#John A Martin & Associates

[justcommander]

I think everyone had already done this and I'm late but hey!

Animal version of Faith characters. I wanted to have some fun with this.

[rabbitcruiser]

The Staples Center opened on October 17, 1999.

[wutbju]

Rebecca Doris (Martin) St. John, age 68, passed peacefully through death into the presence of Jesus on April 25, 2023 surrounded by family at home after years of struggle with a heart condition.   Becky was born in Bridgton, ME in September of 1954 during Hurricane Carol to Paul F. & Barbara L. (Rollins) Martin and grew up in Bridgton & Harrison, ME. Becky graduated from Oxford Hills High School in 1972 & attended Bob Jones University. In 1974, she married Dale C. St. John. They were married for 48 years & were the proud parents of 5 children & were blessed to have 9 grandchildren & 3 great grandsons..

Becky’s life was profoundly shaped by her decision as a high school student to become a follower of Jesus. Over the subsequent decades, she was an active member in a number of churches including Bridgton Alliance Church, Lisbon Falls Baptist Church, & BeFree Community Church. Her legacy of faith, in her family & beyond, is far reaching.

Jo March in Little Women said “I could have been a great many things”. Becky WAS a great many things. She was an amazing wife & mother. She was Mrs St. John while working as a teacher at Lisbon Falls Christian Academy. She was Mama St. John while working as a chef at Frontier Camp in Lovell, ME & Camp Brookwoods in Alton, NH. She was Miss Becky while working as an Administrative Assistant at Alton Dance Academy in Alton, NH. Of all the names she was known by, one of her favorites was “Ghee”, the name coined by her grandchildren.

Becky was a lover of people & spent time with them sharing & listening. She could captivate anyone with her stories & made people feel welcome & at home in her presence. Becky was also a gifted writer, & enjoyed writing books for her grandchildren.

Becky is predeceased by her parents & sister, Teresa Beane. Becky is survived by her husband, Dale St. John of Rochester, NH; her brother, Greg Martin & wife, Maria of Mountain House CA; her children, Jill St. John & partner, Rosa Workman of Orlando FL, Scott St. John & partner, Becky Bradeen of Harrison ME, Heather MacDonald & husband, Kevin of Simpsonville SC, Wendy Huggard & husband, Samuel of Rochester NH, & Amy St. John of Dover NH; her grandchildren, Alexandra & husband, Jordan, Gabrielle, Harrison, Meredith, Brandon, Bailey, Nadia, Isabelle, & Seth; & her great grandsons, Ezra, Mason, & Ryker.

A service will be held at 10:00am on Saturday, May 6th at BeFree Church in Dover NH. For parking information & directions, visit https://befree.church/dover-worship.

[petermorwood]

In light of all the renewed interest about Martin Scorsese’s long-overlooked “Goncharov” (1973), has anyone noticed the element which repeats in his later and much better known film “Taxi Driver” (1976)?

It’s The Gun As Protagonist Accessory.

In “Goncharov” it’s right there on the poster, held by Robert de Niro: that’s a Thompson M1921 with 50-round drum magazine, the classic gangster gun, the Chicago Typewriter, the gun that made the Twenties roar.

This weapon has appeared in many gangster movies, most famously in the original “Scarface” (1932) where Tony Camonte (Paul Muni), encounters one for the first time when it’s used in a murder attempt against him and all but falls in love with the thing.

“When this gives orders, people listen!”

In “Taxi Driver” it’s an enormous revolver, a Smith & Wesson M29 similar to the one carried by Dirty Harry, though here made even more imposing with an 8” barrel (Harry’s was only 6”).  Scorsese is making a visual comment about the way his anti-hero Travis Bickle (Robert de Niro again) compensates for perceived inadequacy.

I’m not making any observations about trigger discipline. Really. No. I’m not.

Anyway, if Bickle could be associated with the clock motif in “Goncharov” the clock in question would be a cuckoo, so playing around indoors with this hand-cannon is no more than might be expected.

“You talkin’ to me...?”

There’s even a piece on the soundtrack, accompanying the gun’s introduction, entitled “The .44 Magnum Is A Monster.” (YouTube link.)

Having said that, it’s worth noting that in the final confrontation – when Bickle proves himself a more than adequate hero by rescuing underage Iris (Jodie Foster) from her life of sex slavery – the huge revolver plays a less significant role than expected from the way it’s been set up. Bickle defeats his opponents with much smaller handguns and even cold steel in the form of a boot knife.

This hero has overcome his monster in more ways than one.  

The Thompson plays a much more prominent role in “Scarface” than in “Goncharov”. Rather than a villain’s perverse secondary love interest, there it’s built up as a necessary adjunct of brutal power, which then fades into the background of relationships presented (this was released in 1973 after all) as improper if not actually warped.

“Ice-Pick Joe” Morelli’s (John Cazales) preference for a penetrating weapon rather than a gun (also favoured by real-life mobster Abe “Kid Twist” Reles)...

... is a pointer (sorry) at aspects of his character which couldn’t yet be stated clearly on-screen. What remains obvious through Scorsese’s direction and the excellent performances of his actors is that human failings are more destructive than any mere weapon.

It’s a masterful inversion of Chekov’s Gun, the premise where “a gun shown hung on the wall (for which read “any plot element given extra emphasis”) must be fired (used) before the performance ends”.

I haven’t been able to find actual screenshots from the film so these are representative images, but I hope they’ll show how, by utilising "Goncharov”’s recurrent clock motif to segue from Ambrosini (Al Pacino) winding one of his cherished antique timepieces...

... to Lo Straniero (de Niro) winding the clockwork drive of his Thompson gun’s drum magazine (incidentally an action seldom seen in films)...

...Scorsese manipulates his audience into believing that the film will culminate in a classic head-to-head gunfight.

That’s how Brian de Palma, a much less subtle director, ends his 1983 “Scarface” remake, with Tony Montana (Al Pacino) inviting his enemies to “Say hello to my little friend!”, the grenade-launcher attached to his automatic rifle.

Though “Goncharov” does feature some firearms action (it’s a gangster film after all), Scorsese leaves most its guns on the wall as a distraction until his audience realises, as the movie’s climax approaches, that destructive violence can take place as quietly and irreversibly as the passage of time marked out by a ticking clock in a darkened room.

[corvidaebreak]

🔵🔴🟣

“We encourage those harmless insects which prey on harmful kinds.”.

“Whether certain insects are considered helpful to people or otherwise, depends on us as much as it does on insects … some insects are parasitic on other animals, and some carry diseases.”

Zim, Herbert S., et al. Insects: A Guide to Familiar American Insects. St. Martin’s, 1987.

I got that book at my library book sale. I usually like to do collages and mixed media pieces but couldn’t bring myself to actually cut up the book. So I just took pictures and pasted them in, which actually looks kind of cool (to me) because I was able to like.. adjust the colors and use layer styles and all that.

Anyways, John is a cicada because of the rebirth theme in going back to the Martin house after his first failure. Trauma changes you in a way that makes you feel like a new (not necessarily better) person.

Gary is a sphinx moth. A kind of sphinx moth, the Death’s head Hawk Moth, usually represents death. Moths also represent an ending of times. Gary’s goal is to summon the antichrist, but he ultimately fails and gets dragged back to hell himself, both represent an end of sorts.

Lastly, Amy is a carrion beetle because of the associations with death and corpses. However, beetles also symbolize being persistent in troubling times, referencing her “you’ve been so brave,” to John.

I just like symbols and bugs ty for reading this ❤️.

[hesalleyes]

If you're a bit confused about Rusty Quill or what's been happening, hopefully this will be a handy guide.

Hello everyone, especially all newbies to the Rusty Quill family! I thought I'd talk a little bit about the company. There's a lot of information out there, some of which may be contradictory or difficult to find, and so I compiled it into what I think is a decent timeline. I've also included some of my thoughts on what Rusty Quill has been through, and where it's going.

(check the end for associated footnotes!)

A Brief And Mostly Objective Timeline For Rusty Quill Ltd.

Alexander J. Newall wanted to start a company for creatives. His father (presumably) laid down the starting capital and Rusty Quill was founded 29th June 2015. Alex owned 99% of the company, John Newall, 1%. (1)

Alex reached out to a bunch of his improv friends and asked if they would participate in an actual-play podcast. Alex hadn't seen a fully produced actual-play with sound effects and background music and he wanted to fill that niche in the market. James Ross, Bryn Monroe, and Lydia Nicholas all agreed. Tim Meredith was otherwise engaged, but said his brother Ben would be up for it. Rusty Quill Gaming (RQG) was born and started airing episodes in June 2015.

Meanwhile, besides running, editing, producing, directing, and mastering RQG, Alex also worked nights at an extremely boring data entry job James Ross set up for him. James also helped Jonny Sims get that same job (2). At the time, Jonny was playing gigs with his band The Mechanisms, but his passion was for writing. The Mechanisms were a folk band that reimagined classic stories/myths to music with hefty narrative pieces, which has obvious applicability to a podcast company. Because of this fortuitousness, sometime in 2013-14, Alex and Jonny met and found that they were both highly creative people who desperately wanted out of this job. Jonny invited Alex to a Mechanisms show at the Edinburgh Fringe.

Alex loved The Mechs show. He was convinced he must work with Jonny on something. Jonny had a few ideas and pitched what would become The Magnus Archives, though it was first more of a Twilight Zone anthology, which is why the "narrator" had Jonny's name. Alex wanted to add more of a narrative framework and they shaped it together, all five seasons, so that it was cohesive the whole way through. Some things did, organically, pop up later. For instance, Martin started mainly as a foil to Jon, and only became the love interest after a bit of writing.

Around 2018, Patreon funding eventually allowed RQ to build a studio in Rusty Towers that enabled them to record their high-quality audio (3). Before that, they were - at various times - recording in a ‘yurt’ made of blankets and duvets for most of season one (usually at James Ross’ house or Martyn’s hallway, since Alex was - at that point - intermittently homeless due to asbestos problems).(4)

In 2016, RQ set up the Rusty Quill Forums, an official RQ fan-space where fans could interact with each other and RQ members. (5) This early arena for interaction would precipitate the more immediate (and much larger) Discord, Rusty Quill Official. Anil Godigamuwe, Community Manager, was the main force behind running and moderating the forums.

2016 was also the year that Mike Lebeau decided to gather a few people to play games and raise money for charity in what would become the predecessor to Rusty Quill Giving and Gaming. This event involved only Mike, Bryn, Ben, Anil, and Martyn Pratt (Chief Technology Officer). It only lasted twelve hours and they raised £700. (6)

Late 2017, Rusty Quill, in association with Historic Royal Palaces, released Outliers, a historical fiction podcast. Probably the least known of RQ’s podcasts, but very good and well-done. (Yes, this is a plug for Outliers. Go listen! It's great!)

In 2018, the Rusty Quill Official Discord server (RQO) went live and most of the fans from the forums moved there. (7)

February 15, 2019, Stellar Firma, the improv comedy sci-fi show starring Tim and Ben Meredith, began airing.

Mike wanted to explore more of the video side of creating. On January 25, 2020, RQ Streams launched, and soon there was a decent amount of content generated on RQ’s Twitch channel. Video content would gain traction in the form of New Player Challenge (NPC). Many RQ members would stream, including Anil, Autumn, several editors, and Helen Gould (member of Rusty Quill Gaming and later promoted to Head of Inclusion). The streams would get big enough that RQ would eventually hire a few mods specifically for the streams (30). RQ Streams wasn't fiscally sound as a primary source of income, but streaming helped encourage community engagement.

In February 2020, Alex gave an interview to Haggis and Dragons at PodUK. The host asked why, despite their success, Rusty Quill hadn't been present at many events such as PodUK before. Alex responded that the company was dedicated to making sure they took care of their people first, but now that all the finicky backend admin stuff was finished, they could do fun things like conventions. (8)

A month later, COVID-19 shut down the world.

At this point, TMA had been running for four years, and - while relatively successful and critically admired- was still a smallish podcast, especially when measured against engagement levels of other fiction podcasts at the time. Whether COVID, the whim of Tumblr, or a spark that refused dim, the fuse on TMA had been lit. It would jump sharply with the season four finale in Halloween 2019, but when season five premiered on April 2, 2020, TMA was at its second highest peak in popularity , its highest only a month away. It would maintain a high level of engagement until the series finale in March 2021. (9) Whatever the reason, TMA had exploded, and no one could've predicted it.

In July 2020, Hannah Brankin, Chief Operations Officer and spouse of Alex Newall, became a director in the Rusty Quill company. (10)

In August 2020, Autumn Jarvis (longtime fan of RQ) with a history of convention organization came on as Community Assistant. (11) This role promoted her to Head Moderator of the Discord (RQO), coordinating communication between the Discord mods and RQ admin. RQ hired her to help Anil, as at this point, RQO had nearly 8000 members.

The official Rusty Quill Discord server (RQO) went from a reasonable 1000 participants to nearly 14,000 before its shutdown in September 2021. In August 2020 (a few days after Autumn took over), a group raided RQO, proclaiming issues of racism, ableism, and other accusations directed at Rusty Quill, but also at the volunteer mods. It was the only major attack, but from time to time small incursions would occur thereafter. RQO’s many mods (at least 11, at one point) were unpaid. Whether or not that was a good business decision is debatable, but mods were responsible for monitoring content that was Patreon-exclusive, so one might think a Patreon subscription should’ve been included.

April 2, 2021, Patreon-exclusive Inexplicables began airing. The show was initially met with a lot of positive feedback and excitement. The RQO channels were full of theorizing and chat, which Alex could be seen reading. While Inexplicables seemed ripe for a sequel, there have been no indications of future content.

In May of 2021, Rusty Quill launched the Rusty Quill Network. Many felt the network wasn’t explained sufficiently, but subsequent clarification from Autumn verified that RQ was not doing any of the following for the new shows that would be included under the network’s umbrella: producing, funding, editing, or creating. Apparently, the RQN was designed to act as a distribution and collective bargaining service. Unfortunately, this aspect was never made explicit to the fans by official RQ channels.

In September of 2021, Autumn was terminated. While Autumn has stated the reason she was terminated, it was on a private server and because RQ has made no official statement regarding the termination, I won’t share that information. RQ did ask if she would like to appeal the decision, but Autumn declined. Later, the mods organized a walkout in protest and quit. Only the mod known as Crunchy remained, and was the last one to close out the server. Later, he would admit that the mods actively decided not to include him in this decision. (12) While there were RQ Streams mods, they, unfortunately, didn’t have as much power as the Discord mods and were unable to assist much (30). RQ released a statement on September 15, 2021 regarding the closing of the Discord and the mod walk-out, and RQO has been dark ever since. (13)

RQ Streams, it’s worth mentioning at this point, had some mods specifically for streams, but also relied on the Discord mods to moderate the chat during streams (30). Ultimately, when the mods walked out, RQ Streams was also forced to stop.

Since the mod walkout, any events run and sponsored by RQ have been modded by volunteers, and usually small enough that it hasn’t become an issue (RQGG21 being modded by some Discord mods, with other Gather events modded mostly by RQ employees) (30).

April 26, 2022, Chapter and Multiverse, the analogous successor to Rusty Quill Gaming run by Maddy Searle, the former lead editor of Stellar Firma, began airing. It would conclude its first season in August. While RQ has indicated that C&M will continue, it has been postponed until 2023. However, Maddy Searle posted a tweet (since deleted) indicating she is no longer employed at Rusty Quill. After claims that Maddy was reprimanded and forced to take down the tweet, RQ would later clarify that they have a 48 hour confidentiality policy regarding things like that, and that's why they requested the removal of the tweet for that time. Maddy hasn't reposted the tweet, or commented publicly on her reasons for doing so. 

On June 10, 2022, Mike announced he was leaving Rusty Quill. (14) Although others had also streamed on RQ’s Twitch in the past, he was the primary force driving its relevance and the channel has remained  mostly unused since the aforementioned Discord mod walkout, most likely citing lack of moderation as a main concern.

August 2, 2022, the original RQ production Trice Forgotten premiered. Trice Forgotten continues to update.

As per the September 21, 2022 Patreon email, Cry Havoc! and Neon Inkwell, the other RQ original productions, have been postponed to 2023. (29)

With their three original podcasts completed and many future projects postponed, Rusty Quill had reached a quiescent stage. Patreon emails were sparse and while RQ maintained a loyal base, activity around the company had slowed.

Then -

October 10th, 2022 a string of strange letters appeared in a Patreon email. (15) Fandom quickly deduced that it wasn't a mistake, but rather a cipher. A Discord server dedicated to cracking the code sprang up almost immediately and fandom deciphered the cryptic letters in a few hours. This began a mini-ARG leading to the announcement of a Magnus Archives "side-quel": The Magnus Protocol. On a subsequent livestream, Alex confirmed the sequel and announced that the project would be fully funded by a Kickstarter. No money would be taken from Patreon, current or proposed shows, income generated through ads, agreements, merch, RQN residuals, etc. (16)

The Magnus Protocol Kickstarter launched November 22. It was fully funded in less than one minute, and as-of publishing this post is currently at £ 624,268, 4162% of their original goal. Release for the project is expected in October 2023 and is said to follow two British civil servants, Alice and Sam, as they deal with the legacy of the burned-down Magnus Institute of Manchester. Curious, as the Magnus Institute from the original series was very much based in London. (17)

On December 12, 2022, Newt Schottelkotte - marketing director for the Fable and Folly podcast network - released an opinion article on Medium detailing several allegations against Rusty Quill. (18) Schottelkotte submitted the article to several publications that declined to publish it. They decided to self-publish on Medium, which allows for independent publication. In good faith, I won’t presume this was a targeted attack by another network, but rather the opinion of a contingent of industry professionals who tried to represent those allegedly wronged by Rusty Quill as a production company (perhaps taking advantage of the timing of the new Kickstarter to gain traction for their post - but that one can only leave to speculation). The testimonies were anonymous.

December 13, 2022, after a resulting influx of polarizing social media posts, RQ released an official response to the Medium article, refuting most points raised. (19)

Now, before I get into less fact-based territory, and knowing RQ intends to announce a more recent Operations Update in the new year, I feel it's relevant going forward to mention that for all the talk surrounding both sides of the story, the composition of Rusty Quill is not as large as some might think, considering the assumptions of some of the claims.  In 2021 the company conducted a voluntary internal census on company makeup and satisfaction. (20) At the time they had 28 employees. 23 responded, and here are a few interesting tidbits they had to say:

91% identify as Neurodivergent

30% identify as non-cisgender; 48% identify as female, 26% as male, and 26% as not exclusively one of those categories

30% are people of color

30% identify as bisexual, 9% pansexual, & 9% queer. 26% identify as heterosexual. These numbers may or may not include the 17% who identify as asexual.

This census doesn’t include individual contractors (which comprises most of their editors and voice actors). In the census, RQ recognized their huge deficit in hiring people of color. RQ maintains a flat pay structure across all departments (including leadership), which - thanks to Patreon funding - stands above the London cost of living rate. (21)

The Less Than Objective Part

Rusty Quill is a small company. The average number of employees for 2022 was 21. (22) This number doesn't reflect possible layoffs/terminations since then. Most of its voice actors and editors are contracted. This is intended partially to allow flexibility on both RQ and the contractors’ part as well as enable RQ to diversify their talent without the contractual obligation of employment (the UK doesn’t recognize ‘at-will’ employment; termination must be for a cause). Meaning that even if the company finds itself in the position of having to terminate employees, it maintains the possibility of working with those same people as contractors to help out RQ financially, but also to allow those employees to find more stable or long term jobs in the interim.

However, holding onto only an essential team of staff (as you find in any small company, but especially in an industry without historical regulation - often relying on a presumed integrity of nebulous industry standards, as opposed to codified protections) employees are often forced to wear many hats. Most often voluntarily, but often to their detriment. This manifested in such things as Autumn transcribing Stellar Firma, without any transcription experience, or the continual mishap of Alex or Hannah responding to delicate situations with off-the-cuff inexpertise (generally sweet and earnest, but not as diplomatic or clear as needed - something that larger companies potentially avoid with dedicated teams regarding media training), but is perhaps most apparent in the early stages of RQG and TMA where Alex, in addition to being a primary player/voice actor, did the majority of the editing and mastering until Lowri Ann Davies joined halfway through RQG. Based exclusively on the runtimes of RQG episodes/specials (not including how long it actually took to edit down recorded footage to what we hear), Alex edited a total of 217 hours of RQG, over 9 whole days, or nearly 83% of the content. (23) Early specials, behind the scenes specials, and Q&As often contain jokes about Alex needing to sleep. This sort of work-life balance should not be necessary for success, but many creatives know that it’s the unfortunate reality for many startups without the resources of a major media network backing them. 

And, as evidenced here, despite its exposure and popularity Rusty Quill’s resources were limited from the start. Alex and Hannah, as directors and main shareholders in the company, are solely responsible for the company’s fiscal viability. As such, I think this has led to some decisions where one or both of them have taken over projects or refused to delegate when it would have better served that project or even themselves. But there’s also something to be said for a duty of care, and the difficulty of giving that up. 

In such an environment, it’s not surprising that a large part of smaller podcasting companies’ revenue is generated through fan-funding. The grassroots organization of a devoted fanbase can help grow a company without access to other funds or a robust marketing budget. Steady patreon subscriptions can make up for periods of instability in advertising returns, but issues begin to arise when companies encounter something like RQ did: an explosion in popularity that lacked sustainability, and the contingencies and strategies to deal with that. However, it’s a double-edged sword. The importance of Patreon and fan goodwill can help create the mentality that RQ owes the fans something. Nothing in Patreon's TOS requires artists to offer rewards; the idea behind Patreon - at least to me - is that in exchange of supporting someone making art you enjoy, you occasionally get glimpses into the creative process behind that art. This idea has evolved over the years, but I think Patreon has become, to some people, more transactional: I pay you five dollars, you give me one piece of art. This more give-take mentality can lead to feelings of ownership; fans pay for RQ to exist, therefore they should have a say in how RQ conducts its business. Whether RQ views it that way or not.

RQ has begun to diversify their income, however, with the creation of the RQN, where they get fees from providing marketing and distribution services for other podcasts. Although RQ has experienced a drop in Patrons, it has returned to subscription levels similar to those before the meteoric rise of TMA and is hopefully navigating towards finding a balance between delivering what fans want without enabling an unhealthy relationship of catering to what’s profitable instead of what they want and are excited about making. (24)

Fandom and The Illusion of Closeness

There’s no denying that many creatives have an intimate relationship with their audience, especially smaller and/or newer ventures. RQ had, for a long time, quite a close relationship with its fans. It’s still visible in the old forums, where Alex, Mike, and Anil could be seen posting with regularity. There are many images from past RQGGs (even up to RQGG19) where RQ staff and fans casually mingled. 

However, there is an issue with something like Discord where the immediacy of contact creates the illusion of intimacy. The ability to ping a creator facilitates the idea that the creator is therefore available and willing to be pinged. It’s not so much an issue when there are 1000 people on a server with only a hundred or so active, and only a fraction of them irregularly contacting creatives. When that number goes up, even proportionally, it results in a huge uptick in forced contact. It’s been theorized that both Jonny Sims and Ben Meredith stepped back from the Discord server because of crossed boundaries. Another staff member had a fan harass them to the point of needing to block said fan and the fan was eventually banned from RQO by the mods. 

On the other hand, Community Manager Anil continued to always be available and Alex & Hannah would occasionally hop on and respond when they were active. This apparent ease of access can trick people into believing that they are close to the creators, and the illusion of this perceived relationship can be problematic for both parties.

In these circumstances it’s natural for creators to develop a persona to protect themselves. There’s nothing wrong with this and it is, in fact, a healthy and smart thing to do; the person fans interact with is not, exactly, who that person is. Not to say they’re fake or lying, but that creators deserve a degree of privacy that comes from concealing certain things about themselves that fans aren’t - and shouldn’t be - privy to. Fans’ insistence on access to creators and their secrets can be extremely difficult and exhausting, especially for creators who don’t have a publicity or security team. For instance, Jonny was forced to reveal his past with drug abuse when people incessantly questioned and berated him about his portrayal of drug abuse in "Strung Out," a season five episode of TMA (notably also when the fandom had exploded beyond the comfortable community of its earlier seasons). Fan entitlement to knowledge about creators and access to them can be particularly egregious in this sort of setting where the creators are trying to maintain the intimate community they used to enjoy, one that (at least in the initial stages) they relied on financially, while dealing with a huge influx of new fans. Even Critical Role, arguably the largest podcast in the actual-play genre, has suffered from a similar issue, though the actors in CR have much more experience than RQ.

Rusty Quill is a business and their dealings are of proprietary interest. Like any other entertainment company, they produce a product for consumption but the way they run internally isn’t something consumers are (or should be) privy to - barring gross mistreatment  which, despite claims, hasn’t been proven. When Autumn was terminated, RQ didn’t release an official statement on what led to the termination. While many fans wanted to know, RQ has no obligation to reveal internal processes like hiring/firing, especially if details of such could affect an employee’s future employment. Identifying particular employees as responsible for certain policies or potentially upsetting updates could open that employee to threats or harassment (which RQ experienced before).

The Disproportionate Critique of Small Creators

It would be ridiculous to assert that Rusty Quill has never made a mistake - sometimes repeatedly - or a misstep. They’ve issued an apology multiple times for the lack of sensitivity in their content or a miscommunication on their end. Miscommunication was, in fact, a key factor in why the Discord mods left. RQ tried to preemptively combat these issues by hiring Helen Gould as a sensitivity director to ensure their content had been looked over for things that could be harmful. Given their company makeup and the composition of their talent - both writing and on-air - RQ has tried to diversify itself so that their content doesn’t come solely from the perspective of cishet white male. Stellar Firma would be the only show to suffer from this, however, it’s worth mentioning that on the production side Maddy Searle and Katie Seaton seem to have been brought on intentionally to avoid, or at least ameliorate this issue.

There is a pervasive issue with fandom as a whole to apply a more rigorous rubric against smaller and/or indie companies producing entertainment because they’re accessible. It’s easy to see why this phenomenon exists; when a person sees that they can speak to a creator directly, that the creator might respond specifically to those critiques. It can feel as if the consumer has more power in the relationship. Complaining about Disney cutting out a lesbian kiss in Star Wars, for example, will never reach Bob Iger, but if you want to talk to James D’Amato about a choice he made in the most recent Skyjacks episodes, he’s almost certainly going to respond. By feeling more intimately connected to creators, fans can feel empowered to be more aggressive in their criticisms.

A sustainable medium must exist between the two extremes of critique. A small indie company like Rusty Quill cannot be above criticism because of its size or its intention to do better - at some point, it must actually be doing better (which, I believe, it has and is consistently endeavoring to). Conversely, it can’t be upheld to a stricter standard than a larger company purely because its creators are accessible and will directly encounter the critique aimed at them. Rusty Quill has expanded their base of collaborators - which includes having an open pitch form to allow anyone to submit ideas - and made headway on wider and more accurate representation in their shows. There are certainly other shows and companies tackling and portraying difficult issues and diversity with a better outcome than Rusty Quill. That doesn't detract from the efforts RQ is making and shouldn't invite a disproportionate level of critique.

So What Now?

While it is fair to offer critique aimed at Rusty Quill and what it does, I think the benefits of this coming from a large audience diminish due to a few factors: quantity with no control for quality, purity culture, and entitlement. These things could comprise a much much longer essay, but I’ll be brief.

One of the huge benefits RQ got out of early Patreon release on the Discord was a limited quantity of feedback. Alex would show up to ask about the sound quality: if anything seemed off or if we had comments or noticed something. Anil would collect extra content warnings if needed, and some titles even changed when fans pointed out redundancies. Both Alex and (to a much stronger degree) Helen interacted with patrons about Inexplicables, including thoughts and theories. At one point, RQ created a gaming system called Ensemble and elicited feedback from people, encouraging them to play. These comments and critique are very helpful for RQ because of their pointedness. Contrast this to the response to the s5 TMA episode “Strung Out" - or the controversy surrounding a later episode’s perceived insensitivity to current events, necessitating a warning and apology before the usual opening theme (a perception generated before the public launch of the episode, stoked by assumptions and Twitter discourse).

Fandom as a whole has veered bizarrely into an obsession with purity - if something isn’t perfect, then it shouldn’t exist. RQ will not and cannot get everything right. It’s not a format made for easy editing and revision after the fact. It can be lauded for its achievements and persuaded to do better in a way that isn’t overly aggressive or hyperbolic. People tend to forgive mistakes if they like something and focus on them if they don’t, but it’s better to avoid assigning a moral value to something like representation - the effort and commitment is important. (For clarity - I believe it is moral and ethical to do everything you can to achieve accurate and diverse representation. The morality I reference here is more in regards to labeling something, irredeemably, as bad just because it doesn’t live up to your expectations). 

Not to be repetitive, but fans in smaller fandoms often feel a sense of entitlement because of their ease of access to creators. If Alex is right there talking about the Trice Forgotten schedule, why shouldn’t he answer a prod about the continuation of Chapter & Multiverse??? The answer is that he’s updating you on Trice - not Chapter. Fans are not, and shouldn’t be, part of the internal machinations of a company, however close they feel, and why certain things happen or when isn’t always going to be obvious. RQ has varying degrees of success when it comes to updating their fans about timelines or happenings in the company, and while there is definitely room for improvement, overall, it shouldn’t be a requirement or expectation. That is to say - the relentless inundation of tangential comments or questions offers no benefit and can impose an increasing feeling of frustration: for the company, for the fan asking, and for the fans witnessing. Not even mentioning the personel issue. RQ has shown a willingness to acknowledge, apologize, and modify their content when there are complaints made against it. Because RQ has acted this way, it might invite the idea that they should have the same transparency and openness to comment about the way their business runs; of which they have no obligation to do so, and in many instances, definitely should not.

For instance, several people may have been let go from Rusty Quill recently, probably because of financial issues due to the downturn in the UK economy (see RQ’s statement for more specific reasoning). Although it is tempting to be angry or upset about it, businesses make decisions involving structure and the reorganization of employees in their company all the time. For a variety of reasons. Lay-offs or terminations may be needed in order to keep a company afloat. Often these legal reasons and internal processes cannot be disclosed, and barring that the individuals involved may not have consented to their information becoming public - despite audiences wanting to see corporate due diligence. The point is that while it might be comforting to know why things happened, ultimately it isn’t reasonable to expect a company to share those details or any others that have to do with its internal running or function.

Moving Forward

Rusty Quill is in a precarious position. The unexpected juggernaut of The Magnus Archives turned them from a small, emergent company to a well-known name in the podcast community. They were unprepared for it, very few people could be, and nearly three years later they’re still struggling to find a sustainable balance. RQ has had to adjust to the influx of fans, fan opinions, money, and the resulting issues of accountability. And now that TMA is over, they’ve had some time to try to adjust to not having that same monetary inflow. Whatever outward critique can be placed on them for how they’ve handled the transition, the formation of Rusty Quill Network seems to have leveled out their income in a way that will enable them to stay solvent, even if it means occasionally stopping to restructure and reorient. There is no provable model for success.

While some detractors may claim that the Magnus sequel Kickstarter is a huge windfall, it isn't necessarily so. Money made from a Kickstarter must go toward what is promised - hence the use of clearly stated stretch goals. It is against Kickstarter policy to give funds to charity, so the KS money will be used solely for projects relating to TMP. That money is spent and should be treated as thus and not a surge of new money into RQ’s coffers. It’s not a bail out. (25)

RQ has a brand that people trust and they should lean into that reputation, heavily promoting their new shows and focusing on getting those running. RQN seems instrumental in keeping the company afloat and therefore it’s understandable that so much time is spent introducing and promoting the shows taken under that umbrella (that’s part of the incentivizing service they offer RQN shows anyway), But RQ cannot expect the ad revenue from their new shows like they did with TMA and have to adjust accordingly. I hope RQ recognizes that they’re still mostly a small indie company with a surprise hit and allow themselves the restrictions - and responsibilities - of that.

As for fans, I think RQ should capitalize on the good favor they have and reengage the fandom in an appropriate manner. Livestreams are wonderful, but should automatically have slowmode to at least 30 seconds on any stream, 60 on a huge one (like the KS promotion livestream). It not only allows the on-air talent to catch some messages, but it allows the mods to filter easier. How they reestablish a team of mods is theirs to outline, but with better communication and potential benefits (i.e. a patreon subscription) it’s likely folks would be willing. 

Secondly, I believe RQ should reinstate the forums. The benefit to something more static like forums (or reddit threads or whatever is similar) is the ease of moderation and the forced expansion of time. Without the instant chat function of Discord, it isn’t as overwhelming to participate in forums or threads. These should be official RQ forums and moderated (which won’t be as difficult as a Discord). As mentioned, compensation is a tricky subject because when you start paying ‘volunteers’ they can claim employment and it opens up RQ to a whole swath of responsibilities. A “Mod Team” shirt or pin, a patreon subscription, maybe some mod-creator meetups could be provided for services rendered.

RQ could possibly look into reopening the Discord, perhaps limiting it to patrons. While that would make it more manageable, it potentially leads to issues involving classism or elitism. It could also exacerbate the earlier issue of fan entitlement. If RQ decides to reopen the Discord, they should do so with a lot of consideration.

I'm a huge fan of Rusty Quill. There are plenty of times I’ve been frustrated or disappointed with them, but at its heart, it tries to accomplish what I think to be a noble and admirable goal. Rusty Quill seeks to create good art with an emphasis on highlighting diverse voices that might not otherwise get a chance to perform. And, from what I’ve seen despite some ups and downs, tries to do their best to create sustainable income for those they bring along as collaborators. The love the team has for storycrafting is obvious and that - along with their community - is where they should focus.

EDIT:

I started this post about three weeks ago, so the Medium article was a big surprise. I won’t dissect the article because that’s not my goal, but I do have a few thoughts.

So, let's address the article on Medium.

Here is the article so you can read it for yourself. https://medium.com/@newtschott/whos-afraid-of-alex-j-newall-ae3a67f3a5e1

Here is Rusty Quill's response: https://rustyquill.com/2022/12/13/public-response-to-an-opinion-piece/

This tumblr post speaks about an inaccurate quote that the article mentions, and I think is relevant: https://www.tumblr.com/dadhuddle/703488191401984000/journalistic-integrity-re-newt-schottelkottes-rq?source=share.

Here is a link to a tumblr post from Harlan Guthrie, creator of the Malevolent podcast, which is part of the RQN. I felt it important to get a point of view of someone involved in the network. https://www.tumblr.com/malevolentcast/703493906802868224/you-probably-already-know-about-this-but-an?source=share

The issues the article raises are very important. If these allegations are true, they need to be addressed. Newt being the marketing director of a rival podcast company and failing to disclose this for several hours casts the entire article in doubt because the conflict of interest is something ethical journalists would've avoided. (26) Newt also favorably compared RQ's practices to Fable and Folly. (27) Newt and the other two editors of the piece also provided their contact information to provide help with "research, job searches, and more" to former/current employees of RQ. (28) Neither of these things are inherently wrong, but Newt's connection to F&F casts them in a different light. This could possibly be construed as encouragement for current RQ employees or network shows to leave RQ for F&F. It's unfortunate, because this conversation needed to happen, especially if the purported issues are factual. Now there is a haze over the veracity of this article because of this lack of disclosure and the conflicts of interest from the author.

There has been some talk stating that podcast networks are not rivals. They can be friendly, they can share actors, they can share spaces. They almost certainly don't share profits. Every show added to a network brings in income for that network. If one of these networks dissolves, then the shows under its umbrella can move to one of the other networks, raising its profits. It's difficult to deny that one podcast network would benefit from the dissolution of another. I would identify that as rivals, even if they're friendly.

I don't believe that Fable and Folly had anything to do with this article. I don't even think Newt intended for them to be involved at all or for people to make that connection. It's the appearance of bias that muddies the waters. Most journalistic codes of ethics tell journalists to avoid conflicts of interest, real or perceived. If it seems a journalist has a stake in the outcome of a story, it compromises the neutrality and the authenticity of the piece.

And unfortunately, despite Newt's claims of a background in journalism (unverifiable at the time of posting this blog outside of editorial publications), the necessary practices to lend credence towards these allegations weren't followed.

This post represents my own opinions, based in my involvement in the community. I've tried to provide sources whenever I could, though much of it was lost when the RQ Discord shut down, or mired in the sheer breadth of content. If there's a blatant untruth, please let me know with supporting evidence so I can correct it.

Footnotes:

1. Establishment of the company and ownership as per the foundation documents.

2. Alex & Jonny working the same job James Ross gave them (160 Q&A)

3. Patreon funding builds new studio via Studio tour video: (the video is patron-only, so here is a screencap of Alex stating that Patreon funded the studio)

4. Alex was homeless for a while, retrospective 189.5 (amongst others)

5. Rusty Quill Forums https://rustyquill.proboards.com/board/1/general-board

6. RQ Forums post celebrating the first RQGG

7. Rusty Quill Official Discord goes live, via RQ Forums.

8. Haggis and Dragons interview https://www.youtube.com/watch?v=HkYsA50Ts9M&list=FLaf41raWk5sb2VhQcEcPpsg&index=27

(Alex talking about the company stepping back from the public 12:30)

9. Popularity of the term “the magnus archives” from Google Analytics

10. Hannah becomes director, via RQ filing documentation

11. Autumn becomes Community Assistant, via Patreon email

12. Rusty Quill’s official statement about mods walkout.

Announcement - plain text 15-09-21.pdf

13. Crunchy's tweet

14. Mike LeBeau leaves RQ, via his twitter

15. The first Magnus sequel ARG prompt, via Patreon email

16. Oct 24 Pre-Kickstarter Announcement Livestream https://www.youtube.com/watch?v=bLOj5JKq-QU&t

17. The Magnus Protocol Kickstarter launch livestream https://www.youtube.com/watch?v=-Xk1hgVY2cc&t

18 Newt Schottelkotte's Medium piece: https://medium.com/@newtschott/whos-afraid-of-alex-j-newall-ae3a67f3a5e1

19 Rusty Quill's response to the Schottelkotte piece: https://rustyquill.com/2022/12/13/public-response-to-an-opinion-piece/

20. Rusty Quill internal census

21 The end of the RQ census summary:

22. Average number of employees at RQ in 2022, via RQ filing documentation

23. RQG editing stats, courtesy of the LOLOMG: A performance review by Oscar Wilde team (the team theorizes that Alex was still mastering during that early gap, but forgot to credit himself) [additional note: LOLOMG was a fan project to celebrate the end of Rusty Quill Gaming] note added 10am - incorrectly attributed, my deepest apologies to Straw and their team

24. Patreon retention stats, via Graphetron

25. Kickstarter use policy

26 The lack of disclosure on the initial posting of the Schottelkotte article.

27 Comparison of Fable and Folly's practices to Rusty Quill's.

28 Contact information for the writer and two editors given to current and ex Rusty Quill employees and network shows.

29 Patreon announcement of Cry Havoc! and Neon Inkwell postponement (I knew I had this lying around somewhere!)

30 Some additional information from Crunchy (thanks Crunchy!). sorry for the awful paint edit job (added 16/12/22 7pm)

[liadanars]

Here’s an odd post but I am a language student and Irish so here’s what I’d name ER characters with respect to the game’s Celtic inspiration in world & design. (With my notes and rambling.)

"Margit" - "Cairbre" (Chariot Rider - Irish)

> Not for the meaning, but this was an incredibly common name in medieval Ireland. Given Morgott's incredible skill in coming up with an alias (Morgott/Margit??,) I thought it would be appropriate for him to say the equivalent of "er... John."

Morgott - Aimhirghin (Born of Song - Irish)

Mohg - Ainbheartach (Roughly ‘Evil Deed’ - Irish)

> I wanted Morgott & Mohg's names to still be 'matching,' but to have opposite meanings. Aimhirghin, in the more literal sense, translates to 'wonderous birth,' whereas Ainbheartach is more along the lines of "ill-doer" in a literal translation, although it doesn't exactly pan out to English.

Malenia - Lasairíonait (Pure flame - Irish)

Miquella - Laoidheach (Poetic - Irish)

> Giving Miquella a Christian name of Spanish origin reads so badly to me (I don't really care for scrutinizing if it's feminine or masculine.) I also do NOT believe in naming all of them with the initials of George R. R. Martin. Malenia's name is slightly ironic given her affliction / rot.

Godwyn - Heulyn (Ray of Sun - Welsh)

Godrick - Sulwyn (Fair-Sun - Welsh)

Godfrey - Sulemyr (Sun-King - Welsh)

> I really sincerely hated God/frey/wyn/rick. I understand that it's a 'tradition' of the Golden Lineage, but I think it would've been more appropriate to instead have the prefix 'Sul' passed down (Sun) especially given the conflict between the Golden Order and the Carians who are heavily associated with the moon.

Rykard - Cno (Devourer - Welsh)

Radhan - Cynfarch (Chief, ‘Horse’ - Welsh)

Ranni - Rhiannon (Great Queen - Welsh)

Rennala - Gwlithen (Dewdrop - Welsh)

> The name Rhiannon is derived from a goddess / figure in Welsh mythology who is associated with the moon, and was known in Welsh folklore for being enticing yet unreachable, which could be associated with Ranni's Age of Stars ending (where she leaves the world without gods for 1000 years.) Rykard's is very on-the-nose, as is Radahn's.

Radagon - Ruaidhrí (Red-haired king - Irish)

Marika - Gwawrwen (Radiant Day - Welsh)

>These are VERY self-explanatory, but I had also considered the name Tuathlaith, or "the people's ruler" for Marika.

[jstor]

"Tuskegee University Archives recently released new recordings from the Tuskegee Civic Association records that feature prominent leaders of the Civil Rights Movement. These speeches address the Tuskegee community by civil rights leaders like John Lewis and Coretta Scott King, fill in historical gaps to illuminate the relationships between leaders and their constituents."

The Chapel Collection audio recordings–yes, audio is now on JSTOR!–are freely available for listening. Hear the recordings on JSTOR or learn more about the collection from JSTOR Daily.

Image credit: Tuskegee University Archives. Martin Luther King, Jr. and Coretta Scott King. March 25, 1965.

[shizucheese]

Hey guys! It me, "The Magnus Institute is a part of not just the Eye but the Web" girl, here with some thoughts and a new theory for the consideration of the Red String Comity. Come step into a curated (for your safety and sanity) corner of my mind as I walk you through my thought process: First, some further evidence that the Web was tied to the Magnus Institute in TMA all along: in MAG193, it's mentioned that Elias doesn't remember ever sending his CV to the Magnus Institute. Web. In Mag056, when Martin confesses he lied on his CV, he mentions that "for some reason" his lie about parapsychology got him an interview with Elias. Now, I always assumed that this was because Elias/ Jonah knew his secret and the Eye likes secrets, but like...How did Martin know to apply there in the first place? Why was that the only place where he got an interview?

Now I'd like to bring your attention to the below sticker. I have this same sticker on my laptop because as someone on the Ace spectrum John and Martin's relationship is everything to me. For anyone who needs a refresher, the quote is something John says to Martin in S5. Obviously the teacup represents Martin. But let's talk about that thing coming out of the teacup, hm? The thing that's supposed to represent John? I've always tried to rationalize it as "lol it's just some kind if Eye creature, that's not a spider..." but guys....that's totally a spider, right?

Now here's why this is so huge: this isn't fanart someone turned into a sticker. This is a sticker from Rusty Quill's very own RedBubble shop.

It's official merch. Official merch "designed and sold by RustyQuill" represents John as a spider creature covered in eyes.

They've been telling us this the entire time guys! Now, I need to give @amanda-519 credit for setting my mind down this next path. These are the tags they used when they reblogged my previous post on this topic:

Now, this got me thinking about all of the Avatars we met in TMA and like....

We know from Mag 102 that the Corruption can manifest as unhealthy relationships, which I would argue would include infatuation and obsession.

And like....was Jude's infatuation with Agnes really all that different? It's what drew her into The Desolation in the first place, so could we not argue that she was a mix of the Desolation and the Corruption? (Like....the destructiveness of infatuation? Corruption leading to Desolation?) And like I've always assumed the reason why Oliver became an Avatar of the End is because of his association with Graham and what happened to him resulting in Oliver being touched by The End, but like...does that actually make sense? They were already broken up and he had 0 involvement with Graham being taken by the Not Them. But like Graham's circumstances are also kinda weblike, no? The Web includes the fear of being forced to do something against one's own will, and Graham went through some pretty extreme measures to try and escape his powers. And then his efforts to escape ultimately lead to the events that turned him into a full fledged Avatar. Was Graham also a part of the web? Or were the circumstances of him becoming an Avatar of the End basically the result of him being the Web's victim?

And the whole concept of the Unknowing is pretty weird, huh? Like...I can't be the only one that looks at what happens to people who get trapped in the Unknowing and thinks that it feels awfully "Spiral-like" right? (or, for that matter, that The Desolation has some elements of the Stranger to it).

John Amherst was an Avatar of The Corruption, but unlike Jane, whose main interest seemed to be spreading and expanding the Flesh Hive, Amherst's form of Corruption seemed awfully End-flavored. When we first meet him in TMA, it's at a Nursing home where his spread of infection results in the death of all of the residents. In Mag68, Tale of a Field Hospital, the accounts about Amherst are all about him dying and then showing up again; in the second story, the people who end up in the bed Amherst is supposed to be in keep dying; the statement giver who gave the book to the Institute dies a few days later after, having cut himself on the pages of the book. The illness he spreads in the town where he ultimately dies kills the victims horrifically. The bug he is most affiliated with are flies, which are known to flock to dead bodies and are therefore associated with death. Okay now after all of that word vomit, here's the epiphany that I had and the actual point of this post:

For some reason my mind kept straying back to Jude and her infatuation with Agnes and how that might have made her part of the Corruption, and the different ways the Corruption might have been involved in other ways, and then I remembered that theory going around that in TMP the Fears are becoming Obsessions. This theory never sat well with me because in TMA, all of the Avatars were obsessed with something. Most of them were obsessed with their Entity and bringing it into the world. Jude, as previously mentioned, was obsessed with Agnes. Simon was obsessed with the sky. Mike was obsessed with freeing himself of the Spiral manifestation that'd been tormenting him since childhood. Oliver was obsessed with running away from his powers and John was obsessed with finding out what the fuck was going on. There were also plenty of non-avatar characters that were obsessed; The guy in Mag90: Body Builder was obsessed with his body and making it look how he wanted to. The guy from Mag102 Nesting Instinct and his petite scarabée. I could go on.

And then it clicked: Obsession is a form of Corruption. We know that the Corruption can manifest as unhealthy love and companionship. But what is "unhealthy love" if not a form of obsession? Obsession sinks its teeth into you and takes over your life and can lead you to your own destruction. In other words, its corrupts you. Which is exactly what happens in pretty much all of the statements we've gotten so far in TMP. The Corruption is up to something. Idk what or why, but I think that in the same way the Web's influence was all over TMA if you know to look for it, the Corruption is all over TMP. Is it just a season 1 thing? Is it going to be the Big Player in the whole series? Are the Avatars (?) we've encountered so far--Ink5oul, The Merchant, Movie Theater Man-- part of the Corruption as well as the more obvious Entities they serve-- The Flesh, The End/ The Slaughter, The Eye--or are they only servants of those respective Entities and the Corruption is swooping in later and poisoning things?

[avatar-of-adhd]

These aren't organized or entirely coherent, but here are my thoughts on the statement itself for TMAGP 18.

Initially, I was getting Web and Spiral vibes, but as it went on, it was definitely more Lonely. I do wonder if including a very brief reference to spiders in an otherwise unrelated statement was an attempt to steer listeners away from focusing on the surface-level imagery of the fears instead of what they actually represent. (Alternatively... the Web is pretty subtle, and the house reminded me of Hilltop, so... so... foreshadowing?)

I do think it's interesting exactly HOW Lonely-coded (and particularly Martin-coded) this statement was. We have... direct references to being alone, the presence of fog, poetry that the speaker related to strongly but that was ridiculed by others, required literature for class that showed up in the physical place associated with the Lonely (the Wuthering Heights cover for Martin and the "I Wandered Lonely as a Cloud" daffodils for Violet Parker), and potentially a weird relationship with the speaker's mother. I know I just said that maybe they want us to not look at surface-level connections, but... whatever.

Also, specifically that it's a house. I mean, I get that empty houses are just a staple of horror and VERY good at making people feel lonely, but... I guess the setting and style of the statement overall really remind me of Martin in the Lonely/the Lonely's domain.

LIKE... specifically, "With my mother’s help I had built the house anew! Not on Church Street, but inside me." Martin could say that. Martin could 100% have said that. I may be misremembering 170 (or the other Lonely!Martin Talking To Himself one), but I had the impression that the house he was in looked like his mother's house.

"Where no-one would find me or ever think to look." Do we think the specific reference to looking is relevant? This is also reminding me of how John couldn't see Martin in the Lonely.

The element of amnesia is also very MAG 170.

"Someone has brought me here. But who? Some figure, reaching, asking questions in an alley? It doesn’t matter. They’re not here now. No-one’s here now. No-one ever will be. [...] [I k]eep screaming, hoping someone might hear me through all that cloying fog. But no-one is coming to help me." MAG 170??? John??? I don't even know how to explain it, it just reminds me so much of Martin forgetting about John just a bit and not being sure if he was coming back for him or not...

"Because I broke my promise. I went in the house on Church Street, and I’m still here." Hear me out... Hear me out. Do you remember how in MAG 191, Martin promised that he wouldn't doom the world to save John? You know how John wanted to stay in the panopticon in order to keep the fears from moving on to other worlds?

Also! The end of the statement... "I wander, lonely." I am looking at the transcript of MAG 170, and you know how many times Martin said "wander" or "wandering"? 5. That's kind of a lot. In my opinion. ALSO. From MAG 170: "I – found someone else, wandering around. They were all – thin and grey. Faded. Like they’d been here for ages. I think they’d been – crying, but it’s so hard to tell through the fog." Thin? Grey? Like... Violet Parker?

I don't know, man!!! I just feel like this episode is insanely Martin-coded, and not necessarily just because of the Lonely. I feel like Violet could be some alternate universe Martin. How? I don't know. Maybe it wasn't Violet talking about their own death, but Martin's ghost or something? If they were trapped in the Lonely for a long time in the TMA universe, maybe some remnant of Martin got stuck in them via the Lonely???

[beardedmrbean]

The Biden administration is removing William Penn from Philadelphia.

New plans by the National Park Service to renovate Old City’s Welcome Park include removing the centerpiece statue of William Penn permanently and redesigning the park to highlight Native American history — a move that has angered Pennsylvania’s Republican leadership.

The plan is a major shift, considering that the park was built on the site of Penn’s home, the Slate Roof House, and is named for the ship, Welcome, that transported him from England. Penn actually landed first in 1682 near the intersection of the Delaware River and Chester Creek in Chester.

Welcome Park is part of Independence National Historical Park and was completed in 1982 on designs by Venturi, Scott Brown and Associates to commemorate the 300th anniversary of Penn’s arrival.

The wide-open park across from the former site of City Tavern aims to tell the story of Penn’s vision for the city. Although a lesser-known area of Independence Park, it provides visitors with an overview of the city layout and history of Penn’s landing. The Penn statue includes a farewell ode to Philadelphia, imparting “what love, what care, what service, what travail have there been to bring thee forth.”

Now, the National Park Service wants to rehabilitate the park in time for the 250th birthday celebration of America in 2026. The park on Second Street between Chestnut and Walnut Streets has fallen into disrepair with rows of broken granite floor.

Representatives for the National Park Service could not be reached for comment Monday. They are seeking public comment on the proposal, according to their website.

Plans announced Friday call for “an expanded interpretation of the Native American history of Philadelphia” in consultation with Indigenous nations of the Haudenosaunee, Delaware Nation, Delaware Tribe of Indians, Shawnee Tribe, and the Eastern Shawnee Tribe of Oklahoma.

Designs would keep some parts of the current park, including the original Philadelphia street grid, but the “Penn statue and Slate Roof House model will be removed and not reinstalled,” according to the plans.

Republican outcry

“The decision by President Biden and his administration to try and cancel William Penn out of whole cloth is another sad example of the left in this country scraping the bottom of the barrel of woke-ism to advance an extreme ideology and a nonsensical view of history,” Pennsylvania House Republican Leader Bryan Cutler (R., Lancaster) said in a statement.

Cutler said the treaty signed by Penn with Native Americans was historical and with “mutual respect shown between Penn and Native tribes.”

“This issue is also deeply personal to me,” Cutler said. “The first Cutlers came to Pennsylvania in 1685 on the ship Rebekah, not long after Penn’s arrival in 1682. They came to Pennsylvania because they were Quakers who shared Penn’s view of religious tolerance and peace.”

Cutler said removing the statue creates an “absurd and revisionist view of our state’s history.” He said he plans to introduce a resolution honoring William Penn and “encouraging” the National Park Service to halt the plan.

Pennsylvania State Sen. Scott Martin (R., Berks) and chair of the Senate Appropriations Committee, on social media called the plan “absolutely disgraceful.”

Native Americans

Welcome Park, though not necessarily the statue of Penn, has also been the site of some resentment among Native Americans. The plot had been given to the Haudenosaunee (Six Nations from the Iroquois Confederacy) in January 1755 by John Penn, William Penn’s grandson. In the 1700s, Native American groups often visited Philadelphia for diplomatic and trade meetings. They sometimes numbered in the hundreds and visited so frequently that John Penn asked the Provincial Council of Philadelphia to consider setting aside a piece of land for these gatherings. The delegations often refused to negotiate treaties until they could stand on their own ground and build a council fire.

A 2020 Inquirer article chronicled a trip by six women from the Iroquois Confederacy in upstate New York to reconnect with the patch of tribal land on the site of Welcome Park.

“I anticipated a park in a natural pristine state. Like any other park, it would have trees, grass, water,” said Louise McDonald (Native name Wa’kerakátste), a Mohawk Bear Clan Mother from Akwesasne, N.Y. “I was frozen for a minute because I felt it had been choked and that it wasn’t a true representation of the original intentions of the space. It just seemed to be purposely buried with a cover-up narrative. There certainly seems to be a feeling of erasure intended to remove any spirit that would imply that we were once there.”

Penn in Philly

William Penn’s likenesses will still remain in Philly. The statue of Penn atop City Hall is a landmark, visible from many parts of the city.

And there is another Penn statue at Penn Treaty Park off North Delaware Avenue at the corner of East Columbia Avenue and Beach Street. Legend says Penn and a local Lenape clan made a peace agreement under an elm tree. The original “treaty elm” has long been replaced, but the park contains an obelisk and plaque memorializing the agreement, as well as a statue of Penn.

The discussion of the Penn statue’s removal is not the first time in recent years that Philadelphia has seen a struggle over statues.

The statue of Frank L. Rizzo, the late mayor and police commissioner, was ordered removed from in front of the Municipal Services Building in 2020 by then-Mayor Jim Kenney amid sweeping protests after the murder of George Floyd. Also in recent years, people have petitioned to have the Christopher Columbus statue in Marconi Plaza removed, though it still remains. _______________________________________

Time to start finding problematic people the folks on the left like and tearing monuments to them down, maybe Fredrick Douglas was sexist, we already know MLK was a Zionist that should count against him for some people, know who else was a Zionist

Wonder where the "Ruth Sent Us" group is now.......

Maybe we find something bad Harriet Tubman did and start to disqualify her, she may have been mean to native Americans or something.

Given enough time they're going to find something wrong with everyone that has a statue eventually.

Start with every single statue and bust of karl marx

[rabbitcruiser]

The Staples Center opened on October 17, 1999.

[finalgirlsamwinchester]

Thoughts on a potential Sam & Benny relationship? Platonic or otherwise? 👀✨

Hi!!! thank you for asking this hehe. See Benny falls under the category of characters 'assigned' to Dean who personally, to me, also have a lot in common with Sam when you really look beneath the surface (Cas is another character who falls in this camp). And what he has in common with Sam is just. a lot more thematically meaningful to me lol. Also I'm sorry... this is gonna be mostly literary analysis because i'm a real freak who judges ship potential between characters according to ~themes~ 😔

Benny, like Sam, is a character who's born from liminality. He's forced to occupy that space by the nature of his existence, but just like with Sam, his ambiguities aren't allowed to remain within the narrative. I'm using liminal here as a catch-all to cover both the idea of ambiguous identity and ambiguous zones between bordered territories, regions that in essence don't 'belong' anywhere.

Both Benny and Sam are not-monsters. Sam is the human who's never quite human, Benny is the monster who's never quite a monster. It's interesting to me that on a narrative level, Benny has to be 'exorcised' from the story first before the show fully leans into the stable home territory of the Bunker. From that point in the story onwards, any ambiguities in Sam's identity get squashed too. He's forced to occupy a rigid, unquestioned sense of belonging now - to the hunter community and to his family. His monstrous associations are something purely referred to in the past tense (i'm not referring just to the demon blood arc here, but how his soulless and hallucifer arc frame him as something 'dangerous' to the narrative).

Benny's introduction alone renders him a liminal creature, he comes from Purgatory, an 'in-between' realm sandwiched between Earth and Hell, a place of perpetual fighting, journeying and movement. there is no real home to be found in Purgatory. There's no place for rest. And when we learn his backstory, we learn that he was a literal sailor, a monster pirate hunting on open waters. He is a displaced person without a nation, no stable 'home'. The ocean doubles as another form of Purgatory; a liminal space for travellers, where one is always journeying and vulnerable. In that sense, he's a metaphorical double for both Sam and Dean, stuck journeying forever in their car, moving from one liminal space to the next (for them, in the form of motel rooms. there's a great chapter in the book TV Goes To Hell: An Unofficial Roadmap of Supernatural on this).

On a surface level, Benny embodies the type of free, rugged masculinity Dean has always idolised and aspired towards. On one level, he fits neatly into the same category as Gordon, Ketch etc. under the category of guys who just hearken back to John. But the added dimension of him being a non-practising vampire is what ties him to Sam, and what makes him an engaging side character to me. (Like, the literal denying-themselves-of-blood of it all). Real belonging will always come at the cost of erasing some integral part of who they are, a part of them that marks them as non-human.

Benny's brief subplot also directly mirrors Sam's arc in early s8 - both of them try to settle down and try and place roots. For Benny, it's with a descendent in Louisiana (a migrant trying to reconnect with his roots? [sniper on the roof takes me ou-]). But for the both of them, Dean is the ghost of hunting who disrupts this false, temporary sense of settlement. For Sam, it's Dean's return from Purgatory that pulls him away from a 'false' peace. For Benny, it's his association with Dean that draws hunters upon him (through Dean comes Sam, then Martin). Hunting in Supernatural is the boundary enforcer, the border police, the violent vigilantism that draws strict lines in the sand between humanness and monstrosity - a functional metaphor also for the ways we define who gets to be considered a citizen vs. an illegal alien.

(Also all of this fits into a meta I'm currently trying to write where I'm parsing my own feelings on why Sam's isolation/ambiguity resonates so particularly with dilemmas around identity and isolation as an immigrant child of migrants, compared to a character like Dean. So a bookmark here for further meta on a deeper reading into migrant narratives present in Benny + Sam's arcs?)

tldr; imagine if there was a single person of colour in the Supernatural writer's room (lol) damn what could've been!

[ang3lik]

°˖✧˚ʚ 𝐞𝐭𝐡𝐚𝐧 𝐥𝐚𝐧𝐝𝐫𝐲 𝐩𝐥𝐚𝐲𝐥𝐢𝐬𝐭 ɞ˚✧˖°

i made this because i just want our boy to be interested in something that a lot of others can be interested in. btw, all these songs are from my own liked songs on spotify, i might make and actual playlist on there too.

artists/songs i would associate with ethan landry:

🔪 lana del rey 🔪 marilyn manson

amerie

🔪 i just died 🤭

eminem

🔪 love the way you lie

fleetwood mac

🔪 the chain

flyleaf

🔪 im so sick

justin timberlake

🔪 what goes around…

nessa barrett

🔪 la di die

nle choppa

🔪 slut me out

the neighbourhood

🔪 daddy issues

tory lanez

🔪 say it

xylø

🔪 afterlife

artists/songs i think ethan landry would listen to:

🔪 bruno mars 🔪 chase atlantic 🔪 chris brown 🔪 kendrick lamar 🔪 nelly 🔪 playboi carti 🔪 post malone 🔪 snoop dogg🔪 the weeknd 🔪 tyler, the creator 🔪 wham!/george michael

childish gambino

🔪 me and your mama

coolio

🔪 gangstas paradise

john murphy

🔪 leaving england

luniz

🔪 i got 5 on it

michael jackson

🔪 smooth criminal 🔪 blood on the dance floor

rich gang

🔪 tap out

bands/songs i think ethan landry would listen to:

deftones

joy division

nine inch nails

🔪 closer

slowdive

🔪 when the sun hits

the bad seeds

🔪 red right hand

the cardigans

🔪 step on me

the cranberries

🔪 zombie

the mamas & the papas

🔪 california dreamin’

artists/songs ethan landry has heard from friends that he likes and from who:

chad meeks-martin:

🔪 21 savage 🔪 50 cent 🔪 drake 🔪 kanye west 🔪 migos 🔪 tyga

roddy ricch

🔪 the box

too $hort

🔪 blow the whistle

tara carpenter:

sza

the neighbourhood watch

🔪 A A

mindy meeks-martin:

yeat

anika kayoko:

usher

frank ocean

🔪 novacane

[esinofsardis]

To any vampire-loving friends who are confused about the "de" and "du" in Louis and Lestat's names, a quick explanation:

These last names function like "Robin of Locksley" or "Lawrence of Arabia". Pre-dating modern last names, people were identified most often by their parentage ("Martin son of John" or "Samuel Davidson") or in the case of land-owning nobility, by their land.

(Like how in Downtown Abbey Robert Crawley is the Earl of Grantham and often addressed as "Lord Grantham" but never as "Lord Crawley". He is associated with the land he owns--Lord Grantham is probably a shortened version of "Lord of Grantham", or in French "Monsieur de Grantham".)

The important part here is that French didn't drop the "of" in these titles. And these titles either referred to a place or family line. Therefore:

Lestat de Lioncourt = Lestat of [the family] Lioncourt*

Louis de Pointe du Lac = Louis of Peak of the Lake ("peak of the lake" being the name of the estate)

*Lestat's family name might well come from their coat of arms--a lion on the coat of arms could have turned into Lioncourt

So why all this context? Well it's interesting but because it brings me to grammar:

"de" = of

"du" = of the (this is a contraction of "de le")

So both Lestat's and Louis' names are followed by "de" to indicate who/what they are associated with. Louis then has "du" between pointe and lac because "peak of lake" doesn't make sense grammatically.

These little two letter words are easy to confuse especially if you don't know why they're different. Hopefully this helps!

tl;dr it's "Louis de Pointe du Lac/Louis of Peak of the Lake" and "Lestat de Lioncourt/Lestat of Lioncourt"

Happy writing and shipping!!

[brokehorrorfan]

4K Ultra HD Review: Basket Case

Unlike most "prestigious" organizations dedicated to the arts (I'm looking at you, Academy of Motion Picture Arts and Sciences), the Museum of Modern Art doesn't ignore the existence of genre fare. Nevertheless, there's something surreal about seeing "This film is from the collections of The Museum of Modern Art" at the start of Basket Case, a sleazy exploitation picture shot on 16mm over the course of a year for under $35,000.

The 1982 film follows Duane Bradley (Kevin VanHentenryck), who carries around his formerly-conjoined twin brother, a deformed, fleshy menace named Belial, in a wicker basket. While Duane intends to get revenge on the medical professionals who performed their unwanted separation surgery, Belial indiscriminately kills anyone who opens the basket like a malevolent jack in the box.

It's clear from the start that some sort of creature is contained within the basket, but writer-director Frank Henenlotter (Frankenhooker, Brain Damage) smartly allows the tension to build before revealing Belial in all his glory at the end of the first act. There's no mistaking it for anything but inanimate rubber (save for a primitive stop-motion sequence), but its blood-curdling screams give it life. Special effects artists Kevin Haney and John Caglione Jr. both won Oscars for Best Makeup — for Driving Miss Daisy and Dick Tracy, respectively — less than a decade removed from Basket Case.

MoMA's 4K restoration of Basket Case's original 16mm AB negative reels arrives on 4K Ultra HD with Dolby Vision (HDR10 compatible) and original uncompressed PCM mono audio via Arrow Video. Importantly, the restoration presents the film in newfound clarity while preserving the '80s NYC grime inherent to the film. The limited edition set comes with reversible artwork, a double-sided fold-out poster, and a booklet with writing on the film by horror historian Michael Gingold and a Basket Case comic strip by Martin Trafford, all housed in a slipcase featuring artwork by Sara Deck.

While no new special features were produced for the 4K, the plethora of existing materials including cover every conceivable aspect of the film. Henenlotter and VanHentenryck's breathless commentary from Arrow's 2017 Blu-ray doubles as a low-budget film school, from reusing sets to dumpster diving for decor. An archival track from Something Weird's 2001 DVD with Henenlotter, producer Edgar Ievins, actress Beverly Bonner, and Basket Case 2 production assistant Scooter McRae repeats most of the insight, but it's fun to hear their rapport.

Interviews are ported over with VanHentenryck, who discusses his cerebral approach to playing the character; Bonner, who wrote and starred in a play examining where her character might be 30 years after Basket Case; Florence and Maryellen Schultz, Henenlotter's identical twin cousins who play nurses in the film and share his unique sense of humor; and legendary film critic and The Last Drive-In host Joe Bob Briggs, whose campaign to host the film's drive-in premiere saved it from being cut by its distributor.

A joke interview with Henenlotter features the filmmaker portrayed by Albert Cadabra, a sideshow performer who edited Henenlotter's Bad Biology, in the nude. The Latvian Connection explores four crucial members of the Basket Case team of Latvian descent: Ievins, associate producer/effects artist Ugis Nigals, casting director/actress Ilze Balodis, and Belial performer Kika Nigals. What’s in the Basket? is a 78-minute documentary produced by Severin Films in 2012 covering the Basket Case franchise with cast and crew.

Three short films are featured: Basket Case 3½, an 8-minute mockumentary from 2017 in which Henenlotter interviews "Duane Bradley" (VanHentenryck) about the events of Basket Case; Slash of the Knife, Henenlotter's 1976 short film that ultimately lead him to make Basket Case, with optional commentary by Henenlotter and playwright Mike Bencivenga and outtakes; and Belial’s Dream, a 2017 stop-motion animated short by Robert Morgan (who just made his feature debut with Stopmotion), accompanied by its own brief making-of featurette.

Other extras include: the MoMA's 2017 restoration premiere introduction and Q&A with Henenlotter, VanHentenryck, Bonner, the Schultz twins, and Ugis Nigals; The Frisson of Fission, a video essay by film historian Travis Crawford exploring the history of conjoined twins and "freaks" in cinema; a 2011 filming location tour with Henenlotter and rapper R.A. The Rugged Man (who co-wrote Bad Biology) explore the filming locations; outtakes; five image galleries (promotional stills, behind the scenes, ephemera, advertisements, home video releases); three trailers; a TV spot; and two radio spots.

Henenlotter didn't set out to make a cult film — in fact, he didn't think anyone would ever see his feature debut — but that's what he accomplished with Basket Case. Shot on location in New York City, the picture doubles as a time capsule of a seedy version of Times Square that no longer exists; one littered with drug dealers, sex workers, and porno theaters. While the sequels would lean more into the comedy, the original film balanced its camp with well-placed shocks.

Basket Case will be released on 4K Ultra HD on April 30 via Arrow Video.