Do You Remember The First Time You Swallowed?

katgeorge:

Here it is! My very first Kickstarter. I’m turning my writing into a pilot for a web series; I’ve got a script, crew, locations, almost everything… EXCEPT MONEY! So show me the money! Help me help you roll about in fits of laughter (and sometimes maybe even disgust) at the stupid situations I manage to get myself into. The ones you laugh at because, you know, we’ve all been there…

PLEDGE TO MY KICKSTARTER HERE!

Our Future Cities contributor Kat George is Kickstarting a Web series about oral sex etc. Who wouldn’t want that?

Tags: sex

Zack Snyder defies expectations: “Man of Steel” doesn’t suck

I was worried about Man of Steel. The most obscenely over-powered superhero of all time as presented by Zack Snyder, maker of the offensively awful Sucker Punch? I didn’t feel much better when the movie started on the MMO-inspired planet of Krypton, complete with flying dragons (or something). But I got a lot more comfortable back on Earth, where we meet a bearded Superman working on a fishing boat, and Snyder’s talent for creating beautiful, memorable images kicks in. Snyder has cited video games as an artistic influence, and that’s obvious on Krypton. Back in the more real world Snyder finds more restrained, but still striking moments that are sprinkled throughout the whole film.

There’s more sci-fi and more action than in a film like Iron Man 3, but the film doesn’t rush much. That’s partly to be expected: most of the Superman origin story is talking in the arctic and talking in cornfields. The film uses flashbacks to break up these long, potentially boring pieces of exposition though and also manages to keep Kansas and the Kent family present for most of the time. It’s not a revolutionary concept by any means, but it meant, for me, that something surprising kept reemerging: sincerity.

I kept thinking about Jerry Siegel and Joe Schuster during the film. They’re the Cleveland, Ohio boys who began creating Superman while they were in high school in the 1930s. What they made is a superhero that should be pretty boring today: he can do everything. The movie reflects this: the fights are obscene and stretch from the Indian Ocean to Metropolis and into orbit. It’s pure excess like you’d expect. And when you look at Superman as an aspirational, Christlike figure it doesn’t help matters. It’s been done. The epic sacrifices in the film are practically endless and rather than building on one another they just start to feel old. Yes, Siegel and Schuster created something larger than life, but the aspirational character is Clark Kent, not Superman.

Every kid wishes he or she could fly, bend steel and shoot lasers out of his or her eyes. But what makes Superman special is not that he has those powers, it’s that he chooses the empathy and humility that the Kents teach him, and that he does the right thing even though it’s frequently the hardest thing. It’s his sincere affection for humanity that makes Lois Lane trust him. And it’s that personal sentiment that runs through the small sacrifices and changes of heart in the film that are affecting.

Toward the end of the movie there are big battles and explosions—but there’s also a flashback to Clark as a very young boy, playing with his dog in his parents’ Kansas yard. He wears a red cape, blue and white jeans and socks wave on a clothesline in the warm afternoon sun. It’s another of Snyder’s striking if heavy-handed images that glorifies Truth, Justice, and the American Way. But it’s not the American Way of globalism and capitalism—it’s the youth, innocence, and optimism of two high school boys who made an idol that does the right thing because it’s the right thing to do and elevates people around him because of that.

Frankly I didn’t think Snyder had it in him. I expected the movie to be more of the same old glossy, isolated, infallible alien who loves humans like pets. And while the movie is certainly not going to win any Oscars there’s a quiet earnestness under all of those spaceships and sonic booms. It doesn’t reinvent anything about the universe—he fights Zod, like we all knew he was going to fight Zod—but it rediscovers the smallness and the personal part of Superman that it’s easy to overlook 75 years later.

Yes there were nerds yelling across the theater at each other after the movie ended because they were dissatisfied with things. But most of the bland, generic action stuff fell away for me and what I left with was a new affection for Clark Kent that I’ve never felt before. I swear it only had a little bit to do with how much I like a beard on Henry Cavill.

Lisa Olson

Opening shot: the Blue Settler (Russell Crowe) is standing at the edge of a wheat field, looking out over a barren plain. He crouches down to inspect the crop, and he’s pounced upon by a robber (Bobcat Goldthwait). They tussle, and eventually the robber escapes with a sheaf of grain. The Blue Settler balls his fists and screams at the sky in rage. The title appears: SETTLERS OF CATAN: THE MOVIE.
The Blue Settler returns to his settlement, where his advisors are in council. “We must build cities!” cries one advisor (Jeremy Irons). “Without cities, we shall be overcome!”
“No,” says the Blue Settler. “The prophecy tells that the Island of Catan shall be won by he who possesses the longest road. Our brick and lumber are plentiful, and we shall build west towards a port where we can make advantageous trades.”
As the meeting continues, the advisor slips quietly out of the tent and steals away with a sheaf of grain.
Cut to the compound of the Red Settler (Clive Owen), high on a mountain to the east. “Come,” he says when a knock is heard upon his door. The door creaks open, and in walks the Blue Settler’s advisor.
“I bring grain,” hisses the advisor.
“Very good,” replies the Red Settler. “For this grain, I shall trade you two ore.”
“Nay,” says the Blue Settler’s advisor. “I want no ore. Instead, I want your daughter’s hand!”
The Red Settler’s daughter (Emma Stone) recoils. “But,” she protests, “I will not bring you victory!”
“It’s not whether you win or lose,” cackles the advisor. “It’s how you play the game.”
“Never!” cries the Red Settler’s daughter. “I love another!”
Both the Red Settler and the Blue Settler’s advisor look on in shock as the Red Settler’s daughter leaps out of the window…only to land on the horse of a knight who gallops away into the darkness.
The next morning, the knight and maiden arrive at the compound of the Green Settler (Jon Hamm), who welcomes the Red Settler’s daughter into his arms. “I fear our bliss may not last long,” he warns. “I still have the largest…[pause for humor]…army, but my knights are exhausted, and the robber now stalks our fields, getting off with my sheep.”
[quick cut to shadowy scene involving panting robber and bleating sheep]
“We must make peace with the Blue Settler!” says the Red Settler’s daughter. “We must tell him that he has been betrayed by his trusted advisor!”
“So we shall,” affirms the Green Settler. “He is a good man, though he doesn’t have such vast…tracts of land.” [romantic music on soundtrack]
“Mmm,” murmurs the Red Settler’s daughter, looking significantly downward. “It looks like this is going to be my Year of Plenty.”
Cut to the next day, when two exhausted knights carry the Green Settler and the Red Settler’s daughter to the hut of the Blue Settler. “Greetings!” calls the Green Settler. “We bring news of your betrayal, and sheaves of grain.”
“I know of the betrayal,” says the Blue Settler wearily, “and I have no need of grain. What I have need of is brick.”
“But,” says the Red Settler’s daughter, “I was given to understand that you have brick in plenty.”
“Things,” intones the Blue Settler, “have changed.”
[quick cut to shot of robber cursing in field, flattened into ground by a load of brick on his back]
“I have brick for you, fool!” booms the Red Settler, suddenly appearing with a heavily-laden donkey. “But from you, I shall accept only grain.”
“I…” The Blue Settler pauses dramatically. “…have no choice. I must accept your offer.” He waves his arm towards his last sheaf of grain, and stumbles sadly over towards the donkey. “Come, boy.”
“And from you,” cries the Red Settler, pointing at the Green Settler, “I shall take my daughter! As well as all of your other resources, since with this grain I shall build a city that will make me the ruler of…what’s so funny?”
The Blue Settler’s advisor walks up, laughing wickedly. “I laugh,” he says, “because you mistook me for a traitor. In fact, I was only distracting you. We may have no cities or knights, but we have eight settlements, and with that brick my lord has gone off to complete our ninth segment of road. That gives us…”
A look of recognition, then a slow smile, appear on the face of the Green Settler. The Red Settler gasps in horror. “No!”
The Blue Settler’s advisor continues. “That’s right. We just built the longest road, bitch.”
Cut to the shore of Catan, where the Blue Settler, alone, lays the last brick connecting his kingdom to the sea. He grunts in satisfaction, then stands up smiling broadly. The music begins to soar, and it would seem the movie is over…but what’s this?
“Ahoy!”
The Blue Settler lifts his eyeglass to look out to sea. Cut to the view through his eyeglass, where a sea captain (Johnny Depp) waves, then turns and drops his trousers.
“I knew it!” The Blue Settler lowers his eyeglass and spits on the brick he’s just laid. “Seafarers!”
- Jay Gabler

Opening shot: the Blue Settler (Russell Crowe) is standing at the edge of a wheat field, looking out over a barren plain. He crouches down to inspect the crop, and he’s pounced upon by a robber (Bobcat Goldthwait). They tussle, and eventually the robber escapes with a sheaf of grain. The Blue Settler balls his fists and screams at the sky in rage. The title appears: SETTLERS OF CATAN: THE MOVIE.

The Blue Settler returns to his settlement, where his advisors are in council. “We must build cities!” cries one advisor (Jeremy Irons). “Without cities, we shall be overcome!”

“No,” says the Blue Settler. “The prophecy tells that the Island of Catan shall be won by he who possesses the longest road. Our brick and lumber are plentiful, and we shall build west towards a port where we can make advantageous trades.”

As the meeting continues, the advisor slips quietly out of the tent and steals away with a sheaf of grain.

Cut to the compound of the Red Settler (Clive Owen), high on a mountain to the east. “Come,” he says when a knock is heard upon his door. The door creaks open, and in walks the Blue Settler’s advisor.

“I bring grain,” hisses the advisor.

“Very good,” replies the Red Settler. “For this grain, I shall trade you two ore.”

“Nay,” says the Blue Settler’s advisor. “I want no ore. Instead, I want your daughter’s hand!”

The Red Settler’s daughter (Emma Stone) recoils. “But,” she protests, “I will not bring you victory!”

“It’s not whether you win or lose,” cackles the advisor. “It’s how you play the game.”

“Never!” cries the Red Settler’s daughter. “I love another!”

Both the Red Settler and the Blue Settler’s advisor look on in shock as the Red Settler’s daughter leaps out of the window…only to land on the horse of a knight who gallops away into the darkness.

The next morning, the knight and maiden arrive at the compound of the Green Settler (Jon Hamm), who welcomes the Red Settler’s daughter into his arms. “I fear our bliss may not last long,” he warns. “I still have the largest…[pause for humor]…army, but my knights are exhausted, and the robber now stalks our fields, getting off with my sheep.”

[quick cut to shadowy scene involving panting robber and bleating sheep]

“We must make peace with the Blue Settler!” says the Red Settler’s daughter. “We must tell him that he has been betrayed by his trusted advisor!”

“So we shall,” affirms the Green Settler. “He is a good man, though he doesn’t have such vast…tracts of land.” [romantic music on soundtrack]

“Mmm,” murmurs the Red Settler’s daughter, looking significantly downward. “It looks like this is going to be my Year of Plenty.”

Cut to the next day, when two exhausted knights carry the Green Settler and the Red Settler’s daughter to the hut of the Blue Settler. “Greetings!” calls the Green Settler. “We bring news of your betrayal, and sheaves of grain.”

“I know of the betrayal,” says the Blue Settler wearily, “and I have no need of grain. What I have need of is brick.”

“But,” says the Red Settler’s daughter, “I was given to understand that you have brick in plenty.”

“Things,” intones the Blue Settler, “have changed.”

[quick cut to shot of robber cursing in field, flattened into ground by a load of brick on his back]

“I have brick for you, fool!” booms the Red Settler, suddenly appearing with a heavily-laden donkey. “But from you, I shall accept only grain.”

“I…” The Blue Settler pauses dramatically. “…have no choice. I must accept your offer.” He waves his arm towards his last sheaf of grain, and stumbles sadly over towards the donkey. “Come, boy.”

“And from you,” cries the Red Settler, pointing at the Green Settler, “I shall take my daughter! As well as all of your other resources, since with this grain I shall build a city that will make me the ruler of…what’s so funny?”

The Blue Settler’s advisor walks up, laughing wickedly. “I laugh,” he says, “because you mistook me for a traitor. In fact, I was only distracting you. We may have no cities or knights, but we have eight settlements, and with that brick my lord has gone off to complete our ninth segment of road. That gives us…”

A look of recognition, then a slow smile, appear on the face of the Green Settler. The Red Settler gasps in horror. “No!”

The Blue Settler’s advisor continues. “That’s right. We just built the longest road, bitch.”

Cut to the shore of Catan, where the Blue Settler, alone, lays the last brick connecting his kingdom to the sea. He grunts in satisfaction, then stands up smiling broadly. The music begins to soar, and it would seem the movie is over…but what’s this?

“Ahoy!”

The Blue Settler lifts his eyeglass to look out to sea. Cut to the view through his eyeglass, where a sea captain (Johnny Depp) waves, then turns and drops his trousers.

“I knew it!” The Blue Settler lowers his eyeglass and spits on the brick he’s just laid. “Seafarers!”

Jay Gabler

tardisowl asked: Can you give me an awesome writing prompt? I'm bored and need to practice my writing/vocabulary skills since I'm working on writing a book:)

The characters from a boy version of Girls run into the characters from a boy version of Sex and The City at a screening for a movie made from a Bret Easton Ellis novel. 1 of them dies. 2 of them have sex with one another. Go. - Becky

winsometruth asked: So, I turned 19 this month, and I realized recently that every single one of my friends has had some kind of serious (ish) relationship by my age. It's frustrating because I really want to be in a relationship, but I don't want to date a guy I met through a friend of a friend, or at a bar. I need to know a guy well before I can get attached, and I'm a bit stupidly bad at making the first move. And there hasn't been anyone interested, lately. Am I just not getting out enough?

It can be hard to feel like you’re the only one who hasn’t had a relationship yet. Relationships help you define yourself in terms of your sexuality in the world and also against someone you’re intimate with (sexually or not). 

You’re at the age between high school and college, when you’re going from a small group of people you’ve known for awhile to a huge pool of new people. I guarantee getting in a relationship will be a lot easier now that you’re not in high school (especially if you’re not living with your parents).

Don’t be against dating a friend of a friend. I usually recommend people date outside of their immediate friend groups, because dating someone you already know and trust can cause problems in a friend group if it doesn’t work out. Just make sure you’re safe on a date with a new person. Ask mutual friends what they are like and have a friend come and make it a double date. 

You may in fact be not getting out enough. Volunteer with some groups, start a new hobby or just go to some parties. You’ll find what you’re looking for sooner than you think.

-Becky

Talking Points on the New Arrested Development

1. Non-Linearity

Each episode of the this season of Arrested Development is a piece of a puzzle for a larger story that makes more and more sense the more of them you see. Is this an experiment that the writers undertook to take advantage of the unique platform that is Netflix, and the fact that people often mass-consume a show in one or a few sittings? Did Arrested Developmentdo this on a smaller scale in former episodes – and is that one reason why it was canceled, as opposed to regular sitcoms that bottle up plotlines at the end of every episode?

2. Isolated Stories

This season had isolated stories, mostly because they couldn’t get all the actors together at once very often. Did you notice they’re only all together at the trial preparation/George Michael college sendoff party? (Me neither until my boyfriend pointed it out.) This doesn’t necessitate a non-linear plot, necessarily. Skins focuses on one character at a time, and the plot is still mostly linear, for example.

3. Is Michael not funny on his own?

The beginning of the season, which focused on Michael and George Michael, was arguably the worst part a) because you don’t understand the story yet b) because Michael isn’t that funny – and that’s ok. That’s not what he’s there for. Here is my theory: Michael is meant to be the foil for how crazy the other characters are, the normal person amidst the madness. That means he’s good for a few recurring jokes and funny disasters but for the most part Buster, GOB and Tobias are the funniest characters because they are the most insane. When Michael is somewhat separated from the family, he loses his chance to be the foil and his plot lines fall a bit more flat.

4. Lindsay’s Brows

Ok, so I’m late to the party and the Internet has already overanalyzed why Lindsay looks so weird. But my contribution to this is a theory centering on her brows. They are bleached half the time and dark the other half, and not in a way that always goes along with the plot. For a second I thought that Lindsay was possibly played by Portia De Rossi and someone who looked like a botoxed version of her, but I think this is due to inconsistent brow color. (As well as wigs and possible plastic surgery.) Either way, the plot seemed designed to keep an air of confusion around why Portia looks so different.

5. Who makes this show funny, the writers or the actors?

Since each one focused on just one character, they really ended up varying in terms of how funny they were, in my opinion. The Buster and GOB episodes were standouts, making me wonder just how much the actors had to do with it (especially in the case of the Buster episode). How much of what makes this show good is intentional writing and how much is improv acting? Is actor Tony Hale a genius?

6. Was it all just a preview for the movie?

The ending is the opposite of precious, and feels very unfinished, with a lot of questions left over. Was this one of the world’s smartest strategies for getting people excited about a movie? Did it work? Or have you gotten bored with the show?

-Becky Lang

Best/realest tweets of the fortnight, 5/26-6/8/13

Tags: alt lit

Best/realest tweets of the fortnight, 5/26-6/8/13

Tags: Liberace

Best/realest tweets of the fortnight, 5/26-6/8/13
Best/realest tweets of the fortnight, 5/26-6/8/13