#Rob Kleiner

[useless-mike]

Mindless Self Indulgence - Bitches

Opening for Korn in 1999

[gordon-freeman-phd]

If I may make a request... Gordon getting a big hug? 🥺 The man needs one...

you may ALWAYS make requests

this is a comicfication of a visual outline of a scene i have in a planned fic from over a year ago so the og is under the cut for ref lol

[decks-writing-blog]

Taming Houndeyes

Summary: Kleiner shows Eli and Alyx his tamed houndeye puppies.

[A/N] We were robbed of houndeye guard dogs so I wrote this. Also, big missed opportunity on how little Elisaac content there is with all the family fluff opportunities it brings with since Kleiner's her stepdad. Also, also, referring to Kleiner as Isaac, because that's most likely how he thinks of himself, felt weird. I'm sure I'll eventually get used to it though since if I want more content for this ship I have to do it myself so I will probably do more.

~

Having never owned a dog before Isaac couldn’t know for sure but if he had to make an educated hypothesis, he’d say training a houndeye was more difficult than even the most stubborn of dogs. It was certainly more difficult than taming Lamarr had been. Not impossible though, no matter what Barney said or how many times Eli said the same but in gentler words. Or how many times either them suggested he spend his time doing something important to help their budding resistance efforts. How Isaac had ended up becoming an important part of the team guiding those efforts, he still wasn’t sure, but he was helping.

Proper dogs were in rare supply these days. Not that houndeyes were particularly more plentiful but they were less conspicuous. Unsaddled by the precedent of humans using them as guard dogs, no one who didn’t know would easily suspect they were filling such a roll. … Mostly though Isaac just couldn’t bear to let the learning opportunities provided by having a small pack of houndeyes at his disposal go once he’d already acquired them. He was a scientist first and foremost after all. So he kept trying.

His efforts finally started to bear fruit once he successfully got a pair of them to mate. Turns out, like their Earthly namesakes, houndeyes gave birth to a live young and produced milk for them. Once weaned, getting them away from the pack for training was difficult but Isaac had long since discovered how to protect himself from the houndeyes’ shock waves and what foods could be used to distract them for a time. Once he had them alone, training still wasn’t easy but he did make good progress until finally…

“Eli,” he says as he burst into the room they’d decided would act as Eli’s lab and office. It still wasn’t much yet and they didn’t dare put too much into it until they were sure this place would be safe enough to allow them to stay for a while – unlike their last attempt at maintaining a safe base – and it was small but it was good enough for now.

Inside, Eli sat at his desk. Alyx sat in the other chair across from him. Between them were a strewn out mechanical parts that they both looked up from to turn towards Isaac instead. Considering how she’d responded to the robot Eli had finished building for her last year, that she’d affectionately named Dog, Alyx would likely enjoy this news too. And so before either of them could ask…

“Come with me. I have something to show you two.”

Alyx immediately hopped off her chair and rushed over to look up at him, excitement twinkling in her eyes. “What is it?” How much she took after Eli was endlessly heartening. How could humanity possibly be as doomed as it at times seemed when there were still young people like her so eager to learn everything there was to learn?

“Yes, Izzy, what is it?” Eli said as he stood much more slowly.

“Follow me.” Isaac turned and left, trusting them to follow. Which they did of course.

It took all of Isaac’s self control to hold in an explanation until the reached the young houndeyes’ kennel. Thankfully a short walk even with going at a slower pace to allow Eli to easily keep up. Alyx made a small, “Ooh,” sound as he opened the door and lead the way in. Normally she wasn’t allowed in here lest they hurt her but Isaac was pretty damn sure they were safe before deciding to do this. Eli, apparently trusting him, made no complaint as he stepped in next.

Once the door was shut, Isaac raised his fingers to his lips and let out a quick sharp whistle. Immediately the young eyehounds stopped what they were doing and rushed over. As trained, they stopped a foot or so away from him and sat, looking up at him, waiting for their treat. He obliged them of course, reaching into his lab coat’s pocket and tossing each on single small silver of meat. Luckily they liked rat meat best, the easiest animal to still come by.

“You really did it, huh? You tamed the beasts.” Eli said, putting his hands on his hips as they watched the houndeyes eat. “I suppose I never should’ve never doubted you.”

“No, you most certainly shouldn’t have. I forgive you though, it was difficult. And I still haven’t taught them to alert for Combine approaching but they can do simple tricks. So it’s only a matter of time before…”

“Can I pet one?” Alyx interrupted.

Isaac took a breath to say ‘yes’ but Eli interrupted him. “I’d prefer it if you didn’t. They’re not exactly domesticated even if they are tamed.”

“They’re Izzy’s pets though so he gets to decide.” She turned to look up at him, turning on her puppy dog eyes. “Please, Dr. Izzy, can I pet them? I will be good and gentle, I promise.”

The combination of that look and her calling him ‘Izzy’ – something she’d picked up from Eli and knew could be used to get him to do things – made it really hard to say ‘no’. Especially since Isaac hadn’t had a problem with the idea. But even if he was helping to raise her, did he have any right to call the shots on what she was allowed or not allowed to touch? He loved her but even he had to admit he wasn’t always the best at knowing what was safe for adults, let alone young children so… “How about you come in here to help me train them a few times to make sure they’re comfortable with your presence before you pet them?” He looked up at Eli for approval.

Alyx turned to look at him too. “Can I?”

Eli thought about it for several seconds before replying. “Sure but one of us has to keep a close eye on you whenever you’re in here with them, got it?”

“Got it!” And just like that it seems Isaac had a new houndeye training assistant. “Could we keep one as a pet once it’s all trained too?”

“Uh… let’s see how they’re training goes first, huh?” Eli said and was probably right with his caution as he often was. Isaac liked that idea though and would certainly be looking into having one ready to just hang out in the lab, as a pet and as another bonus line of protection should the Combine forces find their hideout. … Mostly, yes, as a pet though.

[schadenfreudich]

Hi!! I come to you since you're my dearest German mutual, and I've been learning German since 2020 and well, I can learn grammar and vocabulary but I wanna find more german (real german, not just textbook german yk) content to listen to and become more fluid!! I'm guessing you might know stuff like music and youtube channels and maybe podcasts and that sort of stuff-? It'd be very helpful! Thanks in advance :3

This is so much, especially music. We just listen to a lot of german music a wide variety. Sorry or you're welcome

Youtubers:

coldmirror: one of the longest existing youtubers, comedy

Spacefrogs: mostly political humor

Iblali: hasn't really been active on that channel but at least was funny

Hand of Blood: comedy and gaming, and weird costumes

Zeo: comedy, mostly speaks in understable german, mostly (Chill deine Basics has a character who speaks in a thick Bavarian accent)

der Heider: haven't actually watched him in a while, also thick Bavarian accent sometines

Klengan: talks about stuff happening on youtube, mostly, last video I remember was about Jeremy Fragrance

Tommy Toalingling: gay, as in he makes a lot of videos about queer topics, also he's gay (this could be helpful if you want to know more about queer terms in german)

Kegy: comedy and also I keep referencing him and no one gets it, also hasn't uploaded in 4 years

Malternativ: in case you want to listen to a german man scream about annoying things (he's funny, I promise)

MiiMii: really hard to describe, weird drawings

Rob Bubble: politic humor, Anti-Webvideopreis (for the worst video of the year)

Podcasts:

Brainpain (by Heider and Klengan)

einer von den Guten (having actually listened to that one, but Zeo is one of them. so it can't be bad)

nicht mehr ganz Twitter (also includes Zeo and the guy who did Iblali)

Lästerschwestern (by Rob Bubble)

I really don't listen to a lot of podcasts, but those exist and the people aren't awful in other media)

Not a podcast, but an audiobook:

Känguru-Chroniken: have you ever wanted to listen to a story about a communist kangaroo and an anarchist artist? Because this is that. It's really funny.

Music:

Comedian Harmonists: you should definitely listen to "mein kleiner grüner Kaktus" at least once. They're old and made what wikipedia calls "volkstümliche Musik"

Cro: rap/pop kinda music, I recommend "Einmal um die Welt" and "Bye Bye"

die Ärzte: punk band, have themes such as death, kink, random gay lines and anti-fascism. I recommend "Junge" and "M&F", just because they're like the most popular songs. But if you want to listen to a weirder song, I'd suggest "meine Ex(plodierte Freundin)", way too happy for the fact that he's talking about his girlfriend exploding.

Die Prinzen: A cappella, "alles nur geklaut" is very popular and the funniest song to get cover

Die toten Hosen: punk band, our syskids really like "Walkampf", maybe a little too much. "Tage wie diese" and "Altes Fieber" are quite popular. Also "zehn kleine Jägermeister", just be aware the source of "zehn kleine [word]" is racist, if you choose to look that up, not this song, just the original one.

EAV (Erste Allgemeine Verunsicherung): they were an Austrian punk band, so if some words are confusing, that might just be because they're Austrian. Also "Ba-Ba Banküberfall", because it's really funny.

Falco: also Austrian, Neue Deutsche Welle, you should listen to "Rock me, Amadeus", "Egoist", "Dance Mephisto" and actually basically every song. We just really like Falco.

Glasperlenspiel: electro-pop, "geiles Leben" and "Echt" are really great, also "Traumtänzer" and "Legoschloss"

Haggefugg: medieval rock, "Daheim" and "Märchenwald"

Heldmaschine: industrial metal, sound similar to Rammstein (they have a song about that)

Herbert Grönemeyer: rock(?) singer, I recommend "Männer" and "Kinder an die Macht", also "etwas warmes" (that one's gay)

LaBrassBanda: So Bavarian they were Lederhosen in every picture, but they have an entire album they recorded in a cow barn, so I had to mention them

Mark Forster: pop, very popular, "Au Revoir" (and on that note, Sido, I guess) and "Chöre" are great

Max Giesinger: pop, "Wenn sie tanzt" is very nice

Megaherz: Neue Deutsche Härte, they have a cover of "Rock me Amadeus", and also "Schwarz = Religion" is great

Musica Immortalis: medieval music, I saw them in person, they only have 60 monthly listeners on spotify but they are so so good. Like, "Kraken" and "der Sturm", wonderful.

OOMPH!: one of the first bands under Neue Deutsche Härte, there is so much, so I'll recommend albums this time. "Des Wahnsinns Fette Beute", multiple queer songs, crossdressing, being scared of your own homosexuality and public gay sex with a sailor. Also one song about suicide. "Ritual", a lot of pain and suffering, also a song titled "TRRR - FCKN - HTLR", which does include the line "terror, ficken, Hitler" being shouted multiple times.

Reis Against The Spülmaschine: parodies, also only three songs but they're incredibly funny

Schattenmann: Neue Deutsche Härte, some quite explicitly sexual songs, but they're good. Like "Choleriker", which isn't about sex but is about violence and anger issues

Tanzwut: Neue Deutsche Härte but also medieval

The toten Crackhuren im Kofferraum: punk, all women, great, wonderful, I recommend "ich und mein Pony" and "Punkrock hat mir das Herz gebrochen"

Voxxclub: also very Bavarian, it's great 👍

Nena: Neue Deutsche Welle, especially "99 Luftballons" and "Irgendwie, Irgendwo, Irgendwann"

And this is more so specific songs that were a very formative experience when we were 12-15:

"ne Leiche" by SDP, Sido (yes, it's about a corpse)

"Willst du" by Alligatoah (sounds like a love song, but it's about drugs)

"Über den Wolken" by Reinhard Mey (this one is just nice)

"Monsta" by Culcha Candela (we call it the german monsterfucker song, because that woman is a literal monster and he's like "even better!")

"Major Tom (... völlig losgelöst)" by Peter Schilling (this one's sad)

"Die Da!?" by die Fantastischen Vier

"Nur ein Wort" by Wir sind Helden (just a love song)

"Stadt" by Cassandra Steen, Adel Tawil

"Perfekte Welle" by Juli

"Vom selben Stern" by Ich + Ich

"Skandal im Sperrbezirk" by Spider Murphy Gang (be aware it's about prostitues and the language is a little outdated, but the song is good)

I don't think I have to tell you about Rammstein, but also "Mann gegen Mann" is gay

[desertedhero]

i saw those tags, the thoughts, now and forever

OKAY here we go, I regularly bounce between HL, AI funny, and boat boys, but starting off I’ll just focus on what I’ve been thinking about lately on the former! I’m contemplating Mitch, Nick, and Adam deeply as we speak thou since I’ve been brainstorming for and outlining fic ideas for them. That's for another post

Some general line of questioning about Gordon!

I wonder what it is that keeps him going, outside the sheer instinct to survive. What motivation gets him back to his feet every time he's knocked down? What does he have to live for? (I’ve wondered about this for AI Gordon too.) This is a question for both HL1 and 2, and in the latter I imagine he might go throu a paradigm shift of sorts. Almost everything about his reality has changed, so whatever motivated him before--it might be the same, or it's different now. How does he adapt? What keeps him moving throu City 17? His identity is called into question with the incredible burden placed upon him. What does it mean to him to be the One Free Man, the savior of humanity? Not what it means to anyone else and not what anyone tells him it means. Who does he believe he is, and how does he find the strength to pick himself up every time he falls?

Perhaps his strength is in the people he cares for. If this is the case, his core group of Kleiner, Eli, and Barney are still close to him. The motive is the same, but what changes as Gordon has to navigate interactions where he realizes how much emotional growth they've been throu. He still feels like he woke up after sleeping in a little too long; the memories of working together in Black Mesa are all he has. But the people he loves all have more now that (if I may so project) makes him feel alone and like he'll never catch up to them. He'll never be as close as they are to one another now because they knew each other long before he returned. With Alyx, thou, she's almost entirely new to him. I like to think Gordon knew her as a kid, being friends with Eli. Regardless, he might feel closest with her because he's building a relationship from the ground up instead of reconnecting to old friends.

Even without the trauma he has, I've felt how difficult it can be to assert oneself into an established group of friends. It's rewarding and worthwhile! But difficult. What does that feel like when the friend group is the same one you've already long been part of, but one day you wake up and they've lived years without your presence? The loneliness would be crushing. Hell, maybe Gordon prefers being alone to feeling lonely with other people.

Now switching from Gordon to Barney:

A song I love recently struck me as relevant for Barney. I Want My Tears Back by Nightwish, my dad who also loves the group told me, is about an old man who wants back his youth. I wondered how much Barney longs for the days before the Combine--not just because of how much he lost due to the ResCas itself, but even before then. I wonder what Barney considers home when he's uprooted and moved to City 17.

"Where is the wonder? Where's the awe? / Where are the sleepless nights I used to live for? / Before the years take me / I wish to see the lost in me"

The power behind the song implies more than sorrow and regrets. It also expresses anger. Barney was robbed of his past, and whatever future he may have once hoped for is gone. He's angry and he has every right to feel that way.

The love of fairytales in me would want to believe that Gordon’s reappearance would reignite Barney's hope. That he's gonna fix everything because he's the savior and they'll live happily ever after in the end. It's not so simple, sadly, but the alternative is SO much more engaging. For example, even Gordon’s struggling with feeling that he's lost so much time and for what? They both have trauma and disillusion with life to work throu. What will it take for them to truly see what the other is going throu, and to support each other? When will be the first time one is vulnerable about their pain?

When did Barney lose his sense of wonder? Was it even before Black Mesa? His youth is far behind him, leaving little hope of experiencing things that, growing up, he'd always thought of as a constant in life. The imagery of the song brought these things to mind. Things Barney holds dear in his memories but may have resigned himself to never knowing again each day he puts that CP mask on.

[regioonlineofficial]

Donderdag 31 augustus hebben Rob Neijenhuis, voorzitter van de BIZ-vereniging Centrum Rheden, en wethouder Ronald ter Hoeven een overeenkomst ondertekend voor de verlenging van de BIZ (Bedrijfs Investerings Zone). Doel van de BIZ is te komen tot een goed functionerend en aantrekkelijk winkelgebied in het centrum van Rheden. De BIZ is een instrument om ervoor te zorgen dat de kosten voor het verbeteren van de kwaliteit van het winkelgebied worden gedragen door alle ondernemers. Voorwaarde is wel dat een meerderheid van de ondernemers hiermee instemt. De gemeente faciliteert de BIZ-organisatie door de bijdrage aan de BIZ te innen bij de ondernemers en uit te keren aan de BIZ-vereniging Centrum Rheden. Aantrekkelijk winkelgebied De BIZ levert een belangrijke bijdrage aan het vergroten van de leefbaarheid en de solidariteit in het winkelgebied. De BIZ zorgt ervoor dat alle ondernemers financieel bijdragen aan de aantrekkelijkheid van het gebied. Hierbij gaat om zaken die niet door de gemeente worden uitgevoerd. ”Het geld wordt uitgegeven aan zaken waarvan het gehele winkelgebied profiteert, zoals sfeerverlichting, veiligheid, openbare ruimte en evenementen. Doen we niets, dan is het een almaar kleiner wordende groep ondernemers die steeds meer moet opbrengen om de kwaliteit van het winkelgebied op peil te houden. Het is dus een goede zaak dat het bestuur van de BIZ-vereniging Centrum Rheden wil doorgaan met de BIZ”, zegt wethouder Ronald ter Hoeven. Ondertekening overeenkomst Nu de uitvoeringsovereenkomst is ondertekend, wordt de verordening BIZ Centrum Rheden ter vaststelling aan de gemeenteraad aangeboden. De raad neemt hierover in oktober een besluit. Daarna houdt de gemeente Rheden een verplichte draagvlakmeting onder de ondernemers. Deze zal in november/december plaatsvinden. Hierbij moet 50 procent van de stemmen binnenkomen en daarvan moet tweederde akkoord zijn met de BIZ. Dit zijn wettelijke draagvlakeisen. Bij voldoende steun gaat de gemeente over tot heffing van de BIZ vanaf 1 januari 2024. Ronald ter Hoeven en Rob Neijenhuis. Foto: gemeente Rheden Wethouder Ronald ter Hoeven: “Ik juich een verlenging van BIZ van harte toe. Het is belangrijk dat de ondernemers in het winkelgebied van Rheden ook de komende vijf jaar weer verenigd zijn in een BIZ. Saamhorigheid en het belang van een aantrekkelijk centrum zijn doorslaggevend voor de ondernemers. Samen gaan we er de komende jaren aan werken om het winkelgebied in het centrum van Rheden nog aantrekkelijker te maken!” Rob Neijenhuis, voorzitter van de BIZ-vereniging Centrum Rheden: “Wij vinden dat wij als BIZ-club in Rheden een belangrijke functie hebben in het bevorderen van de leefbaarheid van ons dorp. Als het niet leefbaar is in het dorp, hebben wij daar als ondernemers ook niks aan. Daarom zoeken wij nadrukkelijk de verbinding met de dorpsbewoners en de verenigingen. Samen moeten we ervoor zorgen dat we ons dorp en ons winkelgebied aantrekkelijk houden.”

[filmabend]

Der Medicus – Film Stream (2013)

Alternativtitel: The Physician

Der Medicus ist ein Abenteuerfilm

Nach dem Bestseller von Noah Gordon

In Der Medicus begegnet der neunjährige Waise Rob Cole dem Bader Henry Croft. Er lernt bei ihm die Geheimnisse der Heilkunst kennen.

Inhalt von Der Medicus

Die Handlung ist im 11. Jahrhundert angesiedelt, als die Heilkunde und deren Lehre in Persien wesentlich fortgeschrittener ist als in ganz Europa.

Robert Cole hat eine außergewöhnliche Gabe: Er kann fühlen, wenn jemand unbehandelt eine ungünstige Prognose hat und der Tod kurz bevorsteht. Diese Vorahnung erfährt er das erste Mal als kleiner Junge bei seiner von der Seitenkrankheit betroffenen Mutter. Hilflos muss er zusehen, wie sie daran stirbt.

Auf sich allein gestellt, schließt sich der junge Waise einem fahrenden Bader an, der ihm, neben den üblichen Taschenspielertricks, auch die Grundlagen der mittelalterlichen Heilkunde nahebringt, wie den Aderlass oder Zähneziehen. Schon als Lehrling erkennt Rob die Grenzen dieser einfachen Praktiken...

[comicshopsaar]

Benny Bärenstark (frz,: Benoît Brisefer) der etwas unbekanntere Charakter (im Gegensatz zu den Schlümpfen) von Peyo. Benny ist ein kleiner Junge, hat enorme Körperkräfte und kann besonders hoch springen, schnell rennen und kräftig pusten. Sein „Kryptonit“ ist der Schnupfen, der ihn aller Kräfte beraubt, sobald er sich einen einfängt, was in jedem seiner Abenteuer auch prompt passiert. Da er seine Kraft kaum kontrollieren kann, zerstört er unabsichtlich öfters die Spielzeuge Gleichaltriger, was ihn zum Außenseiter macht, da niemand mehr mit ihm spielen will. Hinzu kommt, dass er äußerst höflich, wissbegierig, neugierig und fleißig ist, was vermutlich bei seinen Altersgenossen ebenfalls nicht sonderlich gut ankommt. Peyo gab die Serie früh an andere Autoren weiter, da er sich seinen Schlümpfen widmete, die wesentlich erfolgreicher waren. Premiere in Deutschland von Benny war unter dem Titel "Der kleine Winni" bei Fix und Foxi als Fortsetzungsgeschichte und als komplette Story in der Reihe Fix und Foxi Album. Bei Carlsen wurden 12 der insgesamt 14 Alben veröffentlicht und beim Splitter Verlag kann man nun die Gesamtausgabe ergattern.   Benny Bärenstark (frz,: Benoît Brisefer) the somewhat lesser-known character (in contrast to the Smurfs) from Peyo. Benny is a little boy, has enormous physical strength and can jump especially high, run fast and blow hard. His "kryptonite" is the snuffle, which robs him of all his powers as soon as he catches one, which promptly happens in each of his adventures. Since he can hardly control his strength, he often unintentionally destroys the toys of his peers, which makes him an outsider, since no one wants to play with him anymore. In addition, he is extremely polite, inquisitive, curious and hardworking, which probably doesn't go down too well with his peers either. Peyo passed the series on to other authors early on, as he devoted himself to his Smurfs, which were much more successful. Benny premiered in Germany under the title "Der kleine Winni" ("Little Winni") in Fix und Foxi as a serial and as a complete story in the Fix und Foxi Album series. Carlsen published 12 of the 14 albums and Splitter Verlag now offers the complete edition.

[unofficialtubring]

The Finale of the official Unofficial Tub Ring account will be my epic showdown against Rob Kleiner. Be ready, all. Be ready, Rob.

[gunpartskit]

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[nofatclips]

Déjà vu by Giorgio Moroder (featuring Sia) from the album Déjà vu - Director: Alexandra Dahlström

[pokeshadow]

Controversial hot take for the HLVRAI fandom.

I actually don’t want half life 2

Yes really. This is something I’ve been thinking about for like a year now, but I just don’t want to see the gang in half life 2. Here’s my two main reasons. First, the magic of HLVRAI was the fact that half life 1 was a bare bones playset. The game just gives you a set of characters, a super basic plot, then just let you loose. Hell for half the game you don’t even have a big bad guy to go kill or giant plot to go solve, you were JUST Gordon Freeman trying to get out of Black Mesa alive. Eventually the scientests rope you into the whole “hey we kinda fucked up playing with aliens can you go fix it for us please?” thing, but for the most part there’s barely even any dialog or story other than you just trying to find an exit. It was precisly because the game was so barebones that Wayne and the gang could take that playset and make something new with it. They had the room to make up a new story, to just sit down and talk, create entierly new characters and backstories for anything they wanted, and it never broke the flow of the original game. That’s something you just can’t really do in Half Life 2. HL2 has a very strict plot without really any wiggle room to change things. Even when there’s some downtime, there’s always this feeling that you can’t really just stop and relax because people are depending on you. People are talking to you constantly, with set plots you can’t really change and their own lives that are set in stone. Hell even the playspace itself is a lot narrower than the wide open hallways of HL1, the science team would be so squeezed together and right in gordon’s/the cameras face because there’s just no room. Plus, unless Alex, Eli and Kleiner are all played by real people as well, how do you deal with the fact that the real NPC’s are totally ignoring the science team trying to talk to them? Unless they literally build their own version of HL2 from the ground up in Gmod just to cater to their hyper spesific needs, it just wouldn’t work. Plus the story of half life 2 kinda ends on an unfinished cliff hanger. Where do they go with that if they’re following the plot 1 to 1? Second reason, and probably the dumber reason... I don’t want these characters to get hurt again. I love the implication of the ending of HLVRAI that they really did save the world. They went through so much traumatizing shit, but they won. They got to have their pizza party, and then they can start new lives outside of black mesa. Gordon can be with his son again and start streaming Kane and Lynch 2 on justin.tv. Coomer can start his own little boxing career. Bubby can experience the outside world for the first time. Tommy and his dad can finlly reconnect and learn how to be a real family at last, with Sunkist in tow. But with HL2 that would all go away. The world would literally end, and they’d be flung into a far worse sitution than the black mesa incident. Mr Coolatta / Gman might be able to grab them all and put them in stasis for the years between HL1 and 2′s plot so they’re not in any danger, but still. Again, I totally acknowledge how dumb this is, but I don’t want these characters to go though all that. I just want them to be happy.

Which is why I much prefer the idea from the Pay Day 2 stream and Coomer’s final monologue. Take the science team and have new adventures with them in other games and the like. For those who like the in game hlvrai lore, this wouldn’t really touch it much so the characters just get to live their own lives people can make stories about. For the in stream lore it just means Gordon fufils Coomer’s wish of having their data saved and taken with him, so Gordon never forgets his weird ai friends and can have new adventures with them like robbing a bank in PD2. Irl lore, it just means we can keep seeing the characters we love so much, and the RTVS crew aren’t under the enormous pressure of having to somehow top HLVRAI by doing HL2. Lets be honest, there’s a pretty big expectations for HL2VRAI to be something bigger and better than the first, and no matter how fantastic they make a heoretical HL2VRAI, there would always be people dissapointed. Of course there’s also the opposite side of the coin that people would ALSO be dissapointed if the crew came out and said they’ll never do Half Life 2, but as long as we still get to see the characters in SOMETHING again I feel that dissapointment would be lessened a tone. Idk, rambly thoughts, but I just see so many people talking about wanting a HL2VRAI and just wanted to say my thoughts.

[mermaidinthecity]

haleyreinhart: My new single, 'Roll The Dice' is officially out now!!! Feels like I’ve already hit the jackpot 🎰 with all of the love that I’m receiving from you dolls… 🖤 Thank you for streaming, sharing, & watching the new video I co-directed! I am eternally grateful to my incredible team that I get to call my friends listed below who helped me bring this song & vision to life. 🎲 #rollthedice #newmusic #newsingle

'Roll The Dice' Written by: Haley Reinhart, Anders Grahn, & Magnus Tingsek Recorded & produced by: Magnus Tingsek & Anders Grahn Lyrics by: Haley Reinhart Mixed by: Carl Granberg Mastered by: Hans Olsson Lead vocals and Haley harms engineered by: Rob Kleiner

Haley Reinhart: Lead & Harmony Vocals Anders Grahn: Guitars, Bass & Harmony vocals Magnus Tingsek: Drums, Piano, Mellotron & Harmony Vocals Peter Zimny: Flugelhorn & Baritone Saxophone Tomas Pettersson: B3 organ & Celeste

Video Directed by: Joshua Shultz & Haley Reinhart Editor & colorist: Joshua Shultz & Haley Reinhart Filmed at: Circa Resort and Casino Single cover photo by: Alex Lang This photo by: Joshua Shultz

Starring: Haley Reinhart Ryan Bergeron (Snowbank) Jess Smyth (Biig Piig) Blake Lewis Beverly Lawrence Oliver Padilla

[wieisdemol2022]

Opdracht 1: Wijsheid en geluk

De eerste opdracht van Wie Is De Mol 2020, het jubileumseizoen, kent geen introductie. Leonie en Nathan leiden het in met de trommels bekkens die bespeeld werden. Verschillende kandidaten, Nathan, Leonie, Anita, Johan en Mil(juschka), beschrijven hun ervaring van de weg naar de eerste opdracht, in Sanmenxia, waar Rik ze opwacht. 

Tina is de eerste kandidaat die zich bij Rik meld. Wat lijkt oprecht onder de indruk en redelijk zenuwachtig komt ze aanlopen, groet ze Rik en hij legt uit; “Welkom in China. We staan voor de Hangu Pass (ook wel Hanguguan genoemd), de eerste poort die ooit gebouwd is in China, hier ligt de oorsprong van de Chinese beschaving. Het is niet alleen een historische, maar ook een heilige plek. Volgens de overlevering schreef de Chinese filosoof Lao-Tse hier zijn meesterwerk over Taoïsme. De beroemde Oosterse religieuze en filosofische stroming. Wie is de mol is een spel van leugens en waarheid. Om de finale te bereiken moet je tactisch spelen en lastige keuzes durven te maken. Speel je het spel alleen, of neem je iemand in vertrouwen? Spreek je de waarheid, of niet? Hoe je het spel speelt, is aan jou, maar misschien heb je wat aan dit advies van Lao-Tse; Tina, vriendelijkheid in woorden wekt vertrouwen. Je moet zo een keuze maken tussen een poort die mogelijk leid tot wijsheid en een poort die mogelijk leid tot geluk. Wat jou keuze oplevert mag je voor jezelf houden. Denk goed na over je strategie, en onthoud, kennis is macht. Je mag nu kiezen. En zodra je straks door je poort gaat, wordt je opnieuw voor de keuze gesteld. Ik wens je veel wijsheid of geluk.”

De kandidaten krijgen dus ieder een wijsheid mee en kiezen dan voor ofwel wijsheid, ofwel geluk. Wanneer ze de poort doorlopen zien ze een tafel staan met sleutels en aan die sleutels een bordje met een jaartal van een seizoen van WIDM. Bij poort wijsheid liggen de jaartallen 2000 t/m 2010 (2004 is overgeslagen, er was toen geen seizoen), bij geluk liggen de getallen 2011 t/m 2020. In de kistjes behorend bij de sleutels zit een papiertje met daarop een reeks Chinese tekens en ze komen uit bij een muur met honderden van deze tekens, aan hen de taak hun juiste kistje te vinden en hier de prijs op te halen. Onder vind je een schema die bij Moltalk is gemaakt. Ik heb deze gecontroleerd, maar vond het niet nodig zelf een schema te maken, want hij klopt helemaal. Wel heb ik hieronder even de wijsheden per kandidaat opgeschreven.

·        Tina: “Tina, vriendelijkheid in woorden wekt vertrouwen”. ·        Buddy: “Buddy, met verdraaide woorden kun je van alles bereiken, maar door juist te handelen kun je de anderen overvleugelen.”  ·        Anita: “Anita, reageer zelfs op een onintelligente behandeling, intelligent”. ·        Leonie: “Leonie, de wijze houd zich op de achtergrond, maar staat in werkelijkheid vooraan”. ·        Claes: “Claes, zij die weten spreken niet, zij die spreken weten niet”. ·        Johan: “Johan, zonder zelf kleiner te worden, kun je andere doen groeien”. ·        Nathan: “Nathan, het is verstandiger een kaars te branden, dan te klagen over de duisternis”.  ·        Jaike: “Jaike, de wijze streeft nooit naar het grote, op die manier kan hij grote dingen bereiken”.  ·        Rob: “Rob, voorkom het moeilijke door het makkelijke te doen”. ·        Mil: “De wijze kent zichzelf, maar toont zichzelf niet”.  

En voordat we het gaan hebben over de keuze van de kandidaten en de kleur vrijstelling die het opleverde, denk ik dat we veel meer informatie kunnen halen uit de wijsheden, die zijn immers op de persoon geschreven. Een aantal dingen springen er natuurlijk uit, laten we met het meest overduidelijke beginnen en dat is met Mil, zij wijkt af van de overige kandidaten omdat haar naam niet wordt genoemd (dit krijgen wij in ieder geval niet te horen) voorafgaand aan de wijsheid. Waarom is dit? Is haar naam afgeschermd? Zou een verwijzing kunnen zijn naar de titel. Overigens nog een keer als ze haar joker bij haar melktassen stopt maar dat is een andere hint. Ben ook al lekker aan het graven sorry!

Afijn, de wijsheden die eruit springen zijn voor mij die van Tina, want daar gaat het over woorden en vertrouwen wekken. Nathan, maar eigenlijk alleen omdat het over duisternis spreekt, en de mol is natuurlijk een nachtdier. Maar vooral die van Mil en Leonie springen er voor mij uit, als je het profiel van de mol in je achterhoofd houd. Van Leonie, de mol houd zich natuurlijk op de achtergrond, maar staat zeker vooraan, daar draait het programma om, alleen hij toont zich niet. En datzelfde geldt voor Mil, hij kent zichzelf, maar toont zichzelf niet, precies de mol. Dus die twee extra verdacht door hun wijsheden. Kunnen we bij Mil nog een schepje bovenop doen doordat ze haar vrijstelling waar De Mol op staat ook niet toont, toont ze zich (in woord vorm) letterlijk niet?

Dan even over de keuzes, want bij elke opdracht moet je je afvragen, wat zou een positie of gedachtegang van de mol kunnen zijn? En ik denk dat we hier niet te veel uit moeten willen zoeken bij deze opdracht. Het is niet echt een opdracht namelijk, een beetje een voorstelronde, de mysterie van China opzoeken, maar met de wijsheden die wel belangrijk kunnen zijn. Ik heb het even opgezocht en er is niet echt iets wat je aan China  of een mol kunt linken als het gaat om ofwel geluk of wijsheid. Het enige wat ik kan vinden is dat veel Chinese wijsheden gaan over geluk, en geen geluk gaat over wijsheid. Volgens die logica zou je het beste voor wijsheid kunnen gaan, zou je overigens ook een zwarte vrijstelling mee krijgen, maar zoals al gezegd, ik weet niet of we te veel consequenties aan de keuze van de kandidaten moeten hangen.

Oh en dit is een hint die terug gaat komen in de algemene post, maar wou hem hier toch nog even behandelen. Tijdens Moltalk opperde Patrick dat de mol tijdens het oplopen van de kandidaten in het veld met Chinese drummers of vlaggenmannen moest staan. Nu vond ik op Youtube onderstaand plaatje met de tekst dat dit de mol wel moest zijn en iedereen natuurlijk heilig van overtuigd. Helaas, wanneer je bij Tina kijkt, zie je wel het gezicht van deze man, je kan hem herkennen aan zijn sneakers, en het is toch echt een Chinese meneer, en niet een van de kandidaten. Hoewel het gek is dat hij zijn hand voor zijn gezicht houd (afgeschermd? Dit was bij Anita dus dan afvallerstheorie?) kan deze hint voor mij de prullenbak in. 

Is jou nog iets opgevallen tijdens deze opdracht? Of in het algemeen tijdens de aflevering? Laat het ons weten, nemen we dit mee voor de algemene post!

[regioonlineofficial]

In het windenergiegebied ten Noorden van de Waddeneilanden plant Nederland de eerste grootschalige waterstofproductie op zee. Het windpark is goed voor circa 500 Megawatt elektrolysecapaciteit en moet rond 2031 operationeel zijn. Het gebied is gekozen omdat hier al een windpark gepland stond voor de productie van elektriciteit, mogelijk een bestaande aardgasleiding hergebruikt kan worden voor het transport naar land én het goed aangesloten kan worden op het waterstofnetwerk op land. In de regio Groningen is veel draakvlak voor de komst van dit project. Dit project zal de eerste zijn waarbij waterstofproductie op zee op grote schaal wordt toegepast. Hiermee doet het Rijk, betrokken bedrijven en netbeheerders waardevolle ervaring op met deze nieuwe techniek die een grote rol gaat spelen in het energiesysteem van de toekomst. Minister Rob Jetten: “Met dit plan lopen we wereldwijd voorop. Het is bovendien een flinke stap bovenop de doelstelling uit het Klimaatakkoord van 4GW elektrolyse in 2030. Het gebied hebben we nu al als voorkeurslocatie aangewezen zodat de voorbereidingen snel kunnen beginnen en we de sector duidelijkheid geven zodat zij hun investeringsplannen kunnen gaan maken. Ik ben ook erg blij met de steun die we van de lokale overheden krijgen. De provincie en de gemeentes zetten vol in op een groene economie waarbij de productie van duurzame energie centraal staat.“ Waterstof van het windpark Voordat de tenders uitgeschreven worden, werkt het ministerie samen met de regio Groningen, partijen rondom het waddengebied en betrokken partijen een aantal belangrijke zaken zorgvuldig uit. Zoals de aanlanding van de leiding om de waterstof van het windpark aan land te brengen en hoe de waterstofproductie veilig en ecologisch verantwoord kan gebeuren. Het project wordt het eerste project dat aansluit op het waterstoftransportnetwerk op zee van Gasunie. Dit netwerk gaat grote hoeveelheden waterstof aan land brengen en wordt aangesloten op het waterstofnetwerk op land. Dit jaar wordt uitgewerkt hoe het waterstofnetwerk op zee eruit moet komen te zien. Hierbij wordt ook gekeken in welke mate hergebruik van bestaande gasinfrastructuur op de Noordzee haalbaar is. Als opstap naar dit project, wordt ook gewerkt aan een kleinere pilot met een elektrolysecapaciteit van circa 50-100MW. Hiermee moeten de eerste mankementen uit de techniek gehaald worden zodat het project van 500MW efficiënt gerealiseerd kan worden. Later dit jaar wil de minister ook voor dit kleinere project een voorkeurslocatie kiezen.

[letterboxd]

The Last Artists.

“From the outside it seems like this dream scenario… but the truth is it took years working on drafts and wondering if anyone would ever read them.” —Joe Talbot on The Last Black Man in San Francisco.

A love story to San Francisco, to one grand Victorian house in particular, and to a life-long friendship, The Last Black Man in San Francisco was many years in the making. And it paid off: Joe Talbot picked up the Best Director prize at Sundance 2019 for his debut feature, a story drawn from the life of his best friend (and the film’s leading man), Jimmie Fails. A close-knit family of creatives grew around the project, and became a vital support system for Talbot when his father had a stroke just weeks before the shoot. Since January, critical accolades for the film have snowballed. Most recently, it appeared in our ten highest-rated features for the first half of 2019.

Letterboxd reporter Jack Moulton took the opportunity for a lengthy chat with Talbot about his remarkable debut feature. The interview contains a virtual masterclass in first-time feature film development (and the persistence required to see it through), along with some never-before-seen images shared exclusively with us by Joe. Also: some plot spoilers, which we’ve left until the very end.

Joe Talbot and Jimmie Fails in 2014, photographed by Talbot’s brother, Nat Talbot.

Thanks for agreeing to a good chat with us. Are you on Letterboxd? We have our suspicions that you might be. Joe Talbot: Yeah. I love it. I found Letterboxd before we shot the movie. I use it to save movies to watch for later and look up movies people recommend. Occasionally I read the reviews of films I’ve just watched, they’re often really thoughtful.

Can we share your username? You could be the next Sean Baker. The one I have right now is more of a lurking profile so it’s not very formal. I made one that’s a little more presentable for you under my name.

Are you in San Francisco right now? I am. If you can hear my heavy breathing, I’m actually walking up one of the steeper hills that Jimmie and Montgomery crest in the movie and see the skyline. That’s what I do for every interview, I like to walk up the hill to put me in the film. Just kidding, this is the first time I’ve done it. I’m just walking with a friend and we’re about two thirds of the way up. Woo!

We’ve just published our halfway top 10 of the year. The Last Black Man in San Francisco is in second place, between Avengers: Endgame and Booksmart. How does this make you feel, and how do you cope with reviews (whether they’re full of praise or criticism)? Wow, that means a lot. I find the reviews informative, though have to admit I don’t read too many of them. In general, it’s great to know that there are people that love movies enough to get into debates and write passionately, either about how much they loved them or didn’t like them at all. Having platforms like Letterboxd and finding those communities online can be really great, even if they’re not made up of people in your city.

Given that the film has relatively low stakes—it’s not life or death, it’s house or no-house—what gave you confidence that audiences would connect to Jimmie’s story? I don’t know if we were ever confident. You never fully know. You hope that if you share something that has meaning to you then it will have meaning to others. That was our guiding light.

We finished the movie four days before the Sundance screening, so that was the first time watching it with any audience. I looked over at [Plan B producer] Jeremy Kleiner when the movie ended; he said “the tweets are good”. I looked around and realized the whole audience were on their phone as soon as the credits rolled.

I only had a short film play at Sundance before [American Paradise in 2017, also starring Jimmie Fails] so I didn’t realize part of our culture now is the need to immediately respond to something—but luckily they were nice. It will be much more anxiety-inducing going into my next feature now that I know how all this works.

We wanted to make something that captured the San Francisco that we grew up in and feel very strongly about. We’ve travelled to Chicago, DC, New York, LA, and Atlanta with the film and I was surprised to see how much people were connecting to it. In a way, Jimmie and I say it is unfortunately universal because it means the same things are happening everywhere.

This idea has lived with you and Jimmie for a long time. Can you talk us through the journey of the film? We’ve been informally talking about it for at least seven years and it’s gone through so many incarnations. We always envisioned it as the first feature that Jimmie and I would make after many years of making short films together. This story felt big enough in scope and there was a lot that we wanted to cover.

We wanted to tell a story about Jimmie and this Victorian home he once lived in and make it a valentine to the San Francisco we grew up in, that we see as being lost. We also wanted to celebrate all the wonderful people who are here that make this city what it is. That’s a big part of what we are afraid of losing: the very people that make San Francisco ‘San Francisco’.

An alternative poster for the film, illustrated by Akiko Stehrenberger.

We both lived with my parents for five years—we ran our operation out of the living room there. The first thing we did was shoot a concept trailer for Vimeo. It was a five-minute piece of Jimmie skating through the city telling his grandfather’s story, much like the [feature’s] opening sequence, though I filmed it hanging out of the side of my brother’s car.

Afterwards we got emails from people saying they wanted to help; they would become our core collaborators on the film. Khaliah Neal, Rob Richert, Luis Alfonso de la Parra, Natalie Teter, Sydney Lowe, Prentice Sanders, Fritzi Adelman, Laila Bahman and Ryan Doubiago. They spent years with us, hashing out the script over my parents’ kitchen table and working with us to create a look-book, run an ambitious Kickstarter campaign, write grant proposals and so on.

We felt like these oddballs—the last artists in San Francisco. You get a lot of noes along the way, having never made a movie before, so it was the emotional support that helped us persist through the difficult times. We were excited to be learning together, as a group of mostly first-timers, and were constantly making things.

Our look-book was very elaborate, thanks to our stills photographer Laila Bahman. We built it as a website and staged the scenes as if we were filming the movie, with costumes and heavy art direction. We knew people we pitched were probably seeing materials from other filmmakers who were further in their careers and probably better writers than us. We knew we needed to show the world of the movie so that executives’ imaginations wouldn’t be running off with thoughts of Michael B. Jordan or Donald Glover; that this is Jimmie and this is the plaid shirt we want him in and this is his Victorian. It’s his story.

That helped us get into the Screenwriter’s Lab at Sundance, but I didn’t get into the Director’s Lab, which I was initially bummed about because I really needed that experience. Our Kickstarter was very successful and those backers created a grassroots ground-swelling around the movie that pushed it forward, even though it was difficult in pitch meetings as we weren’t the most bankable pair in such a risk-averse industry.

In a last-ditch effort, my crew and I decided to do our own Director’s Lab instead. We felt if it doesn’t work now then that might be it for Last Black Man. I’d never made a proper short with a budget before but a producer named Tamir Muhammad, who had a short-lived venture within Time Warner called OneFifty, gave us the money to make what would become American Paradise. It gave the crew a chance to get in the trenches together before moving on to a feature, and show the potential of what we could do.

The team who’d assembled from our concept trailer years before all worked on American Paradise, from Khaliah Neal, Rob Richert and Luis Alfonso down the line. We worked with production designer Jona Tochet and even the sound team of Sage and Corinne (who would all go on to work on Last Black Man). In a city increasingly devoid of artists, we felt we’d found our people.

The short was different from Last Black Man, but features Jimmie playing the same character. After it played in Sundance it got the attention of Plan B’s Christina Oh. They took a big leap of faith on us, only having ever made that short. There’s not a lot of people willing to do that.

Khaliah, Christina and Jeremy approached A24 and we were in production two months later. From the outside it seems like this dream scenario of having the incredible indie studios Plan B and A24 behind us, but the truth is it took years working on drafts and wondering if anyone would ever read them. I think the extra time we had helped, because if we had the chance to make it two or three years ago, I don’t think we would have been ready.

Jimmie Fails and the creative team behind ‘The Last Black Man in San Francisco’ at the 2019 Sundance Film Festival. / Photo: Sue Peri

What was the first movie you made with Jimmie when you were teenagers? The first half-decent thing we made was a movie that my brother and I co-directed called Last Stop Livermore. I am actually in it alongside Jimmie and that was my first and only time in front of the camera. I learned my place pretty early on.

Didn’t you have a cameo in Last Black Man? I swear I saw you. I did have a cameo. As long as I’m not speaking, I’m okay. But even then when I just had to look at Jimmie once it was very difficult for me to do. I needed four takes for that shot, ha ha. I’m much more comfortable on the other side.

Jimmie, however, was really good in [Last Stop Livermore]. We made it while I was in high school before I dropped out, and it got into the San Francisco International Film Festival. Like everything we do, it’s based on something that happened in real life when a friend and I felt like we were fish out of water, going off to meet some girls in the suburbs.

That attention the film got, however minor, encouraged us because until that point only our family, friends and my high school teacher had seen our movies. Oh and Jimmie still had a flat-top—just thought I should add.

The film features the most important house of the year [Editor’s note: at least until the rest of the world sees the Parasite house, designed by the great Namgoong]. How did you find Jimmie’s house and what made it the house? It took us over a year and a half to find the house. We combed the streets with my co-producer Luis Alfonso de la Parra and production designer Jona Tochet and knocked on doors. In hindsight, a more efficient way would have been to use Google Maps but this way we could see inside the houses.

Unfortunately, the interiors would usually be gutted and have IKEA furniture and granite table tops. As a filmmaker, it was depressing, but as a native San Franciscan it was heartbreaking because the details inside all these beautiful houses were destroyed. It’s a thing that a lot of real estate agents do when they flip houses.

We ended up going back to a house that I had driven past as a kid on my way to elementary school. My mom, my brother and I would pick out our dream Victorian houses on our family car ride since we couldn't afford a proper one. I went back to one of the houses that had always stuck with me. After we found that house, it felt like we had cast a major character in the movie.

When we first knocked on the door of the house that would become Jimmie's home in the film, an older gentlemen greeted us and within seconds beckoned us inside. As we entered, we found a home that had not been gutted, but instead had been lovingly restored. Jim, the homeowner, much like Jimmie, the actor, had spent more than half of his life working on the house.

He carved the witch hat you see in the movie shingle by shingle and did the honor of putting it on the roof himself. He fixed the organs you see in the film and built Pope's hole in the library. In many ways, he felt like the spirit of San Francisco.

As a now elderly man, we would have understood him declining our wants to film there -- or charging a buttload to help him in his retirement. Instead he welcomed our big crew into his house and charged us next to nothing. I still don't fully know why, but I can imagine he saw shades of himself in Jimmie's love for this Victorian.

In the years we spent location scouting, we would also meet people on the street that we put in the movie. Dakecia Chappell was working at a Whole Foods in the confectionery section, near a ‘potential Jimmie’s house’ around the corner and she was just really charming, so I offered her the ‘Candy Lady’ part in the film. We met the mover who tells Jimmie the homeowners are moving out late one night at a taqueria on Mission Street. This extra time allowed us to capture the little details of what our San Francisco is like.

Even after your major backing from Plan B and A24, was there a point on set where it felt like everything was falling apart? I’m sure there are directors that aren’t plagued by the self-doubt I had. I didn’t go to film school and I felt isolated in San Francisco since a lot of the filmmakers have left for Los Angeles or New York. I was feeling this imposter syndrome. You’re both really joyous and grateful that you finally have a chance to make a movie, but also feel the weight of the city and wanting to honor what’s happening to people there. In every stage you have big and little freak-outs. The only thing that got me through it were the people around me. They bring perspective when you might not have it.

A couple of months before we shot the film my dad had a stroke. He survived, thankfully, and he would say half-jokingly “I survived to see the movie”. My parents struggled as artists themselves in their lives and yet they created this loving home that allowed us to make the movie. I look up to my Dad a lot, so when that happened that was really scary, and it happened during the height of the pandemonium of prep.

By that point our creative collaborators felt like family and they did everything for us. They came over to my house, brought us food, did as much as they could to take work off my plate so I could be with my own family. That always sticks with me when I remember tough times. You could say it’s just a job, but they treated it like so much more. So while it sounds corny, I think the spirit which comes with people being so loving and kind becomes imbued in the film.

Very glad to hear your dad is okay. The scenes with Jimmie’s parents are so powerful; you really get a greater sense of his isolation. It’s amazing his mom agreed to be in the film as a fictionalized version of herself. How did you and Jimmie sketch those scenes? The scene with his mom is loosely based on something that happened. Jimmie was raised mostly by his dad and he’s very close to his parents now in a way that’s very different from the relationship that he had with them growing up. He and his dad have worked through a lot.

Jimmie Fails as Jimmie. This and the header photo are by Laila Bahman.

It’s hard to pack in all the complex details that makes someone who they are because you don’t have enough screen time to do that sometimes. These elements were pulled from the walks we’d take during the earliest developments when the idea was more informal and we’d talk about Jimmie’s family.

One story that Jimmie always recalled both humorously but also quite painfully was about the guy who had driven off in the car that he and his dad were living in at the time. We thought it would be funny if there was a character who never acknowledged that he’d stolen the car but claimed that he was still borrowing it. We knew Mike Epps would be the perfect person for that. It was a story that came from a kernel of truth but took on a life of its own.

Why was Jimmie’s dad pirating The Patriot, of all movies? The tonal juxtaposition made us laugh. Ha ha, it was in the public domain.

We loved the score. What are some of the soundtracks that inspired you while making the film? The Last of the Mohicans, The Day of the Dolphin, The Claim, Batman (and also the animated TV show’s score actually rivals Elfman’s), and Far From the Madding Crowd.

You’ve spoken in another interview about how you and Jimmie fear friendships like yours aren’t possible with the type of gentrification that’s going on. However, nowadays you can meet some of the important people in your life over the internet. Could the bonds we make online compensate for what’s being lost on the streets? I think the internet is a double-edged sword. It both brings people together that you could never have met, such as how many of our closest collaborators first found our concept trailer online. But I do fear it also plays a part in people developing shallower, less intimate connections. I have friends who I love who will go to events seemingly just to get a good Instagram photo out of it. I’m sure I’ve suffered from similar instincts. That scares me.

Montgomery adds so much tenderness and insight to the film. Given he’s Jimmie’s best friend and he’s also an artist, is he your avatar in the movie? How did the casting of Jonathan Majors inform the development of his character? Montgomery is actually not based on me. Jimmie and I have a friend from the Bay named Prentice Sanders who is one of the more original people we’ve ever met. His spirit influenced the first shades of the character. When Jon came on he took those early sketchings to a whole new level, creating his own backstory, mannerisms, and interests.

On the vanity in his room, Jon decided to put up Tennessee Williams, August Wilson, Barbara Stanwyck, Canada Lee, Richard Wright and Ralph Ellison as inspiration. He had a hand in every little detail. In fact, Jon and Jimmie became very close in real life. They still talk nearly every day.

Warning: the last section of the interview contains spoilers, including for the endings of both ‘Last Black Man’ and ‘Ghost World’. This is your last chance to back out…

How do you direct Jimmie? I imagine you can read each other’s minds at this point. Yeah, there is a weird unspoken connection between us, as we grew up together. Knowing each other for so long allowed us to be vulnerable around each other. As a director, inevitably there are days on set that are stressful, scary, and tense, so being able to go for a walk around the block together to recalibrate and feel present was helpful.

This film asked something much different than anything we had done before. We’d never written a feature script and most of our shorts were ad-libbed. Honestly, everyone broke their backs to make this. Cinematographer Adam Newport-Berra was a hero. Nobody phoned it in.

But more than anybody, we asked the most of Jimmie. There’s a scene where he’s across from his real mother and the bravery from both of them to do that set a tone that everyone on set sought to honor.

Joe Talbot and Jimmie Fails on the set of ‘The Last Black Man in San Francisco’. Photo by the film’s cinematographer Adam Newport-Berra.

Your collaboration with Jimmie has been so strong for such a long time. Is it a relief for you or maybe a sadness that this phase with him is nearly over? It doesn’t feel like it’s over yet, but I’m sure when it does there will be a little bit of sadness. The movie continues to sell out theaters on a Wednesday afternoon in San Francisco and opened in the little neighborhood theaters that indies barely make it into and it's playing alongside Toy Story. There’s a feeling in the city now that’s hopeful.

It’s been wonderful to witness because I feel like we’ve been working through our feelings about San Francisco in making the movie, and in some ways Jimmie leaving at the end feels a bit like us, how perhaps we can’t be here anymore. I’ve only ever lived in San Francisco my entire life but maybe it is time to go somewhere else.

However, in putting the movie out there I’ve seen so many more natives that feel like people I grew up with 15-20 years ago. People who I thought had been lost but are still out there, fighting to exist somehow through all the changes. I feel like part of me is falling back in love with San Francisco again and I think that feeling is going to go on for a long time.

A lot of people are contacting us saying that they left the theater and they just started writing their own scripts, or writing poetry, or sending us paintings that were inspired by the movie. In a city that is increasingly difficult to exist in as an artist and not always inspiring, this always means something to us.

On the film’s ending: to you, where is Jimmie going? Jimmie is going to start his legacy somewhere else—to fully be himself and start anew, following the footsteps of his grandfather. And it’s more fun to shoot it that way than have him ride away on a BART train.

One interpretation of the ending we’ve heard is that it was all in Mont’s head, and in “reality” it ended on a more tragic note. So some viewers felt it as hopeless, but you in fact intended it to be more hopeful? I think we wanted to leave it open to interpretation. I talked to Thora Birch [who has a small role in Last Black Man] about the ending of Ghost World, because that always left an impression on me. I interpreted it as a suicide when I saw it as a teenager and she had told me that she felt that way about it too, but there are also people who thought she was going off to art school. I feel our ending works in the same way.

I don’t see any interpretation of it as invalid, but what your relationship is to your city affects what you bring to it. Either way it’s a bittersweet ending, because it is a loss for Jimmie and Mont’s friendship, and for the city. Like, San Francisco doesn’t deserve him anymore.

Discover the films that inspired the look and feel of ‘The Last Black Man in San Francisco’.