You might think being a farmer is a pretty sweet gig. From a cubicle, things look pretty nice: you’re working outside, one with the land, a Wendall Berry poem come to life. But being a farmer is an insane profession; the job goes out of its way to make them as terrifying as possible for the weirdest of reasons. Like… Continue reading
It is important to have elders. One of mine is Ray Bradbury.
He was one of the best science fiction writers that ever lived. Countless short stories, television scripts, plays, and books flowed from his pen. He also had a love of life few had, or will ever, match.
This shines through in a book of his called Zen in the Art of Writing. It is the best book about writing anyone can read. Oftentimes such work can fall into dull introspection, cynicism, and tactics; Bradbury doesn’t waste his time with any of these things. He is unabashedly in love with writing and wants you to be too. Continue reading
Walden Two is a novel about an intentional society, or what we’d call a commune, based on scientific principles.
Its writer, B.F. Skinner, supposed that people could thrive while living communally. He wrote this book in an attempt to rewrite all our current social rules about work, love, and play.
I was at the dinner table last night discussing it with my folks and my fiancee. It was a good discussion.
What surprised me was that my folks knew about Walden Two. Though the book was written in the fifties, it really found its footing in the late sixties and early seventies, when they were growing up. There was a lot of talk about experimental ways of living during that time. People knew there was something wrong with society and sought new ways of living. They experimented. They asked the question “How is it that we should live?”
Something stuck in my craw during that conversation.
The room was regal for the Midwest.
There were plaques and awards on the walls, and shelves full of unread books. A typewriter sat on the desk, the newest, best, and lightest model, given to him by the local paper on the day of his mayoral victory. Tobacco smoke lingered, thanks to all the cigars stuffed into the ashtray. The moonlight was bled away by the incandescent bulbs that were installed only a few years ago, after the boys came back from France.
“It’s Roosevelt, I’m telling you.” The mayor took a long, nervous drink at the seat of his desk. “He gets elected, and he gives these fucking Communists ideas,” he said as he set the glass down. He poured himself another with the decanter on the desk. Sweat was pouring through his collar, which was loose. “Why can’t they just go to work like everybody else?”
The chief of police sat across from him, uncomfortable but buttoned up. His back was ramrod straight. “Mister mayor, it’s dynamite out there. You got to bring them both to the table.”
The mayor looked up at the ceiling, like he were trying to find God. “I told you, we don’t need anybody at any tables.” He stabbed his finger at the chief on the beat of his words. “Your boys need to disperse the crowd.”
The mayor glowered. “Mister Mayor will do fine.”
“Mister mayor, I told you before” said the chief as he swallowed. “We’re not strikebreakers.” Continue reading
Remember this picture?
This is a picture of the Cuyahoga River, in Cleveland that Time put out in 1969. Continue reading
Continued from Part II
Meta-narrative and the Individual
“You are the Hero of your own story.”
– Joseph Campbell
Thinking of ourselves as heroes is an intoxicating idea. What better way to imagine the arc of our lives than slaying dragons and the rescuing princesses? We imagine that we are lionized the way we lionize politicians, business leaders, artists. We value people that make their lives their own, that carve out their own destinies.
This is the idea that a person can, and should, be an individual, that they should forge their own path through the darkness of existence. The rights of the individual, and the liberty of the individual, should come before the needs of the state. It is the story of human dignity, in whatever form that might take.
We believe that a person should be able to chose the path for themselves. That we should be free to work, free to build lives, free to speak, and free to worship as we please. It is the cornerstone of our civic religion. It is a good and noble thing.
But there are problems with the way we venerate the individual. Continue reading
Chevy in the Hole was one of the largest auto production facilities in the world. At its peak, 8,000 people worked there, in eight different assembly and production plants in Flint, Michigan.
Possibly the greatest voice to come out of those plants was a guy named Ben Hamper, author of the book Rivethead: Tales from the Assembly Line. In it, he describes life as an assembly line worker during the dying days of the Flint plants.
The books characters had different ways of dealing with the life of a shoprat. All of them turned to alcohol in some way or another. One man in particular, one that Hamper was making a hero in his columns, was so drunk on the job that he shit his pants.
But Hamper had a different means of making the clock run a bit faster: he started to write. Working the rivet line, he would finish his work and have one or two minutes before the next car crawled down the line. In that pit of time, he started to scribble. And he got damn good at it, too.
Read any of his work, and you can plainly see this Rivethead guy is smart. He’s talented.
This begs the question: why did we have him working on an assembly line? You have a guy with that kind of intelligence, that kind of talent for writing, and the best thing we as a society can find for this guy to do is rivet rocker plates to cars? Continue reading
(Continued from Part III)
In Which a Librarian Tells Movie Executives How to do Their Jobs, Is Handsome
So this begs the question: why can’t they seem to pull off on the big screen what they did in cartoons? Why does it seem like their movies seem to get worse instead of better?
They have the people that can conceive, write, and execute awesome Batman, Superman, and Justice League stories. It’s clear they can build a universe. It’s clear they can make the weirdest, dumbest DC characters into awesome stories too (One of the best Justice League shows was one about Booster Gold. and I can bet all the money I make off this Traditionalistic that only a few of you know who that is.)
Well, the problem really comes into play when you look at how Warner Brothers understands how their movies succeed, because, after all, DC is owned wholly by Warner Brothers. If the execs believe something, it goes.
But I don’t blame them. Honest, I don’t.
Say you’re a studio executive at Warner. Think about the success over the past decade. You just made three Batman movies that were, by the account of the critics and fans, excellent movies. The Dark Knight even had people talking about comic book movies on the same level as classics. Even their newest Superman movies, Man of Steel and Superman Returns, did all right.
These movies, what they all had in common, was that they were a darker, grittier version of the superhero movies we know and love. They were ‘realistic.’ It’s only natural that, given that run of success, that making dark, gritty movies would be a sure-fire way to the next mega-hit at the box office. You keep the director of the Batman movies on as a producer. You give the director gig to Zack Snyder. You’re set.
After all, Disney is printing money with this crap.
The crazy thing about this is that the studio learned the wrong lesson, like they so often do. They think Superhero + Grit = Money (just like Deadpool is teaching people Superhero + R Rating = Money). Only catch is this grit works really, really well in a Batman stand-alone movie, because you basically make Batman an insanely rich film noir detective with colorful villains. Perfect.
It falls flat, really really flat, when you have a shared universe with Superman or any other heroes with superpowers (i.e. they turn into Scary Assholes).
Still they keep trying, because the cost of these movies. Because they cost so much, it’s only natural that studio executives want to maintain control over them and stick with what works. People give studios grief over this, but their paycheck, and the paychecks of thousands of people, depend on these movies being huge successes. They can’t be flippant about it.
The Timmverse, by contrast, didn’t need the kind of oversight the films do because they don’t need to make billions of dollars to be worth it. Thus, people were able to experiment, people who knew and cared about the characters. And they were able to do that over decades, starting with Batman, going into Superman, then into Justice League in a natural progression.
By the time these guys got to a Justice League series, they had been working with these characters for almost a decade. They were able to explore all sorts of cool stories, I suspect, because they didn’t have this monumental pressure. They were able to develop as a team.
Warner is not going to give up DC, like a recent Cracked article thinks they can. And their execs are not going away. The best thing they can do is to focus on making cheap comic book movies. This will allow teams to focus on stories, and giving creative teams time to actually understand and believe in the characters.
If they’re cheaper, you wouldn’t need every one to be a billion-dollar success. Then you could build the combined cinematic universe while giving the people working on these stories time to grow up within that universe, just like Bruce Timm and Paul Dini did. When those smash hits come, that’s the team you want to helm a Justice League movie. Think of it as letting writers and directors work through the minors before they graduate into the big leagues.
Deadpool is a perfect example of what most studios that make superhero movies can’t do. It was a movie made on the cheap, at 58 million. It grossed 782 million worldwide because it was an interesting, new sort of superhero movie, not that it spent a ton of money. It’s not enough that we get to see Batman and Superman, or really any guy in tights. You have to give us something new, something interesting, something we can sink our teeth into.
This, actually, could give them a one-up over Marvel, because if they were to do this, they would be able to give their movies unique voices. As much fun as the Marvel Cinematic Universe is, the movies all look and feel the same (which is why I’m so excited to see Doctor Strange this November; it really does look like something new).
Warner could go way, way beyond that, making all sorts of movies with all sorts of different tones and styles, while still adding to a larger narrative. But you need to allow your talent to develop.
With the DC Animated Universe, they did that. They gave these iconic characters to an awesome team, and gave them years to work through new and exciting stories.
There’s no reason, even with all the stuff they have going now, that Warner couldn’t do this again.
If anything, just don’t let Zack Snyder near anything, ever again.
He’s directing Justice League?
Well, at least we have Ben Affleck.
Because Conclusions Why Not?
You look at our favorite movies, the reason that they’re great isn’t because of how they look. It isn’t because of the proverbial, and actual, punching. It’s because we connected with the people in these stories. We understood them, rooted for them, wanted to see them succeed against great odds. It was true for normal people and the ones that can leap tall buildings in a single bound (or kick through a brick wall with a magic knee braces.)
Hell, I hope I’m wrong. Maybe they will pull off a Justice League movie. But they won’t until they focus, not on the punching or the grit or the washed out colors, but the characters. That’s what makes a story.
That is the hardest way to make a movie. But when you get down to it, it’s the only way that works.
* There’s going to be a lot of hyperbole in this series. Mike always warns me against hyperbole, but we’re Kenny Loggins’ing this shit.
** Not actually pizza.
(First in a series…)
Batman v. Superman was a hell of a movie.
Not the best way to start a Traditionalistic, but hey, I haven’t had one in awhile.
Usually, these things are about really big stuff. This is going to be about something small. This, I swear, is going to be about how DC will never be able to pull off the Justice League movie.
They won’t, because they’ve already done it.
Back in the day, in the early 90’s, Warner had just come off the success of two awesome Batman movies, specifically Batman and Batman Returns. Compared to the earlier televised adaption with everybody’s favorite silly Batman, Adam West, these were darker, more serious takes on the character. So when Warner decided to created an animated series with Batman, they took this tack.
I don’t think anyone could’ve possibly guessed what they were doing while they were working on this show. It remains, along with the animated movie in the universe, the best representation of Batman put to film.*
They were able to take so many risks, and the payoff was huge. In one episode, Batman saving three police officers is told from three different perspectives. Ra’s al Ghul was a recurring character, getting Batman into Indiana Jones-type pulp adventures. Mr. Freeze was even cool!
And that wasn’t a pun! Amazing!
Batman: The Animated Series blossomed into a really incredible animated Superman. Both were then combined into the Superman/Batman Adventures, which then flowed into a run of Justice League, then into Justice League Unlimited, which told tales about the wider universe of heroes.
This is what’s known as the Timmverse, the animated DC universe helmed by Bruce Timm and a stable of awesome writers. The were animating and writing for over a decade, and created awesome representations of the whole Justice League on TV.
This begs the question: why was the first ‘episode’ of the movie universe, Batman v. Superman: Dawn of Justice, such a terrible mess? After all, they already did it.
For this, you really need to go back to the history of the series.
Mark Hamill was cast as the Joker way back in the salad days of 1992. He was the character through the entire run of the series. In a more recent interview, he said, quote:
“I had never seen anything like this, not just in children’s television — in any television.”
On the Batman: Animated Series commentary tracks, you get the idea that people really didn’t know what they were making when they were doing this series.
They were able to make such an awesome series because, on a high level, they understood what makes Batman tick.
When you consider Batman, he’s many things. He’s a boy avenging the death of his parents. He’s a costumed crime fighter. He’s Bruce Wayne, a secret identity. But he’s also a detective. There’s a reason that Batman’s first comic book was called ‘Detective Comics.’ There’s also a reason Batman’s a popular character. Detective stories, consistently, are some of the most popular literature.
Batman does this as a character constantly in the comics. Some of the greatest Batman stories ‘The Long Halloween,’ ‘Hush,’ etc. are straight-up detective stories.
In movies, Batman is almost never a real detective; that is to say, a problem of detection is not the central point of the plot. In the cartoon, Batman is consistently the detective; even when Superman plays Batman in ‘Superman/Batman: World’s Finest’ (seriously, go watch it, it’s awesome) Superman has to sneak around and play the detective, just like Batman would.
That’s why the best superhero movie, in my mind, is a movie you probably never heard of: Batman: Mask of the Phantasm. In my mind, it’s the only Batman movie that pulls off the Batman-as-Detective thing really well.
The story focuses on The Phantasm, a hooded figure going around Gotham killing criminals. Everyone thinks it’s Batman, and he goes on the run from the police. Framing this is Batman’s origin story, where he falls in love and starts to doubt his mission as the Caped Crusader.
On top of that, Mark Hamill’s Joker is incredible. He’s neither a total psychotic murderer, like in Dark Knight, or a silly Silver Age version. They tried, as Timm put it to strike “a good line between the clown and the killer,” and it works really well. There’s even some moments of levity where the two Jokers mix, like this:
At the end of the clip, it looks like Joker’s going to snap. He goes “DON’T TOUCH ME!” like he’s really angry, and then immediately flips and goes “I don’t know where you’ve been!” It’s funny, but in such a way that we’re off balance. We don’t know which Joker is the real one. We don’t know what to expect.
Further, everybody talks about Joker as Batman’s foil, and here it’s done in an awesome way: both the Joker and Batman are trying to solve the same mystery of who the Phantasm is, each in their own, uh, way. (You’ll have to watch to find out how the Joker goes about it.)
All these moments and plot points from a very deep understanding of the characters, characters they had been working with for years.
They took this knowledge to the next phase of the universe, one of the most iconic characters in American history…
(Continued in Part II)
In 2007, McKinsey and Company started a research series called ‘Women Matter,’ in which they set out to understand the role that women play in the workplace and in the corporate world.
The first study conducted for it was called Gender Diversity, a Corporate Performance Driver. What they found was that companies with three or more women in senior management functions score higher on every criteria they were using to measure performance. Now, this was a survey they had conducted on a management level, but even when they studied the financials of these companies, the gender-diverse companies outperformed the competitors. This isn’t isolated to corporate boards either; even hedge funds that are run by women outperform those run by men. Continue reading