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gowns · 1 year

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Why Kids Aren't Falling in Love With Reading - It's Not Just Screens

A shrinking number of kids are reading widely and voraciously for fun.

The ubiquity and allure of screens surely play a large part in this—most American children have smartphones by the age of 11—as does learning loss during the pandemic. But this isn’t the whole story. A survey just before the pandemic by the National Assessment of Educational Progress showed that the percentages of 9- and 13-year-olds who said they read daily for fun had dropped by double digits since 1984. I recently spoke with educators and librarians about this trend, and they gave many explanations, but one of the most compelling—and depressing—is rooted in how our education system teaches kids to relate to books.

What I remember most about reading in childhood was falling in love with characters and stories; I adored Judy Blume’s Margaret and Beverly Cleary’s Ralph S. Mouse. In New York, where I was in public elementary school in the early ’80s, we did have state assessments that tested reading level and comprehension, but the focus was on reading as many books as possible and engaging emotionally with them as a way to develop the requisite skills. Now the focus on reading analytically seems to be squashing that organic enjoyment. Critical reading is an important skill, especially for a generation bombarded with information, much of it unreliable or deceptive. But this hyperfocus on analysis comes at a steep price: The love of books and storytelling is being lost.

This disregard for story starts as early as elementary school. Take this requirement from the third-grade English-language-arts Common Core standard, used widely across the U.S.: “Determine the meaning of words and phrases as they are used in a text, distinguishing literal from nonliteral language.” There is a fun, easy way to introduce this concept: reading Peggy Parish’s classic, Amelia Bedelia, in which the eponymous maid follows commands such as “Draw the drapes when the sun comes in” by drawing a picture of the curtains. But here’s how one educator experienced in writing Common Core–aligned curricula proposes this be taught: First, teachers introduce the concepts of nonliteral and figurative language. Then, kids read a single paragraph from Amelia Bedelia and answer written questions.

For anyone who knows children, this is the opposite of engaging: The best way to present an abstract idea to kids is by hooking them on a story. “Nonliteral language” becomes a whole lot more interesting and comprehensible, especially to an 8-year-old, when they’ve gotten to laugh at Amelia’s antics first. The process of meeting a character and following them through a series of conflicts is the fun part of reading. Jumping into a paragraph in the middle of a book is about as appealing for most kids as cleaning their room.

But as several educators explained to me, the advent of accountability laws and policies, starting with No Child Left Behind in 2001, and accompanying high-stakes assessments based on standards, be they Common Core or similar state alternatives, has put enormous pressure on instructors to teach to these tests at the expense of best practices. Jennifer LaGarde, who has more than 20 years of experience as a public-school teacher and librarian, described how one such practice—the class read-aloud—invariably resulted in kids asking her for comparable titles. But read-alouds are now imperiled by the need to make sure that kids have mastered all the standards that await them in evaluation, an even more daunting task since the start of the pandemic. “There’s a whole generation of kids who associate reading with assessment now,” LaGarde said.

By middle school, not only is there even less time for activities such as class read-alouds, but instruction also continues to center heavily on passage analysis, said LaGarde, who taught that age group. A friend recently told me that her child’s middle-school teacher had introduced To Kill a Mockingbird to the class, explaining that they would read it over a number of months—and might not have time to finish it. “How can they not get to the end of To Kill a Mockingbird?” she wondered. I’m right there with her. You can’t teach kids to love reading if you don’t even prioritize making it to a book’s end. The reward comes from the emotional payoff of the story’s climax; kids miss out on this essential feeling if they don’t reach Atticus Finch’s powerful defense of Tom Robinson in the courtroom or never get to solve the mystery of Boo Radley.

... Young people should experience the intrinsic pleasure of taking a narrative journey, making an emotional connection with a character (including ones different from themselves), and wondering what will happen next—then finding out. This is the spell that reading casts. And, like with any magician’s trick, picking a story apart and learning how it’s done before you have experienced its wonder risks destroying the magic.

-- article by katherine marsh, the atlantic (12 foot link, no paywall)

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burgundy-is-hilarious · 1 year

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Here is my old art from like 3 years ago. These were from when I tried to draw anime and these look sooo bad lol.

I drew these with only crayons and markers since I really didn’t have good art supplies at this time. I’m so glad my art has improved lol 😂

#old art #embarrassing #anime style #wow I went on a spree on June 28th #this was during the pandemic so I guess I was just really bored and needed to pass time

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ebenrosetaylor · 1 year

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Please help a transgender art teacher pay his bills and replace stolen possessions!

(tw: animal death, robbery)

My name is Eben and I am a bi trans man who is getting his graduate degree in art education for grades 5-12. I also make stop motion and 2D animations and play d&d when I’m not teaching after school art lessons.

Last Wednesday (4/19) I had to put my cat Mila down after work and spent the rest of the day burying her. This was after another vet 7 days ago, where we did a procedure where she was likely not going to make it. She was 12 years old and I miss her so much, it hurts especially bad because I was in the process of legally making her my emotional support animal.

On Saturday I drove to the town my sister lives in and parked the car outside the gym we were going to together. One hour later I come outside and see that my car window has been smashed to pieces (along with 3 other cars) and my backpack has been stolen. Inside of that backpack was 2 years worth of teachers notes and lesson plans for every art class I’ve ever taught, which i have no way of replacing. My parents said they would take care of the car bills and I can replace most of the things in my backpack, which I have listed on my throne.

To top it all off, I got an email from my university telling me that tuition costs have been raised by 8% to make up for the time that It didn’t increase during the pandemic. Today they sent me an invoice for my summer semester of college, which I need to pay in a month.

This has been an extremely stressful past week for me and I really need some help either replacing the things that were stolen from me or helping me pay for the vet bills and college tuition. Please share this around if you can’t help directly!

Replace stolen items through throne

Paypal: @ERoseTaylor

CashApp: $russianblu

Venmo: @Eben-Taylor

Goal: $0/$8695

#artists helping artists #crowdfunding #boost #mutual aid #support #also you can put this in your queue so the traction doesn't slow down after a day or two #thank you so much for reading and sharing this

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art · 2 years

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Creator Spotlight: Pablo Lobato

Pablo Lobato was born in Trelew, Patagonia, Argentina, in April 1970. He studied graphic design at Universidad Nacional de La Plata, as well as Painting and Engraving. He moved to Buenos Aires to work as a graphic designer in the editorial field. After five years, he got bored and decided to give one more chance to his true love: portraits. Represented by Anna Goodson, he started working as a collaborator in magazines and newspapers: Rolling Stone, The New Yorker, Wired, New York Times, Entertainment Weekly, TV Guide, and The Village Voice, among others. His work has been featured in Illustration Now Vol.3 and Portraits! by Taschen editorial. Lobato has taken part in numerous collective exhibits in Argentina, the United States, Italy, Chile, and Portugal.

Check out our interview with Pablo below!

Can you take us through a day in the life of working on a project like Wendell & Wild?

I worked on this project during the lockdown because of the COVID pandemic, so I was home all of the time. My days consisted of zooms with director Henry Selick, work, play with the kids, work, make dinner, watch a series on Netflix, work, and more work. While everyone was trying to figure out what to do with their free time, I was working like never before.

What was the inspiration behind the character designs in Wendell & Wild, and which character was the most challenging or interesting to develop?

Each character was inspired by different people or things. Wendell and Wild are caricatures of Keegan Michael Key, and Jordan Peele. The inspiration for Kat was a blend between the Afropunk movement and ancient African masks. Manberg could be an Israeli Marlon Brando.

What do you wish you had known when you first started out creating art that you know now?

How to be a character designer!!! This was my first time, so I had to learn in the process.

What is one habit you find yourself doing a lot as an artist?

I find myself looking for new things all the time, finding new directions to go in, and making mistakes.

How many unfinished/WIP pieces do you have? Care to share a sneak peek..?

Hundreds!!!!!

How has your style developed over the years?

At the beginning, my work was very sketchy—very rough. Then, I started using the computer, and everything was cleaner and more geometric. Now, I think I’m going back to more organic shapes.

What does your work set up look like?

It’s a mess. Please don’t ask me for pictures. I will never show it.

How has technology changed the way you approach your work?

It was a big change when I first started using the computer. But technology keeps growing, and I’m using the same old software as 20 years ago.

Who or what on Tumblr inspires you and why?

I appreciate the diversity that Tumblr has. Thousands and thousands of different art projects popping in front of your eyes. It’s like a brainstorm on your screen.

Thank you so much for stopping by, Pablo! Check out his work with Netflix’s Wendell & Wild over at @netflix!

#creator spotlight #artists on tumblr #pablo lobato #wendell and wild #netflix

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waitmyturtles · 6 months

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THE MORNING AFTER: ONLY FRIENDS, EPISODE 12 -- WHEN ONLY FRIENDS GOT 2GETHER-ED

TRIGGER WARNING: EVERYONE'S UP FOR CRITICISM HERE, JOJO AND TEAM, FORCEBOOK, FIRSTKHAO, ALL OF THEM. Read at your peril.

Well. Big deep breaths. I spent a lot of time on a show that had been marketed as not-a-BL, that ended as a BL. As a mom with not that much time to spend on watching and writing on dramas that were marketed incorrectly, I am feeling some kinda way (fucking pissed off).

So many people had amazing takes yesterday, on both sides of the aisle, regarding how the show ended (pro-ending here, anti-ending here, here, here, here, here, and here, and my dear friends @neuroticbookworm and @lurkingshan did heavy lifting on reblogs yesterday, so stroll on over to their blogs for more).

I want to set up a constellation of points to touch upon before I get into the meat of this post.

1) I referred quite a bit to my review of Theory of Love throughout my watch of Only Friends. In that review, I meditate on how the majority of the general global public judges sex, and casual sex, and people who have sex and/or casual sex. Generally speaking -- even in countries that makes as progressive art on sex and sexuality as Thailand and the United States -- that's a rule of thumb that I can rely on. Sex is judged by the majority of the global public.

2) I hate to say it. I cannot believe this happened. But I was right about monogamy being an ultimate theme in Only Friends. Not just a theme, fam. A theme by which people judged others for having open, casual, and consensual sex. Queer sex. Queer sex that is so very often had outside of the constraints of a monogamous relationship.

There was a reason why that holiday party was populated by couples, except for Boston, and Boston had to grovel to them in apology for their friendship. In Only Friends: monogamy wins, and casual queer sex loses.

3) Unfortunately, in part though an analysis of Cheum inside of last week that I accidentally started (ha), I see that points 1 and 2 come together to have created a fabric and framework of judgement that Only Friends ended on.

The last paragraph in this excellent post by @benkaaoi notes that the assumption by a large portion of the OF fandom that the creative choices that were made to end this series were designed to save the sanctity -- economic and otherwise -- of the shipped pairs of ForceBook and FirstKhao. This rings true to me.

Most of the BL shows that I've watched this year are older shows, through my Old GMMTV Challenge, in which I've been studying the changes over time that GMMTV and other Thai networks, have made towards their editorial choices, attitudes, and risks in producing BLs. I included Only Friends on this syllabus to note the show's impact as a kind of zeitgeist measure of how much heat and literary controversy GMMTV could take in airing increasingly progressive queer media -- even though Only Friends wasn't originally intended to be a BL.

To the theory that Only Friends needed to save the ships... and to another theory that the ships needed to be saved in the most moralistically judgmental way that I could have ever imagined (I was actually blown away by how heavy-handed this messaging was) -- I look to the ending of 2gether.

The majority general reaction to the ending of 2gether from within the existing BL fandom in 2020, was one of guffawed incredulousness. BrightWin/SarawatTine did not kiss in the first season of 2gether. It took Aof Noppharnach to come in to make Still 2gether to indicate that these two young men may have been at least vaguely sexual with each other throughout the course of their fictional relationship.

Yet, 2gether was a massive success. Many theorize it was because 2gether was the first big BL to air during the start of the COVID pandemic, and new BL fans had time to be at home and watch shows. But I posit in my 2gether/Still 2gether review that 2gether was also successful PRECISELY BECAUSE IT LACKED SEX (and by sex here, I mean plain old kissin').

As I stated earlier: sex is judged by the majority of the global public. With BrightWin NOT kissing, new fans who may have been implicitly and/or explicitly turned off by physical depictions of queer love could glom comfortably onto 2gether, and watch a BL without the "threat" of physical depictions of two men expressing their love to each other.

Subsequently, BrightWin gained massive social media followings, 2gether made GMMTV buckets of money, and GMMTV went -- well, hot diggity.

Many of us had impressions of Only Friends as...something else than it ended up being. Early on, Jojo Tichakorn, for instance, cited an early non-GMMTV, non-BL show, Gay OK Bangkok, that he and Aof Noppharnach worked on in 2016 and 2017, as being referential to Only Friends. Gay OK Bangkok centered on a group of queer friends, mostly cisgender men with Jennie Panhan in the mix, as they lived their lives and dated away in Bangkok.

I'll tell ya, GOKB didn't end the way Only Friends did, and I'll get into that more in a bit. I believe @benkaaoi, @lurkingshan, and others are absolutely right that the ultimate moralization on casual sex that this show depicted -- and how Only Friends punished Boston for his casual sex -- was an economic decision designed to reflect on the sanctity of monogamy that shipped couples like ForceBook and FirstKhao can sell back to their fans, fans that may have actually flocked to GMMTV shows from 2gether, and that demand a fantasy of devoted monogamy from both fictional characters and professional actors who are actually only just doing fan service to earn their livings. GMMTV has known for a long time how to make money, and money the network doth has made from Only Friends, and from shipping their ships around the world to service the growing fandom.

Casual sex in fiction, casual sex that breaks up the ships.... fucks that economic shit all up.

GMMTV has taught us our lesson, a lesson that we had already learned from the no-kissing rule of 2gether. Loose lips shall not sink ships at this network. And I think we lost a chance for a big and progressively artistic zeitgeist that GMMTV could have taken risks on, if it had the courage to risk depicting something truly novel.

I want to note quickly another framework that I dug into while I was watching this show. I sent a flare to @lurkingshan before I started watching the episode that I was going to, in part, watch this last episode from my personal Asian lens. I wanted to ask myself, as I was watching this disaster -- is there anything happening here that strikes my heart with fear and doom as an Asian?

Indeed, yes. I didn't expect it, but there was a dialogue on individualism vs. collectivism.

Boston. My dear, sweet Boston. Boston, named after a city so very distant from Bangkok.

Boston was punished by his group of friends because he didn't adhere to the rules of the group. His individualistic actions and preferences -- his preferences to "roll alone," as Nick stated, would not work in the frameworks of either monogamy with Nick and/or the group dynamics of the hostel crew.

The link I linked above is an amazing answer to an inquiry I posed to dear @absolutebl last year about how Asian social collectivist paradigms are depicted in BLs. In that question-and-answer dialogue, I asked ABL Sensei about the motif of queer revelations in BLs, and how seemingly straight characters respond in kind to being approached with a proposition to a queer dalliance and/or relationship. Generally speaking, the Asian collectivist mindset is to at least attempt to respond in kind to those kinds of propositions, as one's behavioral habits are designed to be responsive to others instinctually, as opposed to only servicing oneself. To only service oneself is not only seen as selfish, but also as disturbing to the general flow of public existence among one's societies. To respond in kind means that you will not cause potentially disturbing angst to another individual or group. (Collectivism explains why Asian countries performed much better with mask mandates during the pandemic than we in the States did.)

So -- Boston filming Ray, Boston sleeping with Top, created waves in the friend group. He was so severely punished for it.

And the show iterates, and repeats, Nick's preference that Boston move forward alone in Boston's life, because of Boston's tendencies to make decisions that suit himself. As an Asian-American, I mutter to myself: god forbid.

Nick will not commit to Boston -- and yet, will also condemn Boston for making his own decisions outside of the specter of a monogamy that does not exist between Nick and Boston, and that Boston will still get judged for, as referenced in the Sand/Nick conversation depicted above.

In other words: if Boston makes a decision for himself? That's punishable. Because it might hurt someone else's feelings -- a someone else that actually hasn't committed to Boston, and/or allowed Boston to commit himself to.

This group caught Boston in a moralistic and collectivist catch-22, the likes of which I just would have never expected from Jojo and team, even if the creative team faced the economic pressures of the GMMTV bigwigs. I'm sorry to state that I am beyond disappointed in this condemnation of individualism, sending Boston alone, judged, and friendless, off to New York City to live in, what, the immoral boundaries of Chelsea? Homey, get a fucking SWEET-ASS PAD, and FUCK THESE LOSERS, leave 'em BEHIND in your cloud of airplane gas emissions. See you at the La Quinta rooftop bar on 32nd Street, friendo.

Only Friends could have ended so much better. And I understand that in the Only Friends novel, published AFTER the script was finished, that it did end somewhat better for Boston (cc @jinitak, reporting from Thailand, thank you for this heads-up about the novel!).

So. Any-fucking-way. Do y'all know how Gay OK Bangkok ended?

Of many lovely endings for the various GOKB characters, an older main character, Aof, was dating a much younger character, Big. (CC to @neuroticbookworm for our quick convo on this last night.)

Aof was sex-averse. Big wanted lots of sex. Big slept with a lot of people. He loved Aof. Aof couldn't handle Big having sex with other people, and they broke up. It was a lovingly handled break-up, written just gorgeously by Aof Noppharnach.

After their break-up, I thought Big would disappear from the show. Instead. Instead! Nong Big, the little brother to the core group of queer friends that centered GOKB, was welcomed back with open arms. Arm, Pom, Sathang (played by an effervescent Jennie Panhan), and others toasted to Big, telling him he would always be family, no matter if him and his ex, Aof, had broken up. In the queer circles of friends that I'm a part of, exes are not as commonly excommunicated as they are in straight circles.

Only Friends could have been this. Something, a little something, like this.

Instead, Only Friends punished a friend for acting outside of the rules of their group.

Boston was punished because.... because Only Friends had to end up being a BL. For the sake of the moolah, for the sake of collectivism, for the sake of the shippers who'll buy tickets around the world to see ForceBook and FirstKhao perform fan service on stage.

I just didn't think that the show would be so brutal, on so many levels, in the end, to people who want to have casual sex. I don't think any of us expected this. But, it's over, it's done, and the piece has been said -- GMMTV said, no casual sex today, and here's how we actually feel about it.

I'll see you over on Gagaoolala for Playboyy. Deuces, OF.

(It was an absolute pleasure writing meta with the Ephemerality Squad -- onto the next one! @lurkingshan @neuroticbookworm @ranchthoughts @twig-tea @slayerkitty @thatgirl4815 @distant-screaming @clara-maybe-ontheroad)

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kuttblueberry · 10 months

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!!!OLD ART!!!

While I'm like, yeah this is some old stuff I still feel an attachment to these art pieces. By getting into Jojo my art improved significantly that year during the pandemic, so I can't help but still look at them fondly :]

#Caejose #Joseph Joestar #Caesar Zeppeli #Jjba #jojos bizarre adventure #Jojo #Battle tendency #Old art #My art

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alicenpai · 3 months

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edgeworth family & summer 🍉

i needed to go through an old file in my 2021 folder, and i stumbled upon this drawing. 2021 was an incredibly arduous year & resulted in a lot of art block, so i have a lot of unfinished drawings from then. the fact that i finished/drew anything at all is a feat honestly (and you guys should be proud too if you drew anything at all during the early months of the pandemic...!)

i quite like the look of jeluto's csp brush here to achieve a blocky effect...

i dont know what is UP with the bleed border here, did i plan to print this in a book? especially with how close greg's face is to the gutter??? *avgn voice* what was i thinking

the one time i ACTUALLY tried a bg and it backfired on me bc i never finished. im sorry to my 1st year layout teacher who gave me a 1 on 1 personal pep talk *dexter voice* i have failed you 😭😭 i think this drawing had a lot of potential, i just wouldn't go back to it bc it's 3 years old now. backgrounds are tough because i never really know how to approach them. do i line it? do i keep it a sketch and just paint over/under the sketch layer? do i lineless it?

i guess it depends. much to think about... i definitely want to challenge myself whenever i can, but not overwhelm myself with the need to "improve". gotta remember that art should be fun ♥.

#ace attorney #miles edgeworth #gregory edgeworth #my art #do people on twitter still like seeing wips/throwaway drawings/lower quality art? i feel like it's ..crickets over there..........#aa

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maxwellatoms · 1 year

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as a person on the inside of the animation industry, are there signs that we might be heading to another dark age of animation like the 1980s (e.g. animation is regulated to just glorified toy commercials or dark fantasy movies)?

"Kid Vid" regulations mean you can't advertise for stuff kids might buy from within a show anymore. Generally, you can't even have (say) Yogi Bear wearing a shirt with his best friend BooBoo's face on it as a gag, because "what if someone made that shirt one day?" Then it would be a retroactive ad, I guess? I'm not schooled in reverse-time law like studio lawyers, so I can't really say. Still, it's almost impossible to get even a fictional product into a kid's show these days, so I think the 1980s will probably stay in their timeline. At least in that way.

I do think a bit of a "Dark Age" is upon us, though. Maybe just a small one. Just a wee little snip of a Dark Age is all.

As far as I can glean, there are going to be precious few animated shows coming out over the next couple of years because not much was picked up during the pandemic. There are only a few things being developed here and there, and I'd wager that those properties "win" simply by existing in a competition-free environment. It takes a long time to produce animation, so almost anything greenlit right now is looking at a full year for turnaround. If you talk to people in the industry right now about jobs, they use words like "wastelend" and "ramen noodles".

Then you've got A.I., of course. The other night I was having dinner with a friend and I found myself in the A.I. conversation I always imagined myself having one day-- the one where we're talking with some immediacy about what the rest of our futures look like as artists, because we know they're not going to look the same ever again. It was pretty cool in a William Gibson sort of way, but I honestly didn't expect to be having that conversation for another decade. Turns out A.I. is becoming a problem right now.

I've already talked about the "art theft" angle, and that's not the problem I'm speaking about here. The problem I'm talking about is the "what do I do when what I do becomes trivial?" problem. If anyone can make a TV show or movie in a week or a day using AI assistance, who determines what gets seen? Networks, I'd imagine, would become redundant. You don't need to fork over $15 a month for Netflix if you can make Netflix-quality content yourself. And if you can't make anything decent even with A.I. assistance, surely someone on the internet can. There would be an incredible glut of content to choose from, so again... who decides what gets seen? An algorithm, probably. Who owns the algorithm?

Peak Dark Age will be the time period when the networks realize that they're going to die, and sink all of their resources into forcing their own survival on the rest of us. I imagine massive layoffs (you don't need multiple writers or artists or support staff when you've got the right tools.) Studios will want to own the tools (of course) and/or suppress the use of those tools by anyone who might want to cut into their profits. Expect to see "A.I. is just too dangerous for the public to utilize, so it needs to be left in the capable hands of corporations". Expect to see customizable Batmans, the ability to put your mom in any Star Wars, and the serialized fever-dreams of billionaires.

I think that's the next 5-10 years. And while that's happening, the tools will keep getting better and better until literally anyone can sit down, ask for an Oscar-worthy part-rom-com/part action movie starring a twenty-five year old Steve McQueen and and eighty year old Daniel Radcliffe rescuing Air Bud from the Death Star, and then watch the resulting film with some degree of satisfaction. There'll come a point when content of any visual, auditory, and written complexity can be generated on-the-fly, and the traditional limits of budgets and schedules will just be gone.

It's easy to spin off into fantasy and try to guess exactly what's coming. I could probably spin on that all day. But what I know is that the future of the animation industry won't look anything like what I've become accustomed to. And maybe that's okay because what I've become accustomed to looks nothing like the industry I started in. Things change, and you roll with the punches. Thanks to the self-fulfilling dystopian prophecy we find ourselves in, just about everyone on the planet is finding themselves rolling with the punches coming from the Powerful Greedy. That's less a "me problem" and more a planet-wide problem we should probably all sit down and hash out, like, yesterday.

My immediate problem as an artist (and yours if you're an artist too) is figuring out how to get your ideas seen in a world where the amount of entertainment content is exploding exponentially. Especially if you're the sort of artist who needs to eat and live somewhere.

So yeah, I think there's going to be just a little peppering of Dark Age coming up. But in every time of change, there are opportunities. Hey, I'm down for an animated Dark Fantasy movie. Let's do this!

#animation dark age #a.i. art #animation #the future #maxwell atoms

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for-a-longlongtime · 8 months

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On Dieter, Goya's Black Paintings, and Pedro on Talk Art

Alright y'all, it's Saturday evening, I have nothing better to do (I actually do but I don't feel like it), so welcome to my mini TED Talk about 'how to pay too much fucking attention to the Pedro cinematic universe'. None of this is new, and maybe everybody already knew about this, but I didn't... so here's a nerdy tangent courtesy of googling/wikipedia-ing.

I was reading a Dieter!fic (this one right here by @chaoticgeminate - go read her writing!) earlier today, which refers to the 'Saturn Devouring His Son' painting - that giant mural Dieter is working on in The Bubble:

(his brush isn't even touching the wall tho, ha)

The original 'Saturn' by Goya

The fic mentioned its part of 'The Black Paintings', so I got curious and started googling. I'm no art major or expert, so please allow me to just paraphraze the Wikipedia page. 'Saturn' is part of a group of 14 Goya paintings that are called Pinturas Negras/The Black Paintings. They "portray intense, haunting themes, reflective of both his fear of insanity and his bleak outlook on humanity" --this was late in Goya's life, and was connected to several illnesses he had experienced (and the fear of relapsing) and political turmoil in Spain at the time (post-Napolean war, changing Spanish government, etc.

Trivia fact 1: Goya actually made these paintings right on the walls of the Quinta del Sordo (so-called Deaf Man's villa) where he was staying -- so I love that Apatow had Dieter also paint right on the walls.

Trivia fact 2: while Goya was living in this villa, he actually became gravely ill (again) - not by a pandemic obviously, but it's hard to not link that loosely to the COVID period. He had never intended for these 'Black Paintings' to become public; "these paintings are as close to being hermetically private as any that have ever been produced in the history of Western art" (the murals were eventually transfered to canvas by other folks once he had moved out of the villa). Switching back to The Bubble -- I love how the tragic influence of Goya's illness(es) and art/things 'made at home away from the world, not intended for an audience' (so obviously, in a bubble) has that connection to the COVID experience and how many folks were suddenly homebound, along with the burden of illness in many ways (lord knows this all did a serious number on our mental health). In the movie, Dieter and the others do not want to go into isolation again, but that solitude is what eventually led him to painting on the walls in his room. This is not a 'grand discovery' of any kind, but I got a kick out of the parellels once I read up on it - and honestly makes me appreciate the movie a bit more, haha.

Not happy about another quarantine period.

Alright, more hyperfocusing after the cut:

Some googling led me to a post from last year by @nicolethered (gifs in this post are hers), and she included screencaps of the walls of Dieter's room (during that drug scene), which I hadn't even noticed while watching the movie. Upon taking a closer look, I noticed they're outtakes from other pieces of Goya's Black Paintings! I thought that was really cool, they sure worked on the details with that set (there's one more that's shown in a different shot but I can't exactly figure out which outtake that is):

First one is a mirror image from Two Old Men Eating Soup and the second one is basically Satan aka 'The Great He-Goat' from the Witches' Sabbath painting. Which IMO makes for fucking hilarious perfection a.k.a. trivia fact 3 -- because we all know about Dieter and his little emotional support goat, LOL. Excellent connection.

*insert sound bit from Hot Ones interview* : "Just let me love you!"

Anywaaay there's more. The Bubble was shot during Feb 22, 2021 to April 16, 2021, right? Pedro has spoken about how his input in shaping Dieter was mostly regarding his outfits (the Crocs, the robe, etc). But then I suddenly remember the Talk Art interview he had done in 2018, and how he namechecks 'The Dog' by Goya - and lo, guess which painting is actually part of the 14 Black Paintings? Yeap - the dog! So I checked the podcast and he was asked, 'if you could be any painting, what painting would you be?' by Russell. Here is the painting, and below it is what he said on Talk Art:

'The Drowning Dog' by Goya

"I think… it's a Goya. Yeah, old school. I think it's called 'Dog Buried in Sand' or something like that. It's so… I remember feeling it was such a visual representation of helplessness, in such a… come on, let's all admit that helplessness is a very recurring feeling for many of us, you know what I mean? When it comes to so many things. I guess… I was in Spain, in Madrid, and I was 20. And I went to the Goya museum. What's interesting about it is that the head of the dog is really quite small and sort of adorable, it looks like a stray mutt, and the painting - if I can remember it correctly - is very rectangular. There's so much above him, like the world just seems so big. It's quite incredible, isn't it? I know it's really sad, and sort of dark, and maybe I really like enjoy perceiving myself like..." (He gets interrupted by Russell, and then continues;) "Yeah, he's certainly not dying, it's sort of - it's a moment", (then interrupts himself with;) "Maybe he's totally dying, there's no way that dog is getting out of that. That dog is SO fucked. Anyway, that's the painting that represents my life". (All three of them burst out into laughing.)

If you're still reading this - I am impressed with your dedication to my silly little post, haha. Anyway, I just thought it was so striking that there basically is a straight line from the painting he mentioned in Talk Art to what Dieter is painting in the Bubble. Makes me wonder if perhaps he - or even Russell/Robert - had any input in that part of Dieter's backstory.

Thank you for attending my TED Talk on artistic analysis of Dieter Bravo during COVID, we now resume your regularly scheduled program for Saturday night. 🤪

(Have I been smoking because a local dispensary actually had 'Mando' bud? I sure as fuck have and I blame that for this post.)

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