This book should be the official Twitter user manual
To be honest, Jon Ronson's new book isn't right in line with the nerd/geek-theme of this site, but we nerds aren't exactly known for our calm, rational, measured responses to news or new releases in our particular fandoms that we don't immediately like. We drove Joss Whedon off of Twitter when Avengers: Age of Ultron wasn't everything we hoped it would be, after all. So even though I feel like the internet's dad and we're having to have The Talk, here goes:
In this book, Ronson chronicles the re-emergence of public shaming as a punishment. Used to be, back before the mid-19th century, people convicted of certain crimes would be made to stand in the stocks, or pillory, or publicly whipped, or otherwise publicly made an example of. It was deemed, however, that these were effectively cruel and unusual punishments with lasting, sometimes catastrophic psychological consequences. Let me stress again, people in the 1830s found public shaming excessive punishment. Well, nobody loves anything as much as a public hanging, it seems, so we've now resurrected the public shaming for the digital age.
Ronson starts off by tracing the trajectory of pop-science writer Jonah Lehrer's career. Until 2012, Lehrer was a best-selling author and in-demand public speaker. He then committed some journalistic sins (which are pretty minor, as far as journalistic sins go), and was made to endure an almost unimaginable public crucifixion via Twitter when he attempted to apologize at a media conference. Ronson also follows the stories of Justine Sacco, who was terrible at making jokes about white privilege, Lindsey Stone, who didn't understand Facebook privacy settings when sharing an intentionally disrespectful photo with a friend as a joke, and "Hank," who made the same joke everybody who's ever heard the word "dongle" has made, but this time it cost him his livelihood, and the security of his children. And that's nothing compared to what it did to the woman who set those events in motion.
Ronson also ventures into the worlds of extreme porn, prisons, courts, and online reputation management, and he unearths some obscured facts about the Stanford Prison Experiment that may be kind of important. But overall, this is a book that explores the human costs of hundreds of thousands of us taking ten seconds out of our day to say something casually awful about another human being in a place where the entire world can see it. By and large, Ronson lets these events, the people involved in them, and their repercussions speak for themselves. But I'll go a little farther and say a little about something he only touches on, namely the arbitrary nature of our pile-ons and our own complicity.
Take, for instance, the story of Mike Daisey. You may remember Mike Daisey as the journalist whose story on This American Life about working conditions in China for Apple's suppliers almost turned the world's wealthiest tech company on its head. This is, until This American Life had him back on to corner him about certain misrepresentations in Daisey's original broadcast. Remember? I do. I didn't go on Twitter to talk about what a piece of shit Mike Daisey was, but thousands of others did. But here's the thing: Mike Daisey isn't a journalist. Never really was. He was a stage performer, and did a one-man show about working conditions in China. Ira Glass, the ruler of the This American Life kingdom, saw Daisey's show and invited him onto the air to give his performance for all of This American Life's listeners. But then the fact-checking process revealed some problems with Daisey's account of his trip -- not the facts he was discussing, just his personal exposure to them. So Ira Glass had him back on to ambush him and get him to admit his duplicity. But the way I see it, this isn't Mike Daisey's fault. I don't assume everything Louis C.K. says in his shows literally happened, because he's a stage performer, not a journalist. But Ira Glass made different assumptions than I would have, and opened the door for a public shaming of Mike Daisey that almost drove Daisey to suicide. But now Daisey's pretty much okay, and Jonah Lehrer, who did much the same thing, has yet to publish again or get back on his feet.
Jimmy Kimmel handles it as a joke in his series "Celebrities Read Mean Tweets," and that's one thing. Celebrities are at least accustomed to casual vitriol. But we do this -- repeatedly -- to regular people with a few dozen Twitter followers who happen to say something that can be taken out of context or divorced of its original intention, and as a result, we all chuckle for a bit at somebody's callousness and then these people watch as their lives literally disintegrate. There are actual racists on Twitter. There are entire partisan "news" outlets who only exist to twist and misrepresent things that happen in the world. This is a world where a board member of the NRA blamed the South Carolina shootings on one of the victims because that person voted in the state legislature against a concealed-carry law. But instead of these genuinely awful people, we pick easy targets, weak targets, and straw men. And we destroy them casually.
And when asked about it later, we say, "I'm sure they're fine." Thankfully Jon Ronson went and tracked those people down to let us know that they're not fine, and that our actions online have real-world consequences.
The Math
Baseline Assessment: 8/10 for telling human stories that have deep emotional resonance
Bonuses: +2 for holding up a mirror in a timely, meaningful way and telling us truths that we'd probably rather ignore
Nerd Coefficient: 10/10. This isn't the best book you'll read by a longshot, but it's a message we all need to hear as social media races toward its adolescence.
Posted by -- Vance K, who doesn't want to be publicly shamed, and is proactively watching his ass.
Reference: Ronson, Jon. So You've Been Publicly Shamed [Riverhead Books, 2015].
Showing posts with label Pop Culture. Show all posts
Showing posts with label Pop Culture. Show all posts
Monday, July 27, 2015
Monday, September 30, 2013
Why Breaking Bad was *the* Show of Our Time
There will be books written and august journalistic institutions like The Atlantic will talk about what it all meant, so I know these themes will all be expounded on with greater detail and clarity as time unfolds before us, but I can still play in their sandbox for a few minutes.
First, spoilers will probably follow. I'm not that worried about it. If you haven't watched the Breaking Bad finale, maybe stop here.
Breaking Bad was, simply put, the show of our time. People mention The Wire and The Sopranos along with Breaking Bad in current discussions of "The Best Show Ever," but that's not exactly what I'm talking about. Through a happy convergence of both internal and external factors, Vince Gilligan's AMC drama became a mirror held up to society and to ourselves, and a vehicle for real-world change in the television industry. To wit:
Internal (Thematic) Resonance
Here is a brief look at some of the themes that ran from the pilot episode to the finale of Breaking Bad, and that contributed to both the relatability and the inevitable heartbreak viewers felt for the characters. These themes were never didactically paraded before the audience, but they formed the first assumptions of the show. Without these elements, the show fundamentally could not exist.
The Death of the Middle Class. The Whites were a stereotypical, middle class family with what are becoming stereotypical middle class problems. They were immediately relatable. We got to see in flashbacks their pride at buying their first house together as a young couple starting a family, and we saw the sad end of that dream in a gutted house behind a chain-link fence. Just like so many millions of Americans did as they watched their houses lapse into foreclosure. Many of those families took out their rage at the system on the houses themselves. I saw that firsthand, and it was heartbreaking. In the real world, nine months after Breaking Bad premiered on AMC, Lehman Brothers declared bankruptcy. As we know, that event triggered a wave of mutilation that washed across all of America, where only the unbelievably wealthy were allowed to continue as they were. For the rest of the country, the idea of a comfortable middle class existence – so long the picture of "The American Dream" – suddenly seemed like a taunt or a fairy tale. The same thing happened to Walter and his family when he got his lung cancer diagnosis.
The Abhorrent U.S. Healthcare System. Maybe you've heard that one party currently wants to undermine all Congressional credibility in an effort to send U.S. healthcare back to an intolerable status quo. The Huffington Post ran this great comic panel the other day:
Forget everything else. Everything that came after. Possibly the most horrifying consequence of Walter White's meth empire was the midair collision of two airliners in Season 2. Those that died didn't get their turn on the show to become three-dimensional characters, but that was wholesale destruction of lives and families that never would've happened if Walt had been able to stay in his teaching job after his diagnosis. Which brings us to...
The Crumbling U.S. Educational System. We see two products of Walt's classroom in each episode: Walt and Jesse. Despite his years of service, Walt's cancer diagnosis is a death sentence – either for him, if he forgoes treatment, or for his family if he tries to pay for it – which speaks to the way teachers are treated today in terms of financial and social rewards. And Jesse was one of those kids that slipped through the cracks. Jesse may say "bitch" a lot, but he's a smart guy, man. Emotionally troubled, for sure, but only Walt and Jesse can make the blue. Lots of other folks try, but they're the only ones that can do it. Jesse had one of the most severe curses of our time: unrecognized potential.
The Failed War on Drugs. I wrote at length a few months ago about the transition from "The American Dream" being something based on hard work to something based on magical transformation. Walter White's personal transformation isn't particularly magical, but in his desperation at watching the hard work version of success evaporate, he turned to the other one, looking for a scenario where somebody could make $600,000 in about six months. And that opportunity was literally waiting for him on the street corner, under the watchful eye of his DEA agent brother-in-law.
But Don't Worry. None of this Applies if You're Rich. Elliott and Gretchen Schwartz have basically all the money in the world. They can easily pay for Walt's cancer treatment, and offer to do so. Walt's pride prevents him from accepting their offer – as Walt's pride prevents him from taking every road that doesn't lead to damnation. Walter and his family's struggles are a remote abstraction for the Schwartzes. They feel bad for him, sure, but they can never know the lived-in quality of Walt's desperation...or his resentment toward them. But in the end, Walt hands his money over to these two in order to get it into the hands of his family. They help Walt win, to get what he's always said he wanted, because as Walt says, no one would think twice about them handing over $10 million dollars to anyone they want. They are above the system.
External (Industry) Resonance
Any debate about Breaking Bad's place in the television pantheon is necessarily subjective. But it lies at the crossroads of many objective, substantial changes to what's going on in television now.
The Golden Age of Television. That's what folks are calling it these days. But I haven't seen The Wire, and I only saw the first season of The Sopranos because that's all my college roommate had on DVD. Didn't see Weeds or Nip/Tuck or Dexter, either. That's because those shows all aired on premium, subscription-based channels I can't afford. AMC broke that mold with Mad Men, and that show's success paved the way for Breaking Bad ever getting it's shot. But the knock on Mad Men was always that it was a critical and awards-season darling that never brought in the numbers. Each season's finale scored fewer viewers then its premiere, topping out at about 3.4 million viewers. Breaking Bad brought the numbers, though. It brought the darkness, too, which not only made similarly dark AMC shows possible, but also darkened up other networks' fare, like USA, who used to live by the adage of a "fruit bowl" in every shot. Anybody watch the final season of Burn Notice? That was some bleak shit, right there. Before the ratings and cultural success of Walter White's downward spiral, I wouldn't have thought such an ending was even possibly for that show, and new USA additions like Graceland were darker and edgier from Day 1. AMC's position on the basic cable tier made larger and more diverse audiences possible. The big-four networks will follow suit, if they aren't already.
The Role of Technology (Netflix, etc.) in Viewership. Different people say different things about how significant the impact of Netflix was in terms of growing Breaking Bad's audience, but from my personal experience, I can attest that I would not have been glued to my TV tonight had it not been for the hours I spent with episodes of the show on Netflix. The fact is, before the Season 5 premiere, the show's biggest audience had been around 3 million viewers. Season 5.2 premiere = 6 million. Series finale? North of6.6 million (Correction: 6.6 million was for "Granite State." Series finale pulled north of 10 million.). Those are revolutionary numbers both in terms of growth and in terms of non-sports basic cable. Other shows have been in the same neighborhood (Burn Notice beat the networks on Thursday night for a while with around 7 million viewers) but none have followed this trajectory. Only Netflix has their internal numbers, but they have said that their analysis of how people watch popular television shows using the service (*cough* Breaking Bad) gave them the confidence to invest hundreds of millions of dollars in shows like House of Cards, Orange is the New Black, and the fourth season of Arrested Development. If you read the Vulture article I linked to above, you'll see they don't want to give Netflix too much credit, and spend a lot of time talking up DVR ratings. In the same way that The Office was able to stay on the air because NBC started taking iTunes downloads into account, other shows are seeing their chances at staying on the air improve as delayed-viewing numbers for shows like Breaking Bad swell the total audience far beyond what the Nielsen overnights are able to quantify.
So that's it. Now, let the books be written.
Poor Andrea.
First, spoilers will probably follow. I'm not that worried about it. If you haven't watched the Breaking Bad finale, maybe stop here.
Breaking Bad was, simply put, the show of our time. People mention The Wire and The Sopranos along with Breaking Bad in current discussions of "The Best Show Ever," but that's not exactly what I'm talking about. Through a happy convergence of both internal and external factors, Vince Gilligan's AMC drama became a mirror held up to society and to ourselves, and a vehicle for real-world change in the television industry. To wit:
Internal (Thematic) Resonance
Here is a brief look at some of the themes that ran from the pilot episode to the finale of Breaking Bad, and that contributed to both the relatability and the inevitable heartbreak viewers felt for the characters. These themes were never didactically paraded before the audience, but they formed the first assumptions of the show. Without these elements, the show fundamentally could not exist.
The Death of the Middle Class. The Whites were a stereotypical, middle class family with what are becoming stereotypical middle class problems. They were immediately relatable. We got to see in flashbacks their pride at buying their first house together as a young couple starting a family, and we saw the sad end of that dream in a gutted house behind a chain-link fence. Just like so many millions of Americans did as they watched their houses lapse into foreclosure. Many of those families took out their rage at the system on the houses themselves. I saw that firsthand, and it was heartbreaking. In the real world, nine months after Breaking Bad premiered on AMC, Lehman Brothers declared bankruptcy. As we know, that event triggered a wave of mutilation that washed across all of America, where only the unbelievably wealthy were allowed to continue as they were. For the rest of the country, the idea of a comfortable middle class existence – so long the picture of "The American Dream" – suddenly seemed like a taunt or a fairy tale. The same thing happened to Walter and his family when he got his lung cancer diagnosis.
The Abhorrent U.S. Healthcare System. Maybe you've heard that one party currently wants to undermine all Congressional credibility in an effort to send U.S. healthcare back to an intolerable status quo. The Huffington Post ran this great comic panel the other day:
Forget everything else. Everything that came after. Possibly the most horrifying consequence of Walter White's meth empire was the midair collision of two airliners in Season 2. Those that died didn't get their turn on the show to become three-dimensional characters, but that was wholesale destruction of lives and families that never would've happened if Walt had been able to stay in his teaching job after his diagnosis. Which brings us to...
The Crumbling U.S. Educational System. We see two products of Walt's classroom in each episode: Walt and Jesse. Despite his years of service, Walt's cancer diagnosis is a death sentence – either for him, if he forgoes treatment, or for his family if he tries to pay for it – which speaks to the way teachers are treated today in terms of financial and social rewards. And Jesse was one of those kids that slipped through the cracks. Jesse may say "bitch" a lot, but he's a smart guy, man. Emotionally troubled, for sure, but only Walt and Jesse can make the blue. Lots of other folks try, but they're the only ones that can do it. Jesse had one of the most severe curses of our time: unrecognized potential.
The Failed War on Drugs. I wrote at length a few months ago about the transition from "The American Dream" being something based on hard work to something based on magical transformation. Walter White's personal transformation isn't particularly magical, but in his desperation at watching the hard work version of success evaporate, he turned to the other one, looking for a scenario where somebody could make $600,000 in about six months. And that opportunity was literally waiting for him on the street corner, under the watchful eye of his DEA agent brother-in-law.
But Don't Worry. None of this Applies if You're Rich. Elliott and Gretchen Schwartz have basically all the money in the world. They can easily pay for Walt's cancer treatment, and offer to do so. Walt's pride prevents him from accepting their offer – as Walt's pride prevents him from taking every road that doesn't lead to damnation. Walter and his family's struggles are a remote abstraction for the Schwartzes. They feel bad for him, sure, but they can never know the lived-in quality of Walt's desperation...or his resentment toward them. But in the end, Walt hands his money over to these two in order to get it into the hands of his family. They help Walt win, to get what he's always said he wanted, because as Walt says, no one would think twice about them handing over $10 million dollars to anyone they want. They are above the system.
External (Industry) Resonance
Any debate about Breaking Bad's place in the television pantheon is necessarily subjective. But it lies at the crossroads of many objective, substantial changes to what's going on in television now.
The Golden Age of Television. That's what folks are calling it these days. But I haven't seen The Wire, and I only saw the first season of The Sopranos because that's all my college roommate had on DVD. Didn't see Weeds or Nip/Tuck or Dexter, either. That's because those shows all aired on premium, subscription-based channels I can't afford. AMC broke that mold with Mad Men, and that show's success paved the way for Breaking Bad ever getting it's shot. But the knock on Mad Men was always that it was a critical and awards-season darling that never brought in the numbers. Each season's finale scored fewer viewers then its premiere, topping out at about 3.4 million viewers. Breaking Bad brought the numbers, though. It brought the darkness, too, which not only made similarly dark AMC shows possible, but also darkened up other networks' fare, like USA, who used to live by the adage of a "fruit bowl" in every shot. Anybody watch the final season of Burn Notice? That was some bleak shit, right there. Before the ratings and cultural success of Walter White's downward spiral, I wouldn't have thought such an ending was even possibly for that show, and new USA additions like Graceland were darker and edgier from Day 1. AMC's position on the basic cable tier made larger and more diverse audiences possible. The big-four networks will follow suit, if they aren't already.
The Role of Technology (Netflix, etc.) in Viewership. Different people say different things about how significant the impact of Netflix was in terms of growing Breaking Bad's audience, but from my personal experience, I can attest that I would not have been glued to my TV tonight had it not been for the hours I spent with episodes of the show on Netflix. The fact is, before the Season 5 premiere, the show's biggest audience had been around 3 million viewers. Season 5.2 premiere = 6 million. Series finale? North of
So that's it. Now, let the books be written.
Poor Andrea.
Thursday, July 25, 2013
Top 3's of Comic Con
This past week I went to my fifth San Diego Comic Con. I am still recovering from participating in events, panels, off-site parties, and more with more than 100,000 of my closest friends. The event has seen huge growth through the short five years I have been attending and I feel that the best way to capture my experience is through a series of lists. Also, if you couldn't make it and want some swag you should enter our contest while there is time. Click here to do so.
Top Trends in SDCC:
1. Off-site growth - This year there were more and bigger off-site events. The Nerd HQ, in its third year, moved into the concourse of Petco Park, HBO took over the first floor of a building across from the Omni, Geek and Sundry moved into the original home of the Nerd HQ, and too many to actual list here. With the sheer number of off-site events, SDCC is something you can experience without having a badge or setting foot into the San Diego Convention Center
2. Camping out - Before I ever attended SDCC I was warned about the lines. Despite this warning I was still shocked at the length of the lines and how early you had to line up for panels. I do recall getting into all of the panels I intended to and this is not the case anymore. My plans for attending the WB and Dr. Who panels were halted when I saw people camping out prior to end of the panels the previous day. If they are willing to show that type of dedication to be in a panel, may hats off to them and I will find something else fun to do.
3. Twitter - It seems that in order to truly stay in the loop and get the most out of Comic Con you need to have your twitter feed rolling with key individuals to follow. Bloggers, comic publishers, and others will let you know what is currently happening and help you have a good time among the mobs of people.
My 3 favorite announcements at SDCC:
1. Batman/Superman Movie - It is amazing the amount of buzz and rumblings a simple graphic can produce. The excitement was in the air upon the announcement and I am pretty sure that all of the attendees heard the eruption in Hall H. On my flight home when I saw coverage on the CNN app I knew that this was the winning announcement of the con.
2. Gabriel Rodriguez working on Little Nemo in Slumberland - Readers of the blog will know my love of Gabriel Rodriguez and his work on Locke and Key. I can think of no better artist to be involved on a relaunch of Little Nemo than Rodriguez. The series is a complete relaunch with a new dreamland, new Nemo, and will be published by IDW.
3. Phineas and Ferb/Star Wars Crossover - I know this was covered earlier this week from Vance, but I got misty when I heard the announcement and saw some of the early art on this project. It happens during the events of Episode IV, there is a "Sith-inator", and it is going to be amazing.
Top 3 Off-site Locations:
1. The Godzilla Encounter - Godzilla took over a building in the Gas Lamp district for an encounter that required an RSVP and a SDCC badge (wondering if more will go this route). This event felt like an experience you might have at Disney World or Universal Studios. You start by touring a Japanese town when everything goes wrong. The actors in this experience was great, the sets were gorgeous, and the action was pretty good. One of the more unique experiences I have had at SDCC in the short time I have been attending.
2. Fox ADHD - Taking over a parking lot in the Gas Lamp, the Fox ADHD headquarters featured mini-golf, a 50-ft. Axe Cop balloon, 3-D printed toys, and free pizza. On top of that it screened episodes of both Axe Cop and High School USA. Both were great and air this upcoming Saturday night on Fox!
3. Geek and Sundry - Geek and Sundry took over the second floor of a coffee shop in the Gas Lamp and featured board game tournaments (I played and lost in the Star Trek Catan one!), a board game library, game demos, free AMD processors, Wil Wheaton photo booth, and had appearances from Wheton, Felicia Day, and other nerd celebrities. What I liked about Geek and Sundry is that it was truly low key, fun, and a nice break from the chaos that was everywhere else.
Most overhead complaints at SDCC:
1. Not enough swag - From preview night through Sunday, the most overheard complaint I heard was that the amount of swag handed out was down from previous years. From what I saw the swag was moved off-site. I, for one, welcome the move because I find that it helps with flow on the floor. Additionally, most of the swag really isn't all its cracked up to be.
2. Line jumpers - The folks at CCI really cracked down on line jumpers this year. I guess when people camp out to attend a panel they don't take too kindly to people cutting in line. While it did occur and I witnessed several people line jump, it wasn't nearly as common as in years past.
3. Difficulty in getting into Hall H - My friend, who actually didn't complain about this, waited in line from 6am until 3pm to get into Hall H. The achievement of making it into the great hall was so difficult that people appeared to stay in the hall from open to close. Don't think I would enjoy hanging out in Hall H all day, but I had a nice time at the Community panel on Sunday.
Top 3 Panels:
1. Legend of Korra - I rewatched book one in preparation of what Nickelodeon was hyping up to be a stellar panel. After planning on attending this panel I ended up playing in a Star Trek Catan tournament at Geek and Sundry. My brother attended, got to see the first episode of Book 2 and said that it was great even though he hadn't watched season 1. I can't wait for Book 2!
2. Dr. Who - Even though I am a newly converted Whovian and I didn't brave the campers to attend this panel, it is likely the last featuring Matt Smith and included the debut of the trailer for the 50th Anniversary special. My favorite thing is that people in England are upset because their taxes support the BBC which airs Dr. Who and they haven't even seen the trailer yet.
3. Community - Most of the cast was on hand and the audience gave a warm welcome to the return of Dan Harmon. Harmon carried himself well about the drama related to the show, but the shining moment in this panel was when Dino Stamatopoulos hijacked the Q&A to promote a new project he is working on and to sell some ashcans. Overall this panel got me interested in a show again that I had drifted away from. I also fell for Dino's ploy and picked up his ashcan. It was quite good.
Top 3 Off-Site Events:
1. Course of the Force - For the second straight year Chris Hardwick and the good people at Nerdist Industries hosted the Course of the Force. It is a lightsaber relay race that runs from Skywalker Ranch to San Diego. The event raises money for the Make a Wish Foundation and allows people to participate in the race or stop by one of the many local events at each stop in the race.
2. Hop Con - Wil Wheaton teamed up with Stone Brewery to release a special beer for Comic Con. WootStout debuted at the Stone Brewery's new tasting room and your admission to Hop Con got you a collectible glass, eight pours of yummy beer, delicious food, and great entertainment featuring Wheaton and the musical comedy duo Paul and Storm. I can't think of a better way to kick off Comic Con then through this event and I am extremely grateful I attended.
3. The Walking Dead Escape - The Walking Dead Escape returned to Petco Park with a bigger and better running of the zombie filled obstacle course. This year the course was more physically challenged, featured more of the undead, and was an absolute blast. You can win some of the giveaways from the event here.
Top 3 Disappointments:
1. No Mr. Show reunion - Almost the entire cast of Mr. Show made the trip to San Diego. Bob Odenkirk, Paul F. Thompkins, Scott Aukerman, Dino Stamatopoulos, Brian Posehn, and Tom Kenny. All we needed was David Cross and my mind would have been blown and I would have been camping out.
2. No Locke and Key panel - Neither Joe Hill or Gabriel Rodriguez were in attendance as this title is wrapping up in a few months. Really would have been great to send off one of my favorite titles of all time in style.
3. No Fables panel - Bill Willingham announced that he would no longer be attending SDCC, but I was still hopeful that the rest of his creative staff would be on hand for one of the panels I look forward to every year. Maybe next year.
Top 3 Prizes:
1. Mondo Studio Ghibli record - After a disaster trying to secure a Mattel toy for my daughter, I was wondering the floor trying to meet up with a friend when I walked right past the Mondo booth. To my pleasant surprise they had just dropped an exclusive Studio Ghibli soundtrack on colored vinyl. The line was about 10 deep and in a few minutes I had a great prize to take home to the wife!
2. Axe Cop toy - For a chance to win one of your own you can enter our contest here, but I am keeping the one I got. Axe Cop inspired my first ever cosplay and there is no way I am giving mine away. Vance is much nicer than I am. This toy took over 12 hours to print in a 3d printer and 3 hours to be painted by hand.
3. Kid Robot Zoidberg - Through the kindness of a friend I was able to get my hands on the alternate universe Zoidberg from Kid Robot. This baby looks even better in person and when my daughter Zelda saw is she asked me, "why do you have a Homer crab?" A better question to ask is why do you not have a Homer crab? They are great!
As I look over the lists above I realize what an amazing experience SDCC is each year. I could write until my fingers were bleeding, but will rest now and reflect on the good times I have enjoyed in San Diego the past five years. Here is to another five more!
Top Trends in SDCC:
1. Off-site growth - This year there were more and bigger off-site events. The Nerd HQ, in its third year, moved into the concourse of Petco Park, HBO took over the first floor of a building across from the Omni, Geek and Sundry moved into the original home of the Nerd HQ, and too many to actual list here. With the sheer number of off-site events, SDCC is something you can experience without having a badge or setting foot into the San Diego Convention Center
3. Twitter - It seems that in order to truly stay in the loop and get the most out of Comic Con you need to have your twitter feed rolling with key individuals to follow. Bloggers, comic publishers, and others will let you know what is currently happening and help you have a good time among the mobs of people.
![]() |
The image that stole the show |
My 3 favorite announcements at SDCC:
1. Batman/Superman Movie - It is amazing the amount of buzz and rumblings a simple graphic can produce. The excitement was in the air upon the announcement and I am pretty sure that all of the attendees heard the eruption in Hall H. On my flight home when I saw coverage on the CNN app I knew that this was the winning announcement of the con.
2. Gabriel Rodriguez working on Little Nemo in Slumberland - Readers of the blog will know my love of Gabriel Rodriguez and his work on Locke and Key. I can think of no better artist to be involved on a relaunch of Little Nemo than Rodriguez. The series is a complete relaunch with a new dreamland, new Nemo, and will be published by IDW.
3. Phineas and Ferb/Star Wars Crossover - I know this was covered earlier this week from Vance, but I got misty when I heard the announcement and saw some of the early art on this project. It happens during the events of Episode IV, there is a "Sith-inator", and it is going to be amazing.
Top 3 Off-site Locations:
1. The Godzilla Encounter - Godzilla took over a building in the Gas Lamp district for an encounter that required an RSVP and a SDCC badge (wondering if more will go this route). This event felt like an experience you might have at Disney World or Universal Studios. You start by touring a Japanese town when everything goes wrong. The actors in this experience was great, the sets were gorgeous, and the action was pretty good. One of the more unique experiences I have had at SDCC in the short time I have been attending.
3. Geek and Sundry - Geek and Sundry took over the second floor of a coffee shop in the Gas Lamp and featured board game tournaments (I played and lost in the Star Trek Catan one!), a board game library, game demos, free AMD processors, Wil Wheaton photo booth, and had appearances from Wheton, Felicia Day, and other nerd celebrities. What I liked about Geek and Sundry is that it was truly low key, fun, and a nice break from the chaos that was everywhere else.
Most overhead complaints at SDCC:
1. Not enough swag - From preview night through Sunday, the most overheard complaint I heard was that the amount of swag handed out was down from previous years. From what I saw the swag was moved off-site. I, for one, welcome the move because I find that it helps with flow on the floor. Additionally, most of the swag really isn't all its cracked up to be.
2. Line jumpers - The folks at CCI really cracked down on line jumpers this year. I guess when people camp out to attend a panel they don't take too kindly to people cutting in line. While it did occur and I witnessed several people line jump, it wasn't nearly as common as in years past.
3. Difficulty in getting into Hall H - My friend, who actually didn't complain about this, waited in line from 6am until 3pm to get into Hall H. The achievement of making it into the great hall was so difficult that people appeared to stay in the hall from open to close. Don't think I would enjoy hanging out in Hall H all day, but I had a nice time at the Community panel on Sunday.
Top 3 Panels:
1. Legend of Korra - I rewatched book one in preparation of what Nickelodeon was hyping up to be a stellar panel. After planning on attending this panel I ended up playing in a Star Trek Catan tournament at Geek and Sundry. My brother attended, got to see the first episode of Book 2 and said that it was great even though he hadn't watched season 1. I can't wait for Book 2!
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Some Whovians tagged a wall in the Hall H line with some chalk |
3. Community - Most of the cast was on hand and the audience gave a warm welcome to the return of Dan Harmon. Harmon carried himself well about the drama related to the show, but the shining moment in this panel was when Dino Stamatopoulos hijacked the Q&A to promote a new project he is working on and to sell some ashcans. Overall this panel got me interested in a show again that I had drifted away from. I also fell for Dino's ploy and picked up his ashcan. It was quite good.
Top 3 Off-Site Events:
1. Course of the Force - For the second straight year Chris Hardwick and the good people at Nerdist Industries hosted the Course of the Force. It is a lightsaber relay race that runs from Skywalker Ranch to San Diego. The event raises money for the Make a Wish Foundation and allows people to participate in the race or stop by one of the many local events at each stop in the race.
2. Hop Con - Wil Wheaton teamed up with Stone Brewery to release a special beer for Comic Con. WootStout debuted at the Stone Brewery's new tasting room and your admission to Hop Con got you a collectible glass, eight pours of yummy beer, delicious food, and great entertainment featuring Wheaton and the musical comedy duo Paul and Storm. I can't think of a better way to kick off Comic Con then through this event and I am extremely grateful I attended.
3. The Walking Dead Escape - The Walking Dead Escape returned to Petco Park with a bigger and better running of the zombie filled obstacle course. This year the course was more physically challenged, featured more of the undead, and was an absolute blast. You can win some of the giveaways from the event here.
Top 3 Disappointments:
1. No Mr. Show reunion - Almost the entire cast of Mr. Show made the trip to San Diego. Bob Odenkirk, Paul F. Thompkins, Scott Aukerman, Dino Stamatopoulos, Brian Posehn, and Tom Kenny. All we needed was David Cross and my mind would have been blown and I would have been camping out.
2. No Locke and Key panel - Neither Joe Hill or Gabriel Rodriguez were in attendance as this title is wrapping up in a few months. Really would have been great to send off one of my favorite titles of all time in style.
3. No Fables panel - Bill Willingham announced that he would no longer be attending SDCC, but I was still hopeful that the rest of his creative staff would be on hand for one of the panels I look forward to every year. Maybe next year.
Top 3 Prizes:
1. Mondo Studio Ghibli record - After a disaster trying to secure a Mattel toy for my daughter, I was wondering the floor trying to meet up with a friend when I walked right past the Mondo booth. To my pleasant surprise they had just dropped an exclusive Studio Ghibli soundtrack on colored vinyl. The line was about 10 deep and in a few minutes I had a great prize to take home to the wife!
2. Axe Cop toy - For a chance to win one of your own you can enter our contest here, but I am keeping the one I got. Axe Cop inspired my first ever cosplay and there is no way I am giving mine away. Vance is much nicer than I am. This toy took over 12 hours to print in a 3d printer and 3 hours to be painted by hand.
3. Kid Robot Zoidberg - Through the kindness of a friend I was able to get my hands on the alternate universe Zoidberg from Kid Robot. This baby looks even better in person and when my daughter Zelda saw is she asked me, "why do you have a Homer crab?" A better question to ask is why do you not have a Homer crab? They are great!
As I look over the lists above I realize what an amazing experience SDCC is each year. I could write until my fingers were bleeding, but will rest now and reflect on the good times I have enjoyed in San Diego the past five years. Here is to another five more!
Labels:
axe cop,
comic con,
comics,
Fox,
Mikey,
Mr. Show,
Pop Culture,
San Diego Comic Con,
SDCC,
Wil Wheaton
Tuesday, May 14, 2013
Spurs to Spandex: Why Westerns Died and Superheroes Fly
In his only DVD commentary, which accompanies his 1950 movie Winchester '73, Jimmy Stewart was asked about the enduring popularity of Westerns. In his own words, Stewart answered that he believed the Western was the essential version of the American identity, that it totally encapsulates the pull-yourself-up-by-your-bootstraps, hard-work-makes-anything-possible American ethos. He believed that to this day we had maintained a frontier mentality, and in retelling the story of the United States' westward expansion we continued to tell stories that spoke meaningfully to our present-day lives. And for that reason, screen legend Jimmy Stewart felt the Western would remain enduringly popular for as long as people made movies.
Sorry, Jimmy.
For the last decade or more, there's been a new sheriff in town, and he wears spandex instead of spurs. And he can usually fly. And more often than not, he's super-well coiffed and bullets pretty much just bounce off of him. Because he's a superhero. I believe this shift in the genre balance is more meaningful than just a simple evolution of tastes. First, I think Hollywood has yet to understand (but is starting to) that "Superhero" has become an actual genre, and with that comes a tremendous degree of latitude that film executives are still unwilling to exploit, but that a market exists for. But second, and more importantly, I think this evolution in genre preference is actually a response to a much larger cultural shift that has changed the fundamental definition of what it means to be an American.
In many ways, Westerns and Superhero Movies are identical. They are both action/adventure-oriented stories that 1) celebrate the "individual" as a type/archetype, 2) exist in a reality outside of the audience's own (past/future/alternate present) and so are essentially fantasies, and 3) are primarily concerned with the intersection of violence and power. While some movies are overtly and explicitly concerned with that question (The Man Who Shot Liberty Valance and Spider-Man, for instance), both genres are fundamentally undergirded by the push-pull between violence and power. In the Western, it's your outlaws and scheming land-grabbers pitted against the homesteader or lawman, and both sides are pretty much outfitted with the same gear -- your six-shooter and Henry rifle, or something similar. For Superhero Movies, it is generally the massive, superhuman power of the hero pitted against either the massive, superhuman power or the mechanical product of the massive, superhuman brain of the villain. It's the same struggle, but played out with different toys against a different backdrop. Both sides possess the tools of violence, but the struggle is between whether to use those tools for good or ill.
In the 21st century, then, we prefer our stories about outliers caught up in the battle between good and evil to be clothed in more capes and fewer chaps. More explosions, fewer horses. More stardust, less, well, actual dust. A quick look at BoxOfficeMojo bears this out. The box office-tracking site lists 55 Superhero Movies released since January 1, 2000, and only 32 Westerns in the same time period. That's not a tremendous difference, but take a look at the highest-grossing Western of all time, Dances with Wolves (yep, really), and its lifetime theatrical gross of $184 million. BoxOfficeMojo lists 18 Superhero Movies that have all eclipsed Wolves, all but one of which have come out in the last decade. Dances with Wolves came out 23 years ago. Even adjusted for inflation, there are at least seven Superhero Movies released since Wolves that have left it well in the dust.
If this is the case, if Superhero Movies have established themselves as their own genre and have taken the place of the Western, what does that mean for filmmakers and fans? A lot, naturally, but until the people who greenlight movies are hip to this transformation, we're not going to see much innovation. We can look at the incredible breadth of stories Westerns provided as a possible indicator of things to come. Tables were turned, where we began to see antiheroes and were asked to invest in the story from the "bad guy's" perspective, we saw stories of smaller lives touched by much larger struggles playing out around them, allegories for cultural and religious struggles, broken people forced into the hero mold and asked to do something beyond themselves, fringe voices telling familiar stories in entirely different ways, comedies, etc.
"But wait!" you may be saying, "We've already seen all of that in Superhero Movies!" Right. Because a genre establishes a set of tropes and the storyteller's creativity rearranges those pieces into something new within familiar boundaries. It's what allows audiences to experience something new while also getting exactly what they expected. The hang-up right now is the familiar fear-based decision-making process inside of Hollywood. Until a broader way of looking at this type of movie takes hold, the response you're most likely to get to a new idea (especially if it doesn't involve a pre-existing character, like, say, Stretch Armstrong...or Aquaman) is "Well, didn't such-and-such movie already do that?" I've run into this both as a writer and working in studio development. One case in particular involved a superhero comedy script that a manager sat on because somebody "already did a superhero comedy and it tanked," only to have the script for Kick-Ass come along a few months later and step into that gap.
Is it possible that a Superhero genre isn't large or diverse enough to contain that many stories, though? No. We have 80 years of superhero comics that refute that pretty definitively. Like anything, the quality of the storytelling will usually win out, especially as the market becomes more mature. I do not believe it can become saturated in any real sense, but expectations have to be adjusted. Not every movie with a cape or a costume will make $100 million. Chronicle didn't cost much, didn't have a huge marketing push, but it gave audiences a new twist and did well, despite not coming from a pre-existing property. With successes like that, and with the emergence of independent filmmakers stepping into the waters with films like the little-seen Super, I expect Hollywood will begin experimenting a little more, inasmuch as it ever really allows experimentation.
Why this surge in superhero popularity? After all, we've had superheroes in comic books since the 1930s, and superheroes like Flash Gordon in films since about the same time, but they never enjoyed the same broad-based appeal that they're seeing now. Imagine walking into Bob Evans' office at Paramount in 1972 and pitching The Avengers why don't you? I'll argue that this new swell in popularity is because the Superhero story, much more than the Western, has become the quintessential American story for today's audience. This is the genre -- for all of its fantasy -- that speaks most directly to our lives today.
It comes down to how we answer one, giant question: What really is the American Dream? As far back as Fitzgerald, we pretty much knew it wasn't simply amassing great gobs of money (although a few years after Gatsby we'd face a long American Nightmare when great gobs of money suddenly evaporated, and then we'd do it all over again 90 years later). The Declaration of Independence outlines the familiar "life, liberty, and the pursuit of happiness," where the emphasis is on one's ability to pursue something that might make them happy without facing barriers based on race, creed, or color. We've done a pretty shaky job of that in the last 250 years, though, and these days people have pretty much figured that out. If that version of the American Dream has become so mist-enshrouded and distant that it may as well be a literal dream for all but a very few Americans, then what has taken its place? Hard work doesn't pay off like it used to. Many of the hardest working people in this country can barely keep a roof over their heads, and people who have played by the rules and "done everything right" can find themselves out of work for years and unable to repay medical or student loan debts.
Superheroes tend to have a couple of things in common: they exist in a primarily urban landscape, and they believe in magic. Just like their audiences. As a culture, we are far more likely to believe in magic today than in hard work, and not without reason. Sut Jhally, one of the foremost media scholars in the U.S., really doesn't like advertising. In Advertising and the End of the World he argues persuasively that the entire consumerist model is based on a belief in the magically transformative abilities of products. Listen up, guys, drinking poor, mass-produced beer will make beautiful women attracted to you. Buying this or that article of clothing or car will make your sad, dull life exciting and fresh! This bottle of household cleaner will unleash a muscular bald man who will scrub your floors! You get it, you've seen TV.
But reality has begun to approximate this magical aspect of our daily narrative. Peter Parker, Steve Rogers, Harry Potter, Carrie Underwood, Jennifer Hudson, Snooki, and all of the Kardashians share one thing in common: they were unknown, regular people who had something inside of them just waiting to be discovered and exploited on a larger stage. They were destined for greatness. We watch reality TV and Superhero Movies wishing that someone would see past our own humble situations, recognize our latent talent or nobility, and lift us out of our everyday lives. I mean, tell me that there's no magic in a world where a woman can make a sex tape with a mediocre rapper and then become so much more famous than that rapper that the entire rest of her family becomes famous. Tell me that's not magic.
I don't think there's an antidote to this type of thinking, any more than there was an antidote to the glorification of a genocidal period of national history. In time, we become more educated, we perceive more of reality, or different aspects of it, and these observations inform our view of ourselves, both individually and collectively. We then seek out stories that speak to us. Today, and for some unknown period of time stretching out ahead of us, those stories will involve gods and goddesses...er, I mean knights, er...cowboys and Indians?
Oh, right. Superheroes.
There is probably a much better, longer, and more fully researched and articulated version of this idea that I could've written if I'd had a bunch of time, but you do what you can.
Sorry, Jimmy.
![]() |
"Well, this is what I think of YOU!" |
![]() |
"Pretty sure I'm still what it means to be American, bud." |
In the 21st century, then, we prefer our stories about outliers caught up in the battle between good and evil to be clothed in more capes and fewer chaps. More explosions, fewer horses. More stardust, less, well, actual dust. A quick look at BoxOfficeMojo bears this out. The box office-tracking site lists 55 Superhero Movies released since January 1, 2000, and only 32 Westerns in the same time period. That's not a tremendous difference, but take a look at the highest-grossing Western of all time, Dances with Wolves (yep, really), and its lifetime theatrical gross of $184 million. BoxOfficeMojo lists 18 Superhero Movies that have all eclipsed Wolves, all but one of which have come out in the last decade. Dances with Wolves came out 23 years ago. Even adjusted for inflation, there are at least seven Superhero Movies released since Wolves that have left it well in the dust.
If this is the case, if Superhero Movies have established themselves as their own genre and have taken the place of the Western, what does that mean for filmmakers and fans? A lot, naturally, but until the people who greenlight movies are hip to this transformation, we're not going to see much innovation. We can look at the incredible breadth of stories Westerns provided as a possible indicator of things to come. Tables were turned, where we began to see antiheroes and were asked to invest in the story from the "bad guy's" perspective, we saw stories of smaller lives touched by much larger struggles playing out around them, allegories for cultural and religious struggles, broken people forced into the hero mold and asked to do something beyond themselves, fringe voices telling familiar stories in entirely different ways, comedies, etc.
"But wait!" you may be saying, "We've already seen all of that in Superhero Movies!" Right. Because a genre establishes a set of tropes and the storyteller's creativity rearranges those pieces into something new within familiar boundaries. It's what allows audiences to experience something new while also getting exactly what they expected. The hang-up right now is the familiar fear-based decision-making process inside of Hollywood. Until a broader way of looking at this type of movie takes hold, the response you're most likely to get to a new idea (especially if it doesn't involve a pre-existing character, like, say, Stretch Armstrong...or Aquaman) is "Well, didn't such-and-such movie already do that?" I've run into this both as a writer and working in studio development. One case in particular involved a superhero comedy script that a manager sat on because somebody "already did a superhero comedy and it tanked," only to have the script for Kick-Ass come along a few months later and step into that gap.
Is it possible that a Superhero genre isn't large or diverse enough to contain that many stories, though? No. We have 80 years of superhero comics that refute that pretty definitively. Like anything, the quality of the storytelling will usually win out, especially as the market becomes more mature. I do not believe it can become saturated in any real sense, but expectations have to be adjusted. Not every movie with a cape or a costume will make $100 million. Chronicle didn't cost much, didn't have a huge marketing push, but it gave audiences a new twist and did well, despite not coming from a pre-existing property. With successes like that, and with the emergence of independent filmmakers stepping into the waters with films like the little-seen Super, I expect Hollywood will begin experimenting a little more, inasmuch as it ever really allows experimentation.
Why this surge in superhero popularity? After all, we've had superheroes in comic books since the 1930s, and superheroes like Flash Gordon in films since about the same time, but they never enjoyed the same broad-based appeal that they're seeing now. Imagine walking into Bob Evans' office at Paramount in 1972 and pitching The Avengers why don't you? I'll argue that this new swell in popularity is because the Superhero story, much more than the Western, has become the quintessential American story for today's audience. This is the genre -- for all of its fantasy -- that speaks most directly to our lives today.
![]() |
"They're going to make him some shawarma he can't refuse." |
Superheroes tend to have a couple of things in common: they exist in a primarily urban landscape, and they believe in magic. Just like their audiences. As a culture, we are far more likely to believe in magic today than in hard work, and not without reason. Sut Jhally, one of the foremost media scholars in the U.S., really doesn't like advertising. In Advertising and the End of the World he argues persuasively that the entire consumerist model is based on a belief in the magically transformative abilities of products. Listen up, guys, drinking poor, mass-produced beer will make beautiful women attracted to you. Buying this or that article of clothing or car will make your sad, dull life exciting and fresh! This bottle of household cleaner will unleash a muscular bald man who will scrub your floors! You get it, you've seen TV.
But reality has begun to approximate this magical aspect of our daily narrative. Peter Parker, Steve Rogers, Harry Potter, Carrie Underwood, Jennifer Hudson, Snooki, and all of the Kardashians share one thing in common: they were unknown, regular people who had something inside of them just waiting to be discovered and exploited on a larger stage. They were destined for greatness. We watch reality TV and Superhero Movies wishing that someone would see past our own humble situations, recognize our latent talent or nobility, and lift us out of our everyday lives. I mean, tell me that there's no magic in a world where a woman can make a sex tape with a mediocre rapper and then become so much more famous than that rapper that the entire rest of her family becomes famous. Tell me that's not magic.
![]() |
This one. This one is like, the most famous one ever. |
Oh, right. Superheroes.
There is probably a much better, longer, and more fully researched and articulated version of this idea that I could've written if I'd had a bunch of time, but you do what you can.
Thursday, December 27, 2012
Microreview [film]: The Star Wars Holiday Special
![]() |
Animated Han Solo, making the intergalactic symbol for utter failure. |
The Star Wars Holiday Special. Perhaps you've heard of it.
Carrie Fisher plays it at parties when she wants people to leave.
George Lucas said that if he had the time and a hammer, he would track down and smash every single copy of it (and The Phantom Menace showed us all how low his standards are)
And it was named the worst two hours in the history of television.
I had heard the stories, sure. I had read about the coveted bootlegs out there for the intrepid to find and endure. But nothing could prepare me for how awful it really is, and how unimaginable the self-discipline to finish it would prove. But finish it I did, so I could bring you this microreview.
![]() |
Wookie Holiday Card |
The one - well, "redeeming" would be far too generous a word - mildly diverting feature of the Holiday Special is the introduction of Boba Fett, who makes his first appearance in the series by way of an animated segment that really isn't that bad compared to what's around it.
![]() |
Lumpy: Chewbacca's...boy?...girl? |
The Math
Objective Quality: 2/10
Bonuses: +1 for Boba Fett's introduction; +1 for the amazing vintage commercials in most of the bootlegged versions; +1 for its legendary cult status
Penalties: -1 for every musical interlude, including those by Diahann Carroll, Jefferson Starship, and Princess Leia; -1 for, as Wikipedia calls it, the "comedy" from Harvey Korman, and -1 for the 10-minute, non-subtitled introduction spoken entirely in Wookiee.
Leia singing. You can't tell from his expression, but 3PO is dying a little inside at this very moment. |
Thursday, December 20, 2012
2012 Nerd Gift Guide: Mike
A print from Nakatomi Inc.: For the pop culture nerd
The fine folks at Nakatomi Inc. have numerous, fantastic, and well priced pop culture prints. Tim Doyle me drinking the Nakatomi kool-aid as I am running out of room on my walls for his company's work. My house currently has about six or seven of their prints on the wall, ranging from Yo Gabba Gabba! to Arrested Development to Super Mario Brothers. Two of my favorite in-stock prints are featured below. For a direct link to the store click here.
Tauntaun Hobby Horse: For the nerd parent
One of the greatest things about being a nerd parent is socializing your offspring into the nerd community. Confession, my daughter is named Zelda and had a Harry Potter themed nursery. She is almost three and already went through a huge Captain America phase and her older brother Henry is a whiz at the new Mario brothers game for the Wii U. Sharing the nerdy love with your children is a tremendous thing and I can't think of a better product than the Tauntaun hobby horse. It is even on sale right now! Click here to get yours from Think Geek!
The fine folks at Nakatomi Inc. have numerous, fantastic, and well priced pop culture prints. Tim Doyle me drinking the Nakatomi kool-aid as I am running out of room on my walls for his company's work. My house currently has about six or seven of their prints on the wall, ranging from Yo Gabba Gabba! to Arrested Development to Super Mario Brothers. Two of my favorite in-stock prints are featured below. For a direct link to the store click here.
Tauntaun Hobby Horse: For the nerd parent
One of the greatest things about being a nerd parent is socializing your offspring into the nerd community. Confession, my daughter is named Zelda and had a Harry Potter themed nursery. She is almost three and already went through a huge Captain America phase and her older brother Henry is a whiz at the new Mario brothers game for the Wii U. Sharing the nerdy love with your children is a tremendous thing and I can't think of a better product than the Tauntaun hobby horse. It is even on sale right now! Click here to get yours from Think Geek!
Zombies!!!: For the zombie/Walking Dead Nerd:
You and your friends are stuck in a zombie infested town and you need to survive long enough to reach the helicopter on the heliport square once it is played. Each game will be different as you construct the town and place the zombies a little in each turn. Be prepared to roll the dice as if your life depended on it, secure varying bonus items to assist you, and be ready to stick it to your friends if they are looking like they might reach the helicopter before you (it can only seat one!). For a game that is simple yet complex at the same time, and loads of fun you can't go wrong. Twilight Creations Inc.
Labels:
Nakatomi,
Pop Culture,
Star Wars,
Tim Doyle,
zombies
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