair’s real job in the game is to avoid leaving behind proof — and he does an excellent job. Granted, Henrik steals the Pacal carving before he can manage it, but until he shuts Nancy in the monolith and takes (what he thinks is) the treasure, there’s no piece of physical evidence to tie him to his crimes.

But, like all egotists, Sinclair’s failure comes because he just couldn’t resist being a cackling madman.

As a culprit, Sinclair’s perfect for this game. He’s slimy, untrustworthy, and pretty much everything you imagine a smuggler to be. He doesn’t really need any fleshing out beyond what he already has, because he lurks in the shadows for most of the game, only appearing when he has to in order to get information.

The Hardy Boys:

Honestly speaking, the Hardy Boys are the most important “innovation” of this game, and are the addition that really created the Nancy Drew games as we know and love them today.

Not only do the Hardy Boys establish that Nancy isn’t alone in this universe — that there are others her age out there like her, who solve mysteries and catch bad guys — but they also give the game regular phone friends who are established as capable of helping Nancy solve anything she asks for.

This makes a lot more sense than Bess/George/Ned suddenly becoming Super Sleuths, and frees up Ned/Bess/George to offer help and have dialogue more appropriate to their increasingly-fleshed-out characters.

And that’s the real benefit to the Hardy Boys: they allow for varied characterization for Nancy’s friends.

Before this game, Bess/George/Ned have all been indistinguishable from each other, possibly excepting Bess’ lame puns. From this game on, each reoccurring phone friend has their own personality, their own quirks, and their own areas of expertise.

Also, I adore the Hardy Boys (and have since I was small), so it’s great to see them semi-regularly. I love that sometimes you call them together, sometimes it’s one or the other, sometimes they appear in game…it’s really nice to have these characters to lean on and provide entertainment and freedom to the Nancy Drew world and formula.

On a final note, I don’t find it to be a coincidence that this is the first game with the Hardy Boys and that it’s also the most Hardy Boys-eque game so far (smuggling plots, false thefts, a suspect nearly dies and then decides to help out, the Hero Detective is trapped with no obvious means of escape, etc.). It’s a nice nod to the source material, and I appreciate it.

The Favorites:

I love the focus here on knowledge and on the quizzes as Nancy learns with the player. It’s one of the few games to truly be “edutainment” in the sense that it was meant back in the early 2000s, and I really do adore the pure and unbridled appreciation for learning in this game.

The puzzles in SSH are well-placed and make sense as part of the museum exhibit, allowing for the classic puzzles that Nancy Drew games (and players) know and love without having them feel kitschy or out of place.

Hands down my favorite thing in this game is how much characterization it features. Nancy’s in fine form, as are Bess and George, and the Hardy Boys, but even minor characters like Franklin Rose and Poppy Dada and Prudence Rutherford all have their own unique voices, problems, motivations, and secrets.

The four suspects are well-introduced and fleshed out, and do things simply for their own reasons rather than attempting to sound suspicious for the developers’ sake. It’s a great trend, and one that continues to grow (despite a few misses) as the series goes on.

Hat-tip to the Hardy Boys again here. I’ve said really all I want to say, but it’d be lying to not include them in the list of my favorite things about this game.

Sonny Joon is a great little easter egg (albeit a retroactive easter egg) and I thoroughly enjoy his presence in the game. “Hurricane Sonny” blows in and sticks around for the rest of the series, and it’s a joy to experience.

The best puzzle in the game…I really enjoy the audio quiz thing, but I get how it wouldn’t be other people’s cuppa. I’m gonna go ahead and say that it’s figuring out how to get the last artifact from the Poppy Dada painting, as it requires you do jump through just the right amount of hoops, and gives you some hilarious conversations while you’re figuring it out.

The best moment in this game hands-down is when Prudence Rutherford insinuates that she killed her mother-in-law for the necklace. It’s hilarious.

The Un-Favorites:

There are, however, a few things about this game that make it into the least-favorite category.

Collecting the packages with the different artifacts is almost wholly reliant on luck and patience, and it can be extremely annoying to have to go to sleep and wake up 4/5 times in a row before the final package arrives. As this would be an easy fix, it sticks out especially in my mind as being a pointlessly annoying thing.

Taylor Sinclair’s tie. No art dealer would wear that. It looks like a bottle of mustard and a placenta had a baby.

I do hate (as noted below in the Fix section) that you can only call certain people on certain phones. Phones don’t work that way — not even back in 2002 — and it is frustrating to have to travel back and forth or wait for morning to make a game-progressing phone call.

The worst puzzle in the game in my opinion is probably lugging the monolith stones around, because it really bothers me that if you take the shortest path, Nancy drops them, but if you take a slightly longer path, she’s totally fine.

While I can see how the quizzes might cause some people problems, if you take notes like the game encourages you to do (I remember taking notes in a spiral notebook for the first…10 games, about? Until we moved to sticky notes, because as me and my sister got much older, we didn’t need to write down as much), the quizzes are a walk in the park.

The worst moment in the game (which is still a great moment, just definitely my least favorite) is when the sirens go off in the museum. It’s loud, obnoxious, and Joanna just APPEARING suddenly makes me jump every time. It’s a testament to how good this game is that this is the worst moment I can think of.

The Fix:

So what fixes does SSH need?

Honestly, not many.

It’d be great to simplify the phones, so that any person you can call on one phone you can call on any phone (avoid the travel back and forth from the hotel to the museum, in other words), and to have deadlines or exact moments for package delivery so that you’re not waiting days (in-game) for the last straggler to show up.

Other than those small quibbles, however, there’s not much that needs fixing or refreshing in SSH. It’s educational, entertaining, difficult enough on the first go-around to keep you on your feet, but not so hard that replay value is lost — and there are no puzzles so bad that they make the game lose replay value, either.

SSH is a great game, both as #6 in the series and as a first game to those who can’t access the Classic Games, and is a delight to play — both the first time and in replays.

#nancy drew #nancy drew games #clue crew #secret of the scarlet hand #nancy drew meta #SSH #video games #my meta

15 notes · View notes

superdorkcat · 5 years

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Upcoming Disney+ Originals (TV Shows)

One Day at Disney (December 3, 2019) - The documentary follows employees across the various divisions of the Walt Disney Company, taking a look at a day in the life of their jobs.

Diary of a Female President (2020) - The series is told through the narration of a Cuban-American 12-year-old girl’s diary, as she navigates the ups and downs of middle school and her journey to becoming the future president of the United States.

The Falcon and the Winter Soldier (2020) - Sam Wilson and Bucky Barnes deal with the aftermath of Avengers: Endgame, in which Wilson was handed the mantle of Captain America.

Monsters at Work (2020) - Six months after the events of Monsters, Inc., the city of Monstropolis is now fueled with the sound of laughter. Tylor Tuskmon, a mechanic on the Facilities Team, dreams of working alongside his idols Mike Wazowski and James P. “Sully” Sullivan.

Earth to Ned (2020) - The comedic half-hour series follows Ned, a blue-skinned alien and his lieutenant Cornelius, who were sent to scout Earth for an eventual invasion - but instead became obsessed with our popular culture. Now, they host a talk show, broadcast from the bridge of their spaceship hidden deep underground, where they interview our most precious commodity, celebrities, to talk about Ned’s current pop culture obsessions. Ned will be bringing real-life celebrity guests to his ship from across the known universe and interviewing them, late night talk show style, in hopes of producing the ultimate talk show - making Ned a celebrity and putting him further off mission. And the more Ned learns about our human culture, the more obsessed he becomes.

Short Circuit (2020) - A program where anyone at the Walt Disney Animation Studios can pitch an idea and potentially be selected to create an original short film with the support of the Studio and their fellow artists.

Muppets Now (2020) - An unscripted series, the premise is unknown. The show will feature celebrity guests.

Be Our Chef (2019-2020) - The series invites families from diverse backgrounds to join a Disney-inspired cooking competition at Walt Disney World that’s positive and playful in tone. In each episode, two families will participate in a themed challenge based on their family traditions and the magic of Disney. The finalists will apply what they’ve learned to create a dish that represents their family through a Disney lens.

Cinema Relics: Iconic Art of the Movies (2019-2020) - An anthology series that takes a unique look at beloved films through the props and costumes that made them unique - from the craftspeople who created them, the actors who interacted with them, and the collectors/archives who own and cherish them

Into the Unknown: Making Frozen 2 (2019-2020) - As never before in its near-century long history, Walt Disney Animation Studios is opening its doors, allowing cameras to capture in intimate detail how the voice cast, directors, and team of artists come together to create “Frozen 2”. This multi-episode documentary series shows the hard work, imagination, heart, fun, and intensity that go into making one of the most anticipated Disney Animation features of all time.

Magic of the Animal Kingdom (2019-2020) - In the heart of Central Florida, a team of more than 1,000 highly respected animal care experts, veterinarians, and biologists perform groundbreaking work at Disney’s Animal Kingdom theme park and Epcot’s SeaBase aquarium. Now for the first time, National Geographic will offer viewers an all-access pass into the 24/7 world of the incredible animal caretakers running one of the most advanced veterinary facilities in the world.

Marvel’s 616 (2019-2020) - An anthological documentary series from Marvel New Media in partnership with Supper Club that explores the intersection between Marvel’s rich legacy of stories, characters and creators and the world outside your window. Each documentary will dive into the rich historical, cultural and social context that has become inseparable from stories of the Marvel Universe.

On Pointe (2019-2020) - The series will follow a year in the life of students at the New York City school as they go through rigorous training, auditions and preparations for the New York City Ballet’s annual performances of “The Nutcracker”.

(Re)Connect (2019-2020) - In each episode, a family will disconnect from their busy lives, devices and outside influences in order to address a relatable issue that’s driving a wedge between them. With the help of a specialized expert, each family will go on a unique journey to confront the family’s dilemma head on.

Rogue Trip (2019-2020) - Renowned journalist Bob Woodruff travels the world with his 27-year-old son, Mack, and visits all of the places your average tourist is least likely to venture - the roguish, often misunderstood and frequently overlooked corners of the world whose hidden corners surprise, amaze and inspire.

Shop Class (working title) (2019-2020) - A new competition series featuring teams of inventive students, who are tasked with designing, building, and testing new contraptions. In each episode a panel of experts will rate their work based on engineering, design, and the final test of the build.

Untitled Chip ‘n’ Dale series (2019-2020) - Plot unknown, the series will feature “classic style comedy”.

Loki (2021) - The series will follow the Loki who stole the Tesseract in Avengers: Endgame. Additional plot details are unknown, but the series will tie in to Doctor Strange in the Multiverse of Madness.

WandaVision (2021) - The series will be a take on a superhero sitcom. Additional plot details are unknown. Similarly to Loki, the series will tie into Doctor Strange in the Multiverse of Madness.

What If...? (2021) - The series explores what would happen if major moments from the Marvel Cinematic Universe occurred differently.

Hawkeye (2021) - The series will focus on Clint Barton passing the mantle of Hawkeye to Kate Bishop.

Untitled Cassian Andor series (2021) - The series is billed as a rousing spy thriller that will explore tales filled with espionage and daring missions to restore hope to a galaxy in the grip of a ruthless Empire.

Ink & Paint (2020-2021) - The documentary series, based on the book of the same name, tells the story of animation at Disney, and how an unsung workforce of trailblazing women helped create some of the greatest animated films of all time.

Earthkeepers (working title) (2020-2021) - The series is a cinematic documentary series that enters the adventurous lives of the people changing the way we see the animal kingdom. The episodes focus on conservationists and the animals they’ve devoted their careers to studying, diving deep into the personal trials and professional breakthroughs of protecting the planet’s most endangered species.

Big Shots (TBA) - The series follows a temperamental college basketball coach who gets fired from his job and must take a teaching and coaching job at an elite all-girls private high school.

Lizzie McGuire revival (TBA) - An update of the classic Disney Channel series that will follow the title character as a 30-year-old millennial navigating life in New York City.

Love, Simon (TBA) - The series is set in the same world as the 2018 film and focuses on a new student at Creekwood High School, Victor. The series follows his journey of self-discovery: facing challenges at home and struggling with his sexual orientation. He reaches out to Simon when it seems too difficult for him to navigate through high school.

Moon Knight (TBA) - The plot is unknown, but the series will introduce Moon Knight (Marc Spector) into the MCU.

Ms. Marvel (TBA) - The plot is unknown, but the series will introduce Ms. Marvel (Kamala Khan).

She-Hulk (TBA) - The plot is unknown, but the series will introduce She-Hulk (Jennifer Walters).

Untitled Obi-Wan Kenobi series (TBA) - The series will take place eight years after the events of Revenge of the Sith. The rest of the plot is unknown.

Becoming (TBA) - Each episode of the documentary-style series, shot in vérité, will visit a celebrity’s hometown, touring important locations that were central to their upbringing. A supporting cast of family members, coaches, teachers, mentors, and friends will also be interviewed, sharing anecdotes and insight into the star’s “becoming” story.

Behind the Attraction (TBA) - The series takes viewers into the history of how popular Disney attractions and destinations came to be, how they have changed over time, and how fans continue to obsess over them. The series will feature interviews with fans as well as Disney Imagineers and other people behind the scenes.

The Big Fib (TBA) - In this game show, two grown-ups claim to be experts on a topic and one of them is lying. It’ll be up to a kid contestant to try and figure out which one is telling “the big fib”.

Marvel’s Storyboards (TBA) - This series will follow Joe Quesada, Marvel’s Chief Creative Officer, as he explores the origin stories and creative drives of storytellers of all mediums, backgrounds, and experiences.

People & Places (TBA) - The series will present true stories from all around the glob about real - and extraordinary - people who embody the Disney ethos. A mix of up-and-coming and established filmmakers will be featured.

Explorer Academy (TBA) - The series will be “fact-based fiction”. The plot is unknown.

Life and Deaf (TBA) - The series is a comedy about a kid growing up in the ‘70s with deaf parents - and the mischief that ensues when, as their ears and mouthpiece, he’s given the “keys to the kingdom”.

The Proud Family revival (TBA) - The series will be revived according to the VA of Oscar Proud, Tommy Davidson. What the premise will be is unknown.

Untitled Mighty Ducks series (TBA) - The series focuses on a 13-year-old boy when he gets kicked off the junior division Mighty Ducks team, his mom decides to start their own team, finding players, a coach, and a place to play.

Untitled The Sandlot series (TBA) - Plot unknown, the series will be set in 1984 and focus on the kids of the original.

Untitled True Lies series (TBA) - Plot unknown. Mostly a reboot.

Untitled Willow sequel series (TBA) - Plot unknown.

#disney #disney+

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starringemiliaclarke · 5 years

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Emilia Clarke on Why Game of Thrones Is the Perfect Form of Escapism + HQ Scans

As Daenerys Targaryen on Game of Thrones, Emilia Clarke created a warrior queen for the ages. Her legend can be told on the walls of caves or on T-shirts at Comic-Con. But behind the Valkyrie wigs and very testy dragons, Clarke has an inspiring origin story of her own.

A valley sprawls before her, rich with every color of green in the kingdom, reaching out to a twinkling city, which borders the infinite sea. Her hair (tinted not with peroxide, but tiny flecks of actual gold) glows with a radiance that makes the setting sun so jealous it hides behind the surrounding mountains, and the evening sky blushes. She is Daenerys Targaryen, Queen of the Andals, Breaker of Chains, Mother of Dragons, Khaleesi of the Great Grass Sea. Everything in sight belongs to her.

Just kidding! She is Emilia Clarke, sitting high above Beverly Hills in a glass mansion rented for a magazine cover shoot. So high up that passing aircraft rattle the bones of the house and those inside it. So high up that you can see Santa Catalina Island in the distance, peeking out from behind a curtain of fog. She laughs about something the makeup artist says, and the last of the evening light bounces off of her cheekbones and shoots into the camera lens.

We are in the sky to talk about Clarke’s reign as one of the most preeminent television actresses of our time, as Daenerys on Game of Thrones. But first, I have a few questions about her abandoned career as a jazz singer.

Clarke’s default emotion is joy — her resting heart rate seems to be just below that of someone seconds after winning a medium-expensive raffle prize — but it quickly congeals into theatrical horror when I reveal that I know that she is a casual but talented singer of jazz music.

When she was 10, Clarke was an alto in a chorus that she describes as “very churchy.” Then a substitute teacher introduced her class to jazz. “I just innately understood it,” she explains. “I was always sliding up and down the notes. Every time, the [chorus] teacher would be like, ‘Quit sliding, just sing that note and then that one and that’s it. Stop trying to fuck with it.’ Then this [jazz teacher] was like, ‘Fuck with it. That’s the point.’ ” Fast-forward a couple of decades, and Clarke was singing “The Way You Look Tonight” at the American Songbook Gala in New York, honoring Richard Plepler, erstwhile CEO of HBO. Nicole Kidman was there, too, and that is the story of Emilia Clarke, a very famous singer.

Just kidding, again! That is the story of Emilia Clarke, extremely famous actress, and it is not even the beginning. Game of Thrones, the HBO fantasy epic that has captured the global zeitgeist for most of the past decade, has entered its ultimate season. Since the show premiered in 2011, Daenerys’s searing platinum blonde has been branded into the brains of every living person with cable access, so much so that she has become as recognizable an action figure as Princess Leia. Every autumn, legions of Americans don Grecian-style dresses and carry stuffed dragons to Halloween parties in homage. Kristen Wiig even appeared on The Tonight Show Starring Jimmy Fallon in a full Daenerys getup. This phenomenon exists in part because it’s a relatively easy costume to assemble, but more likely because Game of Thrones is the most popular TV show in the history of TV shows.

It’s also just one of three popular entertainment franchises Clarke has participated in. Last year: Solo: A Star Wars Story, as a paramour of Han Solo. Two years before that: the fifth Terminator movie, beside Arnold. She was also Holly Golightly in a short-lived Breakfast at Tiffany’s production on Broadway. None of those projects were particularly successful — but none of that matters, to a remarkable degree, because what matters is: The people love Daenerys.

They love a character whose series arc begins with her indentured servitude as a warlord’s concubine and ends, most recently, with her fighting for sovereignty over a league of nations and for a throne made of swords. They love how fictional languages drift from her mouth like dancing smoke, and how her searing-white mane retains a fearsome curl, even in or near battle. They love the whole dragons thing.

The people would love Emilia Clarke, too, if only they knew who she was. During the first few seasons of Game of Thrones, Clarke was able to fool the general public into believing she was very regular civilian Emilia Clarke, because Daenerys was blonde, and Clarke was not. Now, she says, recognition happens more frequently. Particularly Stateside.

For reasons I cannot fathom, Americans feel more entitled to command the attention of celebrities. “People are like, ‘UH-melia CLORK!’ ” she says, in perfect American. In London, people are prone to whisper about her as she passes by. “ ‘Was that Emilia Clarke?’ ”

“I move like a shark when I’m in public,” she says. “Head down. I think I’ve got quite bad posture because of it, because I’m determined to lead a normal life. So I just move too quickly for anyone to register if it’s me or not. And I don’t walk around with six security men and big sunglasses and a bizarre coat. I really try to meld in.” It gets worse when the show is being promoted, but otherwise, she says, it’s not so bad.

“I move like a shark when I’m in public. Head down…I’m determined to lead a normal life, so I just move too quickly for anyone to register if it’s me or not.”

Her best efforts aside, anonymity may be a pipe dream. The show is as decorated as a Christmas tree in a craft store. Game of Thrones has won a Peabody and 47 Emmys, the most of any television drama in history. The show marries critical praise with popular success, then it mercilessly slaughters those who have come to celebrate this union and receives even more acclaim (“The Rains of Castamere,” season 3, episode 9). The plotlines are famously convoluted. Luckily, we have an entire web’s worth of episode explainers, encyclopedias designed specifically for the Westeros universe, and a self-explanatory Funny or Die segment called Gay of Thrones, starring Jonathan van Ness.

When Mad Men first aired, television bloggers dutifully unpacked its symbolic elements, and millennials celebrated the show’s style with Mad Men–themed parties that were really just ’60s-and-one-red-wig-themed parties. Game of Thrones is basically an economy of its own. Since the show premiered, tourism to Croatia, whose coastal port Dubrovnik stands in for the fictional city of King’s Landing, has nearly doubled. Game of Thrones–themed weddings are so popular that it is almost impossible not to attend them — in 2016, Clarke accidentally walked into one that was occurring at the same hotel where she and the cast were staying during filming. (It was not a canonical wedding, and no guests were harmed.)

Game of Thrones has also earned one of the most important pop culture accolades of the century: The attention of Beyoncé Knowles. I believe it is her favorite TV show, and this is why.

Exhibit A: Jay-Z reportedly gave her a prop dragon’s egg from the set, at great personal expense. Exhibit B: At an Oscars after-party this year, Beyoncé approached Clarke (“voluntarily,” according to the actress) to introduce herself. “I watched her face go, ‘Oh, no, I shouldn’t be talking to this crazy [woman], who is essentially crying in front of me,’ ” remembers Clarke. “I think my inner monologue was, ‘Stop fucking it up,’ and I kept fucking it up.”

“I was like, ‘I just saw you in concert.’ And she was like, ‘I know.’ ” Clarke also mentions that Beyoncé complimented her work but declines to share specifics.

Why are people (more specifically, everybody) and goddesses (more specifically, Beyoncé) all obsessed with a show about some dragons and lots of dungeons?

“The show is sensationalist in a way,” Clarke explains, in an effort to describe a TV series that features twins having sex and a child’s defenestration in the very first episode. It doesn’t matter — Clarke’s conversational style is so intimate and emphatic that basic facts feel like sworn secrets. When she smiles, she does so with every single muscle in her face. “It’s the reason why people pick up gossip magazines. They want to know what happens next…. You’ve got a society that is far removed enough from ours but also circulates around power. How that corrupts people and how we want it, and how we don’t want it.”

In other words, Game of Thrones’ value proposition is creating a rich other world for people to experience a prestige, high-production version of pure, horny, violent, unbridled drama. It is, according to Clarke, pitched perfectly: “I think it caught Western society at exactly the right moment.”

“I don’t know about you,” she says, “but when I watch something, it’s escapism. I’m feeling crappy; I’m just sad, moody, depressed, upset, angry, whatever it is. I know that distraction is what makes me get better. Distraction is what really, really helps me.” She laughs and then quickly pivots to a caveat: “I’m sure that’s not what a therapist would advise.”

It is at this point that Emilia Clarke leans in very close, her breath knocking at my sideburn, and explains to me the bombastic and devastating ending to the most important TV show of the decade.

Wow — just kidding once more. But, uh, while we’re on the topic, how is this whole thing going to end?

It was not hard to root for the Breaker of Chains, until recently. Now we’re seeing the gentle unspooling of her character, and flickers of a dangerous prophecy that she will ascend the throne only to follow in her father’s footsteps and burn it all to the ground. For a while, Daenerys seemed like the Lawful Good ruler, but we have had the great pleasure of watching how power can pervert people. (Nate Jones, at Vulture, leads a thrilling discussion of this very topic.) (Also, if Daenerys were to rule the Seven Kingdoms, only to go nuts, we might at the very least have a spinoff to look forward to.)

Clarke will never say. Throughout 10 or so years in the public eye, her interviews have been peppered with the same handful of charming personal details from her career — the service jobs she worked prior to making it, dancing the funky chicken during her Game of Thrones audition — which feels a lot like walking a vast beach and finding the same series of 10 seashells.

Then, in March, some very different treasure washed ashore when The New Yorker ran the most illuminating profile of Emilia Clarke to date. It was written by Emilia Clarke.

If I am truly being honest every minute of every day I thought I was going to die.

In it, Clarke revealed that she had suffered two near-fatal brain aneurysms during the early seasons of Game of Thrones. The first hit her mid-plank during a training session, and not long after, doctors discovered a second that required them to open her skull for a risky operation. The recovery period was, to her, more painful than the aneurysms. “If I am truly being honest,” she wrote, “every minute of every day I thought I was going to die.” She also announced her charity venture, SameYou, which seeks to provide rehabilitation for young people recovering from brain injuries.

The second time we talk, it is the day before the Game of Thrones New York premiere, and Clarke is at a morning fitting, surrounded by a coronation’s worth of gowns. It’s early, and a passing cold has fried the edges of her voice. But her words still vibrate with so much joy, it’s like she doesn’t even notice. She’s just happy to be here, wherever she is.

Source

Emilia Clarke on Why Game of Thrones Is the Perfect Form of Escapism + HQ Scans was originally published on Enchanting Emilia Clarke | Est 2012

#articles #emilia clarke #gallery #magazines #news #photos #scans #game of thrones #game of thrones cast #GOT cast #daenerys targaryen #me before you #terminator

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gakinotsukaigifs · 6 years

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Documental S1 Primer

The following is a basic introduction to Matsumoto Hitoshi’s Documental for newcomers to japanese comedy. It looks like a surprising amount of people have stumbled upon it, and after listening to a podcast where the people enjoyed it but had a handful of questions about the comedians and their dynamic, I thought this would be a good opportunity to fill in some of the gaps.

With Amazon having subbed the second season, my hope is that even more people will familiarize themselves with the show and find joy in catching on to the subtler jokes and cast relationships

COMEDIAN NOTES

MATSUMOTO HITOSHI Career: 1983 / DOWNTOWN (Duo) Note: Out of all the comedians present, Matsumoto is the most highly regarded having been a pioneer and re-shaping the japanese comedy scene with his partner, Hamada, in the 80′s and 90′s. He has a long history with Jimmy Onishi, who is also his ultimate weakness.

MIYAGAWA DAISUKE Career: 1991 Note: Not to be confused with the veteran comedian of the same name, he is probably most well known for his work on ITTE Q! where a regular cast of comedians travel in search of interesting challenges and topics to investigate. I believe he’s a friend of Matsumoto’s outside of work as well. And like Matsumoto, he is also weak to Jimmy Onishi.

OCHI YOSUKE Career: 1994 / DIENOJI (Duo) Note: Ochi’s fame shot up after winning the 2006 and 2007 Annual Air Guitar World Championships in Finland, so they’re not joking when they talk about his air guitar prowess.

KUBOTA KAZUNOBU Career: 2003 / TORO SALMON (Duo) Note: He was Anthony’s neighbour at one point?

FUJIMOTO TOSHIFUMI Career: 1989 / FUJIWARA (Duo) Note: Gaki fans will likely recognize him as a regular guest in the 24hr Batsu Games and on Downtown’s Lincoln. As Matsumoto remarks in the beginning, he’s very good at making a quick quip on any situation (see below: Boke/Tsukkomi). He’s also a friend of Matsumoto which may explain why Matsumoto is a bit more lenient with him.

KUKKY Career: 1994 / YASEIBAKUDAN (Duo) Note: From what I’ve seen of Kukky’s style, he definitely plays heavy on the abstract humour. Of the group of comedians, he is the most fond of using props to his advantage.

SAITO TSUKASA Career: 2004 / TRENDY ANGEL (Duo) Note: According to the TV Asahi series, he has a surprisingly high IQ.

KAWAHARA KATSUMI Career: 2003 / TENJIKUNEZUMI (Duo) Note: Another absurdist like Kukky, but in a more subdued fashion. While he looks very serious and/or blasé, his comedic style is pretty energetic as evidenced by his very active twitter.

HACHIMITSU JIRO Career: 1996 / TOKYO DYNAMITE (Duo) Note: He doesn’t just have several hundred masks for nothing; Hachimitsu has done wrestling promotions for quite a few organizations (Osaka Pro, A-Team), including a couple based in South America.

ANTHONY Career: 2009 / MATENROU (Duo) Note: He was Kubota’s neighbour at one point?

JIMMY ONISHI Career: 1982 Note: “Jimmy’s not the best storyteller. He’s difficult to understand, but please make an effort.”

Jimmy has a unique way about him, and many are still unsure how much is genuine vs an act. I think his greatest power is completely and earnestly ignoring any situational context. The funniest things he does are almost always unintentional to make someone else laugh. His English is also famously terrible.

He is the most senior comedian on the show, although he has taken long breaks from comedy to pursue his painting which he is actually very talented at. Many will recognize him from his work with Downtown and annual appearance in their 24hr Batsu Games.

PEOPLE / GAG REFERENCES

Ep1 Matsumoto’s buffness

For most of his career, Matsumoto was actually a stick-thin guy. I think it was around the time of his major hip injury (2010) that he started hitting up the gym and slowly became a buff old man, providing a lot of material for others to make fun of.

Ep1-3 Daisuke Miyagawa and Hanako Miyagawa

A veteran comedy duo and couple since 1979. Kukky brings several props with him including: an envelope celebrating their 35th Wedding Anniversary, a cut out picture with a message for Master Daisuke’s supposed retirement, and a huge Get Well Soon flag.

Ep2 Daisuke Miyagawa “funeral” When the Get Well Soon flag is laid on the table and Fujimoto cover’s Master Daisuke’s face with a white towel, it is reminiscent of a Japanese Wake. It becomes extra inappropriate when Anthony covers the face with a USA flag. “That’s going too far. He’ll become the undead.”

Ep3 Pikotaro

Kubota says he will do an unfunny version of Pikotaro. This is a reference to a gag single performed by another japanese comedian, Daimaou Kosaka / Pikotaro, that went viral in 2016. The single is called “PPAP” or “Pen-Pineapple-Apple-Pen”.

Ep4 The thing that made me laugh so hard... Kawahara: The TV show Gaki no Tsukai... That’s about it. For those completely new to Japanese comedy, Gaki no Tsukai is the popular variety show hosted by none other than Matsumoto and his partner, Hamada.

COMEDY CULTURE

Senior/Junior The Senior/Junior dynamic is extremely important in all lines of work in Japan. The reason I listed the career start date in the comedian section is to emphasize that it’s seniority in career years, not age. Matsumoto brings this up first, remarking that he wouldn’t participate himself because there would be that fear that his juniors would act differently out of respect.

The second instance is when Kukky refers to Daisuke Miyagawa (the veteran) as “this dude” and tells everyone to write a message because he’s retiring (he’s not). The others discourage it, asking if he got permission and remarking that he’ll get in trouble, and it goes back and forth from there.

Going against the Senior/Junior “rules” can create a tense situation, but when it’s subverted for comedy it can be quite effective. Downtown were well-known to intentionally ignore these rules when the cameras were rolling which drew a lot of attention to them and aided in cementing their influence.

Boke/Tsukkomi In Western terms, the Boke is the funnyman while the Tsukkomi is the straight man. Fujimoto’s Tsukkomi ability shines in Documental as he nitpicks the other’s behaviour. It may seem like he is being harsh or antagonistic, but it’s more like he’s pushing to create an escalating banter that will result in getting a laugh. On an unscripted show, the Tsukkomi has to seize the opportunity to point out the contradiction or absurdity of the situation, while the Boke can relinquish or double-down on the absurd. This is the basis for a good chunk of japanese comedy.

#documental #documental season 1 #matsumoto hitoshi #amazon prime

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yesterdanereviews · 6 years

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The Rocky Horror Picture Show (1975)

Film review #312

SYNOPSIS: Newly engaged couple Brad Majors and Janet Weiss are on their way to visit their old teacher when Brad’s car breaks down on a dark and stormy night. They walk to a nearby mansion to see if the owner has a phone, but when they enter the house, they realise the master of the house is hosting a special event, and the couple are introduced to a world they could never have imagined...

THOUGHTS/ANALYSIS: The Rocky Horror Picture Show is a 1975 sci-fi comedy musical hybrid that really needs no introduction: it is the very definition of a cult classic, and it eschewed box office popularity to become the staple of a movement the mainstream wasn’t ready for (and probably still isn’t). The story starts off showing Brad and Janet getting engaged after their friend’s wedding, and to celebrate, they are taking a drive to go see Dr. Emery Scott, the scientist whose class they met in at college. However, their car breaks down on a stormy night on the way, and they have to run to a nearby mansion to ask to use their phone. When they arrive, they encounter a butler who invites them in and informs them that the master of the house is hosting a special event. The master is Dr. Frank-n-Furter, a transexual scientist who has created life in the form of a perfectly physiqued man, who rebels against his master. Not only that but there’s also a whole cast of people in the house who horrify Brad and Janet’s conservative sensibilities, and there’s also...aliens? and time travel maybe? The story incorporates many classic elements and tropes of b-movie sci-fi films as a love letter to the genre (as made clear by the opening musical number), and while it all comes together to make a completely bizarre mess, that is part of its appeal. You don’t need to focus too much on the story because they’re all things you’ve seen before, and so your attention is drawn to the characters, the costumes and all the weird performances.

But the story isn’t really about Frankenstein-esque monsters or aliens at all. It’s really about a traditional, heterosexual couple being queered by introducing them to the world of transexuality and sexual deviancy...and them ultimately liking it. The b-movie sci-fi genre has always had an element of campness in it, and this film just lets it run wild. Brad and Janet are the typical, “normal” young couple: newly engaged, doing the traditional courtship of one another. This is emphasised through the musical numbers, which are very typically constructed, with a certain level of flatness that represents their plainness.When they arrive at the mansion, the songs get a lot more edgy and unconventional. When Dr. Frank-n-furter finally makes his entrance, he is even more outrageous than he is built up to be, and he commands the screen whenever he is around. His confidence and presence makes him irresistable, and ultimately a cinematic icon without comparison at the time. The supporting characters also have a high energy to their performances that overall gives the film a loud and proud voice to themes that generally had none.

Being in part a tribute to the b-movie genre, there’s a certain level of cheapness absurdity you expect fom the sets and props, which you certainly get. However, this doesn’t mean that the theatrics suffer as well: the choreography and performances are eccentric, yet meticulous, resulting in a very professional film. There’s a perfect balance struck between the typical story elements and the outrageous performances that makes it hard to emulate. There really is nothing else like The Rocky Horror Picture Show: it is not ashamed in what it is, and its loud brashness is a voice is a rallying cry to those who have been underrepresented and neglected in the mainstream. Nevertheless, it has a wide enough appeal for anyone to watch it, with its catchy soundtrack and fun humour. It’s the sort of film you could memorise every word and scene in, and still come back for more. It pays homage to the b-movie genre and the culture around it perfectly, and draws on its cheesy and often camp productions to really push them to the forefront. Definitely a film worth watching, and it’s still as colourful, bizarre and provocative now as when it was released.

#movie #movie review #the rocky horror picture show #sci-fi #sci-fi musical #musical #tim curry #rocky horror #film #film review #1975 film #let's do the time warp again

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x--daughters-of-darkness--x · 3 years

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KAT VON D SHARES THE UNEXPECTED INFLUENCES BEHIND HER LONG-AWAITED DEBUT ALBUM ‘LOVE MADE ME DO IT’

The glamorous gothic queen of art, tattoos, business and beauty now redirects her attention to her original passion – music.

Kat Von D has been a staple in alternative culture and pop culture as a whole ever since first exploding onto the scene in the reality television show ‘Miami Ink’ and then promptly securing her own series, ‘LA Ink’, at her home in Hollywood. Quick to prove herself as far more than just another bland reality TV star, Von D built an empire around her interests and established a unique brand of tattoo artistry, best-selling books, art galleries, clothing lines, and most notably, a massively successful and world-renowned beauty line.

But what most people don’t realize about Von D is that out of everything she’s sunken her teeth into and made business ventures out of, her first and most consistent passion has been music. She’s been a constant presence in the world of rock and metal for quite some time – and not just because she’s dated musicians like Nikki Sixx and Deadmau5 and is married to Rafael Reyes of Prayers. She’s been classically trained on the piano since she was a child, practicing every day and growing an appreciation for all different genres as she’s grown older.

Much like her dedication to veganism and animal rights, Von D has a significant place in her heart for music, adorning her body with tattoos of multiple acts like the Misfits, AC/DC, Slayer, Guns N’ Roses, ZZ Top, and appearing in numerous music videos for bands such as HIM, Alkaline Trio, and Gunship. In 2008, she founded the MusInk Tattoo Convention and Music Festival, which has featured artists like Suicidal Tendencies, Limp Bizkit, The Used, Hatebreed, NOFX, Bad Religion, Deftones and more. She’s even had an entire song written for her by Eagles of Death Metal. Needless to say, her street cred in the scene is well established.

She’s now set to release her debut album, entitled ‘Love Made Me Do It’, a project that has been nearly a decade in the making. Described as “a pastiche of shapeshifting analog synths, post-punk dreamscapes, gothic hues, and shy pop magnetism”, the record deals with heartbreak, disillusionment, and ultimately enlightenment. While some might be expecting a hard-hitting, in-your-face type of attitude, Von D opts for a moodier and more atmospheric feel to her music that rides on soaring synth waves and danceable beats. Joining her are bandmates Gregg Foreman, Sammi Doll, Dave Parley, and Brynn Route, as well as notable collaborators Dave Grohl, Linda Perry, Dave Sitek, Peter Murphy, Danny Lohner, Ladyhawke and Charo.

In a conversation with Knotfest, Kat Von D discusses the many inspirations behind her music and unique sound, the artistry that goes into crafting not only her songs but her music videos and live performances as well, and shares some personal stories like the time she and her husband hit up a Rage Room and a week-long horror movie marathon she undertook with a friend.

What made this the right time to finally release your debut album?

Kat Von D – Music has always been a big part of my life and although most people know me from tattooing, they actually don’t know that music has been kind of the most consistent thing in my life. I’ve been not only classically trained since the age of five, but I’ve been playing with my friends’ bands and singing on all my talented friends’ albums and stuff like that. So I’m not a stranger to it but I think that a lot of people are not familiar with me having some form of musicianship. They’re like, “What? She’s coming out with music?” So it could be a little confusing to some people but like everything else I’ve ever done, I’ve always said the proof is in the final product. I’m not here trying to be like a celebrity just slapping my name on something and you know, collecting a check and not really caring about it. I want music to be my main focus in life. I’m not sure if this is the right time, to be honest. I feel like I probably should have released this album ten years ago when I wrote it, but I think life just got in the way. I was filming the TV show and going on book tours and just allowing all these other other forms of expression to kind of get in the way of focusing on music. Basically like a year and a half ago I decided to sell my makeup line so that I could have the time to go on tour and really give the music the attention it needs. And then obviously last year everything kind of got turned upside down and everybody was put to a halt. So I’ve just been waiting within this last year for everything to open up again so that we can go on tour and finally release the album.

How do you go about mixing your unique brand of alternative style with the kind of synth pop sound you’ve got going on?

Kat Von D – I think a lot of my fans and followers were expecting me to come out with like, metal just because I’m a huge fan of metal and I think people kind of know me for liking that music. But I also love a lot of darkwave and I love analog synthesizers and I’m a huge fan of post-punk era music. I love Depeche Mode, Siouxsie and the Banshees, The Cure, that kind of stuff. I feel like when it comes to the music that I want to create it’s more along the lines of that. I love poetry, I love strong lyrics and soulful singing. I love Arch Enemy, but my voice does not lend itself to sing like Alissa [laughs] so I know where I belong.

It’s interesting also because like you were saying, you have your scene with metal and rock and all that stuff, but at the same time, you’ve also always been this kind of like, pop culture icon with LA Ink and everything.

Kat Von D – Yeah, I love pop structure. I’m not a big fan of pop music per se, but I do love the structure of songwriting and I don’t think there’s anything wrong with that. For us, I feel like we do have pop elements in our music but there’s definitely a darkness to it. Even in a lot of synthwave bands that I love, they tend to sound a lot happier than what we’re producing. I like to live in the more melancholy world. I don’t know how to write a happy love song.

There’s a consistent sound throughout the songs but each one still distinctly feels like it takes inspiration from different genres and eras. There’s definitely that predominantly 80s kind of sound.

Kat Von D – Yeah, especially the drum sounds and not just the synthesizers. I think we only have one song that actually has guitar in it. I really love that era but I also think that when my bandmates and I write songs, we don’t sit there with like, a reference. Like, “Oh, I really like this song, let me try to do a version of it.” We actually just start from scratch and we do a lot of sound design, finding specific synth sounds that are not presets in any way. It doesn’t feel dated to me. I feel like there’s a bit of a modern take on the 1980s I guess, and I think that’s important. We’re not trying to be Depeche Mode or any of those other bands that I mentioned, although you might feel the sentiment of that era.

That instrumental breakdown in ‘Fear You’ is so good, that’s very much in my lane. And that part of the music video looks dangerous as hell!

Kat Von D – Thank you, I love that too. I wanted to do a violent video because I feel like all of our other videos were beautiful. I was thinking, how do we create violence without hurting a person, or violence towards somebody versus like, inanimate objects, you know? So I had taken my husband to this thing called a Rage Room. You can rent these rooms and you buy different packages and you can just break break shit. We obviously got bored after like the first 15 minutes [laughs] but I can see how that could be therapeutic. That was a really cool experience so why not take that experience and make that into a music video?

Did you guys have any protection while you were smashing stuff?

Kat Von D – What’s funny is everybody didn’t want to wear protection, they were like, “we’ll wear some sunglasses”. Dave Parley, our drummer, was the only one that didn’t wear sunglasses and for a minute we thought he got a piece of glass in his eye. Thankfully it was just like, a dust particle but I was like “Oh my god don’t do this, Dave!” [laughs] I think aside from that we might have gotten a few little nicks and cuts but nothing crazy. We did use real glass, there was only a few prop glasses, like the sugar glass. I actually posted a video of Sammi, one of my synth players, breaking a bottle over my head and people were like, “Oh my god, that’s so crazy.” It literally felt like a kitty cat just whispered into my ear. [laughs] Those things break if you just like, squeeze them. I got those red glass skulls made and those were made out of the sugar glass, but other than that we do all our own stunts.

In the music video for Exorcism, you wrote that the song was partially inspired by a week long exorcism-themed movie binge.

Kat Von D – With my friend, Kevvy. We actually ended up writing another song together called Lost At Sea that’s on the album. He’s a huge horror fan and I am too, we’ve seen like, every single one. There’s so many terrible ones. It’s crazy. But there’s a lot of really great ones too and I was fascinated by the concept of demonic possession because it seems like there’s a pattern within every culture and every era in history that calls to some form of possession and exorcism. I just find it so weird that in an era like today, where we have cell phone cameras and all this stuff, you never actually see any footage on YouTube. It’s never like in the movies, you know? I think it’s like this romanticized idea of surrendering control to an outside force. I feel like people write a lot of love songs about the correlation between love and death or love and drugs or addiction. I just wanted to take it one step further and do a song about love that was in correlation with a demonic possession because I think that’s how I felt in the past a lot. It’s like you’re no longer in control or you don’t feel in control and you’ve given this power to somebody that may not be the greatest thing for you.

From that movie binge, which ones were your favorite and which ones were the absolute worst?

Kat Von D – I feel like I’ve subconsciously blocked out the worst ones. I think the worst ones were always like a Blair Witch-style filming, you know? One of my favorites through that marathon was one with Anthony Hopkins called The Rite. I love Anthony Hopkins obviously, who doesn’t? It was shot beautifully and it was the most realistic possession scenes. I don’t want to spoil it but there’s a giant twist at the end which I think was really different than every other exorcism movie out there. I think all of it was shot in Italy, so it’s a very beautiful background. Anthony Hopkins plays an exorcist. I loved The Exorcism of Emily Rose, but I would consider that more like a court case movie. It was so compelling, I think I cried at one point. I didn’t know that there was a part two and three to the original The Exorcist, and I had read the reviews prior to watching and everybody was talking shit about these movies. I thought they were so great. I love part two especially, I love the kind of origin story of Egypt and when you think about that era, they had pretty good CGI effects in that movie. So I gave those a thumbs up.

Were there any other kind of movie inspirations that helped guide the direction of the album?

Kat Von D – So Gregg Foreman AKA Mr. Pharmacist, he’s my other synth player and we’re both huge fans of John Carpenter, especially all the scores for most of his movies. I feel like there is inspiration behind some of those sounds that you find on the album, but as far as inspiration from movies, it was more for the music videos. For the Exorcism video, that one was really inspired by one of my favorite directors, Alejandro Jodorowsky. He did The Holy Mountain and El Topo and Santa Sangre. El Topo was my favorite just because the aesthetic way you would see these like, black silhouettes. The opening scene, for example, is this man in black on a black horse with a black umbrella just cruising through the desert. It was like putting together two things that didn’t belong together and I love that. For the music video for Enough there were definitely some Fellini inspirations with the props of the ocean where we’re kind of like, rowing through the storm and it’s a little bit campy, but in a good way. I don’t feel like the Fear You music video was inspired by any movie in particular, I just had a really clear idea of what I wanted the storyline to be. I love movies, or good movies at least. [laughs]

Do you feel like music videos kind of went away and then steadily came back with stuff like YouTube?

Kat Von D – I don’t know, I think that there are a lot of videos but the filming process for us has been pretty brutal because I don’t tend to do like, the lip syncing videos. I think that’s what the majority of people do, whether it’s hip hop or even metal. It’s like, okay, cool, you’re gonna do a fake performance and then we’re gonna lip sync and we’re gonna have some smoke and stroke. I don’t have any interest in doing that. For me, I’ve always loved music videos that have a narrative. Those just take a lot of time and energy and I can understand why bands don’t do them, but I like these little mini films. It kind of helps storytell the music more than just doing a performance piece. I think there’s creative ways of doing the performance pieces as well, I’m not gonna knock that, but to me, I’m not interested in just shooting a bunch of lip syncing all the time.

It helps show the artistry behind it. I like when artists go the extra mile.

Kat Von D – Me too. It’s funny because I really like our band, we get along so great and we love each other. We always laugh because we’re like The Munsters because we have a contortionist in our band and she looks like Marilyn Munster and then Gregg’s like Herman and so we’re this really weird little kooky family and stuff. I feel like everybody’s so extremely attractive in their own way. When I think of music videos, I always think about different parts that I want to create for each band member. Like, “Oh, this would be a really good scene for Sammi or for Dave.” In the music video for Exorcism, we actually got a stunt crew to come out and put us into those harnesses to make the bandmates fly into the air for those jumping scenes. Then we had to remove the little wires and stuff in post. My drummer always wears this leather fringe fanny pack and then he’s got this long beard and hair and I just want to see that flowing in the wind. It was my favorite jump scene out of all of them.

I just wanted to add that your work concerning animal rights is commendable. Dominion, in particular, that’s an incredibly affecting movie. If everyone was able to view that, you know, maybe things could change faster. I don’t know how you learn and see these things and not be changed by it.

Kat Von D – For sure, there’s definitely some trauma behind all that, I mean you could only imagine. But I always just commend Shaun Monson, because he’s dedicated his life to making those movies. He worked on Earthlings as well and those are just so, so brutal. But thank you, that’s very sweet.

And just so we don’t end on a bummer note, what kind of show can audiences expect to see on your upcoming concert dates?

Kat Von D – I’m a huge fan of going to see bands play and my biggest pet peeve is when you really love a band and you go and see them and it’s just like, a guy standing at a mic. So I definitely want to create an experience, especially with visuals. Like I said, I have a contortionist in my band who’s amazing and she’s part of our group. She is actually going to be playing some sounds but she’ll be moving her body in a crazy way that you won’t even be able to understand. We’ve been shooting all of our live visuals with Linda Strawberry, who does all the art directing for Smashing Pumpkins and a bunch of other bands. Her and I really see eye to eye on finding the beauty in the dark stuff. So we’ve actually been filming and prepping all of the light works and for the LED panels and everything else that we’re doing.I think people are gonna be in for a visual treat. I like that that’s just one other way of storytelling for music and I think that’s how you should be able to present your music to the world. To go back to my bandmates, it’s like they’re all superstars in their own way. I feel like they already have their own fans as well. I’m not interested in just shining a spotlight on myself, we’re all going to be doing some crazy things onstage. We’re like the goth Power Rangers.

#Kat Von D #2021 interviews

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livingcorner · 3 years

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The Epic History of Garden Gnomes From Ancient Rome to Today

You're reading: The Epic History of Garden Gnomes From Ancient Rome to Today

What Are Garden Gnomes?

Traditional garden gnomes are male and bearded and have pointy hats. Some are depicted participating in leisure activities. Female garden gnomes are less common and usually don’t have beards.

Today, garden gnomes can also portray popular figures or stereotypes. Biker gnomes, for example, have the traditional pointy hats and bears but also wear leather vests. There are a lot of ways to be creative with gnomes. They can be depicted doing different activities, and can have signs, plaques, or props to accompany them.

Garden gnomes are modeled after gnomes, small, mythical creatures whose folklore arose during the Renaissance in Europe. Gnomes appeared prominently in Romanticist art and fairy tales as humanoid creatures that lived deep in the forest, primarily underground, and resisted contact with humans. In stories, gnomes sometimes protected and guided humans when they did come in contact with them, and sometimes had magical abilities. In some darker fairy tales of the period, gnomes led humans to their demise by tricking them.

The History of Garden Gnomes

How did these little guys wind up in gardens, you ask? Well, first we have to take a little step back to ancient Rome, where the history of the garden gnome begins.

Garden statues have always been popular. Ancient Romans placed statues of the fertility god Priapus in their gardens, to help the plants grow and flourish. During the Renaissance and the Romantic period, people also placed status in their garden of figures like hunchbacks, which they called “grotesques.” Art influenced these decisions, as people modeled their decor after the culture of the day.

In the 18th century, people began adding small gnome-like figures made of wood or porcelain inside their homes. They referred to these figures as “gnomes,” inspired by fairy tales. In Germany, the fairy tales further inspired the production of the statues, as people conflated the myths and folklore with the figurines.

Read more: 28 Absolutely dreamy Bohemian garden design ideas

Because the traditional gnome lived in a forest and was associated with the Earth, people began putting the gnomes in their gardens as well. The appearance of garden gnomes varied by region depending on that region’s folklore, so the gnomes sometimes appeared jolly, or older and more human depending on the region. Around this time, garden gnomes took off in Europe and were primarily found in the gardens of the wealthy as a symbol of fashion and status.

In 1847, Lord Charles Isham brought 21 terracotta garden gnomes to his home in Northamptonshire to be featured in the garden. Only one of the gnomes, nicknamed Lampy, survives to this day and is on display at the estate. Isham effectively brought gnomes to England and made them fashionable for the upper classes, a major turning point in garden gnome history.

Sir Frank Crisp owned the second largest collection of garden gnomes in England, and opened his estate up once per week between the years of 1910 and 1919 to the public so people could view his garden and garden gnome collection. As gnome demand grew, manufacturers in Germany flourished. This meant that cheaper options for gnomes were available, and they were also displayed in the gardens of people from all socioeconomic classes.

Garden Gnomes in the 20th Century

The aftermath of World War I was particularly hard on Germany, whose garden gnome manufacturers were met with little demand for ceramic figurines and had very little resources. Garden gnome popularity greatly declined at this time, but the history of garden gnomes wasn’t over yet.

Some garden gnome manufacturers recovered in the 1930s after the release of Snow White and the Seven Dwarves. They found that there was newly renewed interest in garden gnomes, and the appearance of the garden gnomes was “Disneyfied” to reflect the cartoon-like innocence of the animated dwarves. However, the garden gnome industry declined again during and after World War II, as time and resources were devoted to the war effort.

In the 1970s, gnome-makers began producing novelty gnomes, and modeled them after politicians, celebrities, or other popular figures. Gnomes were mass-produced, cheap and readily available. Since they were so cheap and since they were produced in jokey form, they lost a lot of the artistic and whimsical reputation they once had.

In the 1990s, garden gnomes re-captured public attention when a group of pranksters in France, called the Garden Gnome Liberation Front, gained fame for stealing gnomes, taking them traveling, and sending pictures back to the owners, or simply taking the gnomes and leaving them in allegedly funny situations for people to find. Often, the garden gnomes are given signs claiming that they wanted freedom, or that they had other motives for “escaping.”

Some thieves returned the gnomes, and others collected large groups and then set them up in scenes in public spaces. The goal of the GLF was to “free” the gnomes, but many owners of these gnomes were incredibly upset that their gnomes disappeared. Some unofficial gnome liberation groups still operate, though the original group in France was caught and fined.

Gnomes in Pop Culture

Yard gnomes have appeared in popular culture regularly over the past few decades, though they don’t necessarily decorate gardens the way they once did.

The World of David cartoon aired on Nick Jr. in the 1980s and featured a gnome named David who lived in the forest. The Goosebumps series featured a gnome as a villain in both the book and show, which is a possible pre-requisite to the zombie and horror gnomes that we still see today.

Travelocity also used a gnome in their ad campaign starting in the early 2000s, as the gnome traveled the world. This was shortly after their height of the garden gnome liberation thefts, all of which personified the gnomes, showing them with voices and personalities, and going on adventures. This friendly attitude toward garden gnomes had always been there, but the more human the gnomes became, the more actual humans became attached to them.

German artist Otto Horl displayed an art installation of 1,250 garden gnomes posing in Nazi salutes in 2009. Though controversial, this did further the viewpoint of lawn gnomes being personified and having a purpose, names, etc.

Halloween gnome costumes became popular as people dressed up as gnomes and crossed into other depictions and themes, like Gnome Chomsky, modeled after linguist and philosopher, Noam Chomsky. The Netflix series Trollhunters even includes a character named Gnome Chompsky.

Read more: 8 Natural & Homemade Insecticides: Save Your Garden Without Killing the Earth

Making a costume out of a gnome version of something became popular, and helped repopularize novelty gnomes for a time. The animated movie Gnomeo and Juliet was a take on the classic Romeo and Juliet, and incorporated many Gnome-themes like forests and gardens into the lives of the gnome families.

The Great Garden Gnome Debate

Despite their early history as exclusive decorations for the wealthy and powerful, garden gnomes today rarely have the same status and are sometimes even viewed as “tacky.” The Chelsea Flower Show famously banned gnomes until 2013, and permitting them at the show was considered a highly controversial move since it “degraded” the gardens. However, those who complained about the lawn gnomes received significant backlash, and were accused of being snobbish, since garden gnomes are common in middle and working class homes.

This debate has been going on for most of the history of garden gnomes, which is part of why gnomes gained and lost popularity repeatedly throughout the years. Also, due to their humanoid appearance, garden gnomes seem to be a target for humans to want to put them in funny situations, like in Travelocity’s ad campaign. Funny videos of gnomes doing human activities like “directing traffic” can sometimes go viral.

Today, gnomes are known for being funny rather than dignified. There are still serious collectors of garden gnomes, but they aren’t necessarily serious gardeners—hence the view of some gardeners that gnomes are a novelty, not a garden piece. Ultimately, it’s up to an individual to decide if they want to include a garden gnome in their home. Some people today make elaborate “fairy gardens” and create a whimsical space in which to place their gnomes. Others add a gnome for a humorous touch.

Garden gnomes, however, you feel about them, have long been a part of gardening culture. While gnomes may never have a totally secure place in gardens, they are clearly here to stay and hopefully looking forward to the next step in their colorful lives.

What’s Next?

Looking for more fun history? Check out these true stories about David Ghantt and Aleister Crowley, and this post on 1920’s Fashion.

If you are looking for exciting, unique ideas for your next research paper, check out our list of 113 Great Research Paper Topics, and 113 Persuasive Essay Topics. You can read our narrative essay and argumentative essay examples! Have friends who also need help with test prep? Share this article!

About the Author

Carrie holds a Bachelors in Writing, Literature, and Publishing from Emerson College, and is currently pursuing an MFA. She worked in book publishing for several years, and believes that books can open up new worlds. She loves reading, the outdoors, and learning about new things.

Source: https://livingcorner.com.au Category: Garden

source https://livingcorner.com.au/the-epic-history-of-garden-gnomes-from-ancient-rome-to-today/

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breathinwordsbreathoutknowledge · 3 years

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Merafong’s Theatre Griot, a master of the craft!

By: Morena Maboe

Recently I had the liberty of sitting down with a gentleman making serious strides in the theatre industry, and as a custodian of arts, sports and culture in Merafong I could not let such talent, consistency and shear tenacity go unrecognized and undocumented. Thabo “Mahavater” Ramaine of Mythology arts foundation is a formidable force to be reckoned with. As I sat down with him, taking all of this down, I saw what remarkable human beings we could all be, by just being passionate with what we do regardless of the obstacles we face.

Thabo’s story with the arts started way back in the year 2000 when he started doing gumboots dancing as an introduction to introduce himself into the arts, in the following year he joined a dance crew that was doing Sbotjwa and drama named Mazibuye Theatre productions based in Khutsong, this is where he also got his acting influence. With Mazibuye, Thabo or “Mahavatar” as he is mysteriously known by his fans and disciples, went on to compete in the North West Cultural Calabash, which was the first competitive theatre and dance festival he attended. The crew went on to compete in the Achimotar Festival that was hosted in Zamdela in Sasolburg, for two years in a row. T, in the same place they also took part in the Bill Cosby arts Festival, here the focus for Thabo was more on Theatre and perfecting the craft. They won the first trophy in the preliminary rounds and also went on to win the ultimate trophy in the finals.

As part of the festival, they had a social which was separated from theatre, named the candlelight poetry session, where each crew had to pick one group member to recite a poem that is not from their original plays. Mahavatar was the lucky guy, but despite trying hard he could only jot down 4 lines, when he got to the stage he dropped 4 lines. Unaware that in poetry there is a category for a 4 stanza poems, he went on to write more of those and his writing skill improved.

Mahavatar went on to join a group named T.K Cultural group and after that Simunye Cultural group, which influenced his love for dancing, they did categories ranging from street dance, Sbotjwa and gumboots dancing.

Upon joining what S’thibo terms as “the best school” in Joburg when it comes to theatre, the Afrika Cultural Centre (A.C.C) in Newtown, falling in the ever so capable hands of Benjy Francis, the Khutsong raised lad fall in love with a new style of dancing termed as contemporary.

His first professional production was done in 2008, at the A.C.C. written by renowned play writer Zakes Mofokeng produced and directed by Benjy Francis named “the Train”. Other plays he took part in include “The Vicious circle” by Benjy Francis which was part of the annual student production at A.C.C, “the calling” written & directed by Sello Modisadife, “Visions” also by Modisadife and “The Cult” played at the Cultural Calabash also from the same writer. Upon leaving at A.C.C he played in a production while residing in Soweto, Protea North called “Sa Mme”. Thabo later learned was selected to go for training in Denmark but he had already returned home and had phone problems, so he could not be reached.

When he explains it he describes contemporary as breaking the rules of classical ballet but still keeping to the underlying philosophy of classical ballet dancing, however he was more fascinated by the feeling that came with contemporary style of dance. Under the mentorship of Benjyi Francis, he became more aware of the physical side of theatre, which includes basic techniques, understanding how the body moves and blending that with self-expression. On a second level, in he came in contact with the depth that came with theatre that is using your imagination and feelings. This is where he transitioned as an actor and also developed his own signature style.

Mahavatar’s recent work include Komeng by the legendary Sello Maake Ka-Ncube that they played in all 9 provinces for a period of 8 months in 2018. After auditioning at the Market Theater in November of 2018, hosted by the Luthando Arts Academy, he played in Amawethu dance theatre production in 2019 produced by Luyanda Sediya. One of the highlights of S’thibo’s career was playing in “Buwa” a musical written by the iconic South African composer and musician Caiphas Semenya in 1986 about the injustices of apartheid. Directed by Sello Maake Ka-Ncube and music director Tshepo Mngoma the music extravaganza celebrated Mr Semenya’s 80th birthday in style at the Market Theatre. Mahavatar exclaims that the experience was great as he got a chance to work with some of the best actors and musicians in the country, the likes of Sipho “Hotsticks” Mabuza, Zwai Bala and the legendary Tshepo Tshola, ‘the experience was great because once you work with the greats it means you are great, and you catch impartations from observing how they do things, how they produce and to see the whole process’ Thabo explained.

He played a pivotal role in the play because of the character he was portraying. Thabo played Paulus De Villiers, the minister of Defence during the apartheid era, from the National Party (NP) government, he had to portray a hardcore apartheid white man role, played in a Boar accent. The play takes setting in a conference room scene. Thabo explains that he had to bring his A-game as the show reeked in audiences from across the country, including the likes of politician Julius Malema, it was sold out three days before the actual musical.

Mahavatar’s own productions include the award winning “Mount Havilla” piece which won both Best Actor award and Best Production, in 2015 and 2016 respectively, at the Spear Arts Festival hosted in Ekhurhuleni. Thabo says the play was inspired by the journey of spiritual growth, it came from also reading and researching a lot about different spiritual leaders and being introduced to meditation and dealing with himself. He also started writing about the key to self-transcendence and spiritual searching everywhere only to find the key within yourself. The path to “Mount Havila” is not to be taken as a physical journey but a raw metaphor, its abstract theater mixed with experimental theater.

His Own productions

In 2017 he produced a play called “Black Smith” which started out as a one man show, he later decided to franchise and create and extended version of the paly and called it “the Archives” which was a 4 hander piece that was set in nice library setting. He performed it in 2018, there was more demand for it outside of Merafong. He was approached by The Archives center in Krugersdorp to render the play there, at the center people around the Gauteng area can track their family lineage, and it also keeps records and archives from apartheid land dispositions, upon opening Gauteng Premier, David Makhura was quoted saying “The facility will help us preserve societal memorabilia of historical value of Gauteng and its people. It will store official public documents that are 20 years or older from various entities including government, NGOs, and learning and research institutions. This will eliminate cases of distorted history told by different people from different angles,” The center has been in operation since 2017 and has already received records and information from departments like the Sedibeng District Municipality, Emfuleni Municipality, City of Johannesburg, Cooperative Governance and Traditional Affairs, Transport, Sport, Arts and Culture, and Recreation https://krugersdorpnews.co.za/368190/new-archives-centre-will-keep-our-history-safe/ As a result he had to display an industrial theater piece that was more educational .

Mahavatar went on to write “The Proposal”, which he feels is very different from his signature style of theater. The play was about the plight against Gender Based Violence, the lack of ‘mental hygiene’ from guys. In the play he portrays this guy that uses a marriage proposal to control his woman and keep them obedient, traits he learned from his father. The piece aims to focus more on men, the journey to violence, how men perceive themselves and their emotional intelligence. Tackles how we can cleanse ourselves and to redefine ourselves, standing up to our demons as men.

Beyond Clandestine which Mahavatar explained as meaning an “inner core truth” is a YouTube film series that was born during the corona lockdown with all the news and conspiracy theories and seeing people’s response, also seeing how the systems has us under their thrall and manipulates us. In the series the lead actor goes on a journey to uncover the truth beyond what we are given and uses a militant approach, but later realizes there are other ways to fight the system.

After completing a 6 weeks course in filming in Cape Town, he used his skills to produce these series, set up in his garage is a large green screen which is used to create the location in the background of the videos, and he uses Computer generated images (C.G.I) to edit and not an actual tangible location. With the training budget from the company he is currently working for he did this digital film, the vision with this project going forward is to grow, cast more actors, gather more resources and take the work mainstream while creating a profile. https://www.youtube.com/watch?v=XzywGzaMWgk

The production of the Nomads was not planned, it was a default film born from the 48 hour film project 2020. It is an adrenalin race for who can produce a film in 48 hours with the given directives from the competition hosts. You are provided with certain elements that you should add in your film, like a prop, a character name, and a line that must be said somewhere in the film from 2 genres either a silent film or action. They were nominated for best costume, best produced film, best musical composition as the music used in the film was self-produced by them, and lastly best cinematography. All this work that was to be produced in 48 hours was submitted 12 hours before deadline meeting all requirements.

It was screened at Sterkinekor Theater at mall of Africa on the 23rd of October 2020 to a full house. They plan to reshoot for a 2021 screening, with the aim to later merge it with “Beyond Clandestine”

Beyond Clandestine, an “inner core truth”

Mahavatar aims to finish season 1 of “Beyond Clandestine” with episode six, and start season 2 with a bit more resources. In theater he plans to do “The Archives” and a new version of Mount Havila done in a musical fashion named “Lere la Moya”.

The Nomads; a “race for time” film

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ricardodancerzloq398-blog · 4 years

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15 Best Twitter Accounts to Learn About dance hip hop

Dance is an imaginative, innovative, socially accepted performing art style comprised of deliberately chosen series of physical activity. This activity is acknowledged by viewers and participants in a specific society as well as has creative and social worth.

There are four certain movements of dancing: Ballet, Jazz, Salsa, Tango, Modern and Reggae. These motions have different degrees of problem, depending upon the age as well as physical condition of dancers. Some dance kinds consist of: ballroom dancing, calypso, country, pop, R&B, and also jazz. Each dance type is differentiated by its very own collection of policies and also motions, typically referred to as steps.

Although there are various types of dance, there are specific standard steps that each professional dancer need to find out. Dancing is identified by elegant and fluid movements. The first step is the action to go back with one leg right. The second step is the turning the foot out, then the dancer's left foot is put at the front, with his best foot boiling down from behind. Then the dancer rolls the hips, the appropriate foot now placed flat on the flooring with the foot outwards.

Jazz is characterized by fluid, stylish activities with extremely little or no touch of body call. The steps entail using arms and hands, frequently with exaggerated gestures. The second step in this dancing is when the dancer puts her appropriate foot on the hip of the left. After the hip, the left foot is put next to the hips, making the dancer transforms her hips and also bring them back into position as she raises her ideal foot and also enter setting as the left foot is lowered.

The 3rd action in a ballroom dance resembles the initial step yet requires extra movement and is normally accompanied by a hand gesture called the "backstep." The 4th step of a ballet is to lift both boosts on their toes and bring them to hinge on the ground. The last two steps of a ballroom dance are extremely crucial, since these last the lengthiest as well as produce one of the most activity. The last action, called the "roll" includes raising the ideal leg as well as bringing it down the opposite way as the left, complied with by bringing the left leg up. as well as down the opposite way as the right, with both feet together.

The 5th action of a salsa dancing, called the "cabana," is done by moving the hips from side to side, while the various other foot continues to be on the ground. The 6th action is to position one foot into a front toe as well as bring the various other foot in front of it. The 7th step is to bring both feet with each other as one, as well as the 8 action is to bring both feet together. as one, as well as the nine action is to put both feet together and also bring them with each other and pull back vice versa. The tenth step is to bring both feet together and bring them back ahead as one. As you can see, these 7 actions take several different positions.

The eighth action is typically called the jig, which entails just movement of the hips with no touching or rubbing of the body with the legs. If a dancer wants to make a single movement, such as going back, it is the initial step of a jig.

In addition to the different actions, the use of props is additionally used in a lot of kinds of dancing. The primary step of a salsa dancer is called the "balada" as well as the primary step of a cabana is called the "mujer." In the USA, the very first step of a jazz professional dancer is called the "jog," as well as the initial step in a samba professional dancer is called the "rumba." As well as the tenth step of a tap dancer is called the "dance steps."

The professional dancer is among one of the most well-known developments in the creative world. Dancing is a meaningful performing art kind, containing deliberately picked sequences of physical motion. This movement is recognized by lots of onlookers and also performers in a specific culture, as well as is considered by the majority of as "art." In a way, it is. For a very long time now, people have actually been seeking to comprehend this art as well as why numerous cultures have actually concerned watch it therefore.

Right here is a standard description of what the professional dancer is attempting to communicate to us through her movements. If you are curious about this, you https://mootools.net/forge/profile/t5vcnho510 can likewise investigate about this on your own online.

First, a professional dancer's body remains in continuous activity, moving and revolving like the spokes of a wheel. As the professional dancer moves her body, she is trying to connect a message or a style. Sometimes, the dancer may be trying to share a certain emotion.

Second, when dancers execute in an efficiency of some kind, they are attempting to share their own interpretation of what the dance is trying to represent. This is the theme that they are adhering to and also the message that they intend to connect through their movements.

Third, professional dancers make use of different elements, including their physical position, their positioning in connection with their target market, the size of their dance teams, in addition to other things, to communicate their message. These aspects are very crucial in determining what the message of the dance is.

Fifth, in some cases, the dancers themselves are attempting to communicate the message that they want to share via their dance. They are doing so through their body language, using certain activities and also methods.

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Sixth, one more very essential factor to consider in the message of the dancer is her clothes. Every dancer is trying to produce some type of declaration or a particular message with her garments. The apparel is extremely important to this task. Also if the professional dancer is dressed for a performance, her garments has importance.

Seventh, in order to completely appreciate the message of the dancer, you need to see the context that the professional dancer is trying to communicate. via her actions and also the apparel that she uses.

Eighth, there are various apparel selections that a professional dancer may be creating various efficiencies. Her gown is developed to represent a feeling or a theme that she intends to share via her dance.

The following action is to understand what kinds of things the professional dancer will be doing throughout the efficiency. For instance, there are different type of dance actions and there are various sorts of motions.

As an example, there are specific dancings that entail using kicks and moves. There are some dances that entail balancing and turning as well as sometimes there are even specific sorts of motions that do not include activity at all. Every one of these belong to the dancing globe that the professional dancer remains in.

When you comprehend these numerous dance motions, after that it is less complicated to know what type of message the dancer is trying to communicate. with her motions. It is additionally simpler to recognize what she is trying to share through her dress.

The message of the dancer will additionally concern just how she is dressed, her apparel, the way she is placed in regard to her target market, along with the means her motions are done. Ultimately, the message of the professional dancer is conveyed via the songs she picks as well as the songs that is playing. The dancing music will determine just how her message is executed her dancing.

Dance is a meaningful art form containing purposely chosen sequence of body language with differing levels of synchronization and timing. Dance is acknowledged by numerous as a meaningful activity, as well as dancers of various cultures acknowledge and also appreciate the numerous elements involved in this practice. Dancing is an exercise, a type of entertainment, as well as a form of social interaction. It is additionally a spiritual activity, with its fundamental connection to both the heart and also the physical body.

Dancing come from Egypt and was used as a preferred movement of the ancient Egyptians. It was after that adopted by the Greeks, that considered it to be a part of their social practice. In old Greece, the practice of dancing evolved into a spiritual task, the sacred dancing, which was done as a celebration of life.

In contemporary times, dance is still taken pleasure in by many individuals all over the world, both secretive and also in public settings. The method of dancing is taken into consideration a social task that is extremely advantageous in numerous ways for society. Dance is a fantastic exercise, a terrific electrical outlet for emotional tension, and an excellent way to relax.

A social event where people collect for home entertainment as well as to be with each other can be organized by virtually anyone. When you determine to organize a gathering such as this, you need to take into consideration hiring a dance firm for your following huge event or gathering. One of the most essential point when thinking about working with a dance firm is to get one that specializes in the type of dancing you are planning on having. There are numerous sorts of dancing, that include classical, jazz, contemporary, pop, ballroom, ballet, hip-hop and also many more. The type of dance you need will certainly rely on the function of your celebration.

If your occasion is meant for an expert target market, hiring a dancing company as a celebration or social event will be really practical, due to the fact that you will have the ability to offer each professional dancer a terrific party favor. One preferred event favor is the custom-made made nightclub sphere, which has the DJ's name and also image published on it. An additional wonderful support for a wedding event is a matching dancing post. Many individuals choose utilizing disco songs as well as a special illumination system for the dance floor.

If you want to develop an enjoyable setting in your next dance event, you can use the dance flooring as a play area. There are some dancing floorings where a huge group of people can walk around freely while others are watching. Another popular technique of entertaining visitors is to have each dancer carry out in front of a team of their very own. at the table top. You can likewise make use of the dancing floor as a stage to carry out to your favorite song.

Dance is likewise an excellent activity for a family reunion, where each member of the family can do their very own set of actions and also dance and appreciate themselves momentarily. Dancers like to practice their dance abilities while being managed.

Dance is a remarkable way to relax, while taking part in an exercise and also enjoying the business of others. Dancing has always been thought about to be an important part of life in lots of cultures for hundreds of years, and there is no reason it need to not continue to be so.

When you hire a dance company to lease your dance flooring, they will assist you intend everything, consisting of designs, props, and the entertainment for your occasion. You will certainly additionally need to supply any type of dancing devices such as footwear, dance clothes and also various other accessories. You will wish to see to it that you have enough room to make sure that every person can walk around openly without encountering each other.

Dancing programs are excellent means to promote your service as well as can draw a big target market. A lot of these sorts of programs are really vibrant and also loaded with fun and also laughter. It will certainly be wonderful to see every person present participating in the fun, as well as having a fun time.

The expense of employing a dance firm to rent your dance flooring is a great deal much less than you may think. Some occasions might just cost you a few dollars, depending on the kind of event you are preparing. You will also save cash if you work with an expert dancing firm, due to the fact that they will look after whatever, consisting of setting up, tidying up and offering beverages.

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tharakoekenbiergraduation · 5 years

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From a lush bed of verdant green leaves, bright wildflowers spring forth, animating Jeff Koons’ Wall Relief with Bird (1991). Emanating vibrant hues of red, pink, white and yellow, these wondrous flowers appear to take on a life beyond their polychromed wood material; their petals reach outward and seemingly bloom before our eyes. At the center of the relief, the viewer observes an idyll of nature: a happy hummingbird flutters about the large white blossom, sipping of its nectar. Indeed to see a hummingbird—one of the animal kingdom’s most nimble and brightly colored members—is joyous, and in this instance the bird’s presence effortlessly completes Koons’ utopian image. Here, the natural world is an idealized paradise, and in turn, life and abundance are clearly celebrated. Koons further explains, “In Wall Relief with Bird there is a bird pollinating these large flowers. The imagery to me is about penetration. It’s also about fertility and pollination, and the eternal.” (Exh. Cat., New York, The Metropolitan Museum of Art, Regarding Warhol, 2012, p. 197) As such, Wall Relief with Bird is underscored by an omnipresent sense of sexuality. These seductive flowers are more than just brightly decorated and lively sculptures—they welcome pollination, opening outward from the wall to entice the viewer to move closer; they embody what author Daniel Pinchbeck rightly calls “an uncanny aliveness.” (Exh. Cat., New York, Gagosian Gallery, Jeff Koons Andy Warhol Flowers, 2001, p. 6)

Though Wall Relief with Bird thus stands on its own as an impressive and engaging work of art, it is all the more desirable for its inclusion in Koons’ famed body of work, Made in Heaven (1989-1991). This large, overtly sexual and often unapologetically graphic series grew from a simple seed when the Whitney Museum of American Art invited Koons to create a billboard for the 1989 media and contemporary art themed exhibition, Image World. Focusing on the pornography industry, Koons enlisted international porn star Ilona Staller as his collaborator, and the resulting billboard (a steamy movie advertisement featuring the duo) served as the inspiration for what became a prolific creative endeavor. Unveiled in its entirety at Sonnabend Gallery in 1991, Made in Heaven juxtaposed explicit sexual images of Koons and Staller—male orgasm, oral penetration and genitalia close-ups, to name but a few—with cheerful, brightly colored neo-kitsch statues of puppies and flowers. Three Puppies, Yorkshire Terriers and Large Vase of Flowers were, like Wall Relief with Bird, crucial and friendly counterpoints to the X-rated escapades detailed throughout the rest of the exhibition. The overall effect, needless to say, was shocking, and exhibition attendance skyrocketed.

More than that, with the Made in Heaven series, Koons successfully blurred the lines between art, life and media—and he did so to an extent far beyond that of any of his predecessors. His real life romance with Staller, most notably, was highly publicized as it grew from an artist-muse relationship to an eventual marriage. When they married in Budapest, the nuptial ceremony was covered by news meida globally in more than one thousand articles. Curator Scott Rothkopf succinctly reiterates this point by writing of Koons, “He responded to and helped shape the zeitgeist by abrading the distinction between the content of his work and the media spectacle it inspired.” (Exh. Cat., London, Tate Modern, Pop Life, 2009, p. 44)

Meanwhile, the zeitgeist of the '90s was also deeply defined by the transgressive agendas of Koons’ contemporaries in the face of political conservatism. Robert Mapplethorpe, for one, provoked outrage in the early part of the decade when he exhibited the homoerotic photographs of X Portfolio; Andres Serrano’s Piss Christ (1987) likewise met scandal when it was shown in 1989. But whereas Mapplethorpe’s and Serrano’s art faced censorship as a result of its taboo content, Koons’ Pop culture aesthetic at once differentiated his work and sidestepped political controversy. Art historian Katy Siegel explains, “The props, colors, and sentiments of Made in Heaven all speak of the middle class. The images were not rendered in voguish grainy video or artsy snapshots, but rather in high production-value craft media like glass and carved wood, as well as oil (inks) on canvas. And they were accompanied by super-saccharine sculptures of floral arrangements and dogs, looking as if they had wandered in from a Disney movie.” (Hans Werner Holzwarth, ed., Jeff Koons, Cologne, 2009, p. 310)

Wall Relief with Bird is no doubt one such sculpture. Not purely Edenic, but in actuality skewed by mass media, commercialism and artificiality, this relief ultimately displays what curator Mark Rosenthal calls, “a kind of unnatural glitz.” Like Andy Warhol’s flower paintings before (which Rosenthal considers to “have a kind of false exquisiteness in comparison to any flowers from life”), Koons’ floral relief similarly conveys a sort of synthetic lushness. (Exh. Cat. New York, Op. Cit., p. 135) This falsity, it can be argued, has also infiltrated our cultural reception of sex. Koons’ decision to contrast cartoonish pets, birds and flowers with images of raw sexuality therefore functions as commentary on our naïve relationship to sex—this is a dramatic clash of fantasy and reality. Curator John Caldwell clarifies, “Sex, probably more than any other element in our culture, exists for us today as an amalgam of what we know from experience and what we know from the image world of television, advertising and the movies.” (Exh. Cat., San Francisco, San Francisco Museum of Modern Art, Jeff Koons, 1992, p.140)

Of course, Koons’ romantic portrayal of sexuality and love is not entirely a contemporary phenomenon. On the contrary, it is informed by rich artistic traditions rooted in the Baroque, Rococo and Romantic periods. The atmospheric green, white and pink palette of Wall Relief with Bird specifically calls to mind the blissful gardens of Fragonard’s lovers. Its evocation of the Rococo masterpieces is so powerful that it comes as no surprise Koons began to work with genuine living flowers (notably the critically acclaimed and monumental Puppy of 1992) directly after creating Wall Relief with Bird.

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