#succession season 4 ep. 1

[david-box]

Liveblog (but a day late ish) of Succession season 4 ep. 1

3:38 love how Shiv didn't kiss Kendall also is very clearly lying lol. Rome is so focuking rude it's hilarious. Wtf is their new venture are they trying to make a new media outlet??? And shiv is talking to Tom

They're already on to her lmao. Glad she's semi honest. Ajjajahw. "he's not a real junkie" ahhaha. Kendall is saying "don't bail on me I don't want to put effort into this and not have you reciprocating". Shiv really is into it.

Ohhh my god Logan is visually miserable. Hows it feel old man you motherfucker. He is not dating that woman still Jesus Christ. I mean good for her probably, damn, but what the fuck. What happened to the Italian princess Greg?? He's so clean shaven... Also "friend assistant and advisor" lol. Girl when. Her face is funny as hell also I love these actors. Is it "random fuck". Greg's face lol.

Shiv don't sound bored. Kendall is into it. Tom looking out for Shiv?? You alwars awkward awkward man. Paying with one hand. You're not being fair Shiv rn but I don't blame you also low blow with the st. Paul remark. Best response Tom. She's really freaking out damn. THEYRE STILL HERE AKHAHAHHA. Rome the only chill one here hahahhaa. The investor advisors walked off in separate directions. Aaannnnd Greg's gf snitched lol. They're paranoid. They have every reason to be. Oh those are their investors.

Connor is dressed like a president and the gf is insiding. Connor how broke are you, you're always worried about money. Who was Logan's first wife? Why is the Left going after them? Are they buying Pierce? Also the audacity to call them rats... And the side piece is literally just standing there. Logan doesn't know what Tom looks like when he lies. His awkwardness helps though imagine asking your FIL for marriage AND business advice. Logan looks so annoyed Toms ass sucking but I honestly think it helps and as much as Logan is annoyed that's exactly where he wants him to be. Tom killing Logan 2023 hashtag or whatever. Who hosts a party and waits for food??? They fucking rich people.

Two parties vying for Pierce is going to make the Gojo buyout easier because the Waystair side won't bother squeezing Connor out. Unless they just try harder and he has to pay more to stay lol. Roman the most mature one here. Kendall is being stupid. Who was walking in the background also they're just sitting there huh those Saudis or whoever lolll. They do kinda have a point tho.

Tom doesn't even wait to cut Greg down a 6 inch. And she's fucking recording??? Greg is too excited for their marriage thing. Greg is delusional. I wouldn't switch gears personally but I'd be anxious telling the other guys to keep waiting if they're even still there.

Logan has the world and isn't even happy. Right in front of her "hoop de hoop". Nan's family is a matriarchal version of Logan and Shiv is correct he has no patience but Nan's gonna be busy ain't he. Nan is funny also. I love the way Shiv dresses casually ahahha good lines. Kendall might honestly be better to go but Nan's picky and pickier than what's good. Oh fuck off Kendall its about Dad. And Rome is scared of conflict and I don't blame him also it would be funny if they can do it.

Why is he going you're my pal. You're mybest pal. What the fuck does this mean. This poor man. People are exonomic units??? Bro. Is he really thinking about marriage??? Bro. Gee I wonder why

People turn against you everywhere you go. He's getting old and finally feeling it. Only person he trusts isn't even family and business only.

Ahhahahhahhaha I didn't think Roman would repeattt thatttt ahahha. She looks so hurt :-(. That means he didn't ask. You can pop it back in your mouth now lolll. Who they calling. Oh Logan? Pierce is making calls huh I bet.

Connor is so excited for the wedding and it's gonna be bad if he pushes for more money or if he pushes for less I bet. I love this man. Get a rapper and jetpacks. Dude. Bumfuts. Oh it's about the election cycle. Poor Willa. She's trying. She'll do a lot for him huh.

Greg has the worst timing and Tom low-key thinks it's funny. Greg. No. She's crunchy peanut butter. Dude. The guest bedroo?? Dude. And he's really worried ahahaha. I think he's more amused Greg is scared and is mayyybbee fucking fucking with him. He's making him tell him this is so gross hahahaha.

Is this fucking Marthas vineyard? Italian themed Waystair rocyo? Do they realize Logan can just wait on the sale so they won't be able to buy her out? The sex implications with the headache is great. I think she's going to use it as leverage. Oh butter my beanpole ahahha. Tom saving his ass and isn't even needing to lie, everyone DOES know. He's got some fucked up machinations. Greg is worse off saying something than not. He hasn't eaten. He gave him candy. And he's just holding it. Ahahhaha. Shhshhahha the thumbs up. Lmao. Poor Greg. Poor poor Greg. Think of something better. I would not be honest. He really doesn't think about things critically, like, ever.

Who's the garbder? They're showing more servants today.

Logan smiled? What the fuck?? Tom is so right but he also clearly thinks its both funny and disgusting. Greg don't push it. Greg. Dude. Ahahah. God be willing. Nan thinks smiles and warm energy is important and is complaining about spending money. Interesting. Roy might be better for that than the kids. She's ruthless. Shiv is better for this than anyone else. Oh, but it's not wrapped up. It's fine :-)) come drink with me :-)). Don't curse. Kendall. Dude. She wants to drink? Take the offer to drink... Kendall it is not robust. What happened to Maine? I'm getting a divorce ahahhahaa okay damn. Kendall if you're gonna call her on the numbers don't be shitty. That was clever Roman.

Nobody tells jokes any idea so they. I'm saying Carl, it's a big dry in here. Do you have any jokes? Frank, start, be funny, abhahahahahahahahahahaa roast me dhshshhshshshs skanshshshs absghshshshhsjsjsjsjsjsjsh he can't even do it. That's not funny. Greg is too honest. Ahahhahaa "where are your kids?" AhahhahahhahahhahahahahahhahahahhahahahhahahahahhahahahhahahahahhaahhHahaha. Not a good retort there Logan sorry. So it is the money. Logan's mood is much better when he has something to do. He's going to win. But that's cus I got spoiled.

Roman is correct. 8 is bad. Oh ton don't pussy foot. "This is dusgusting :-)" lol. call your wife. Nan likes the bidding and they can't do 8.5. Tom hiding his face. They do not have 9.5. they go to 10 they lose. 10 is a lot. They don't have 10. And he's being loud. He's outvoted. Ouch. Shiv is so happy. She's gonna cry. Tom said 12 she fucked herself.

Congratulations on saying the biggest number. Romans not sure and they left. That's when the Gojo falls through innit? Lol. Or the lack of a divorce. They still living in the same house? Cute dog. Swear it's different from last year, lol. They don't even look at the accounts anymore. Oh, they still here. Tom still kinda trying to connect, he really does love her. Who wouldn't? Where's the disgusting brothers thing and Shiv is really trying to hurt him and she's hurt from it. And he's right to fire right tf back. Is Mondale even let out at night? Shiv is really, really upset. She doesn't want to move on but now she has an excuse to force herself so this is when the deal gets fucked and now she's divorced for no reason. Shiv doesn't wanna talk because she arguably did worse. No responsibility. Tom won't fight her and a small part of her wishes he did. Tom what the fuck ahahhahaa. Dude. What the fuck. He's genuine . He isn't but he is. I think Shiv would be happy just having him be there. They're so sweet together. My little cats. They do love eachother :-(. If only they could make it work.

Is Logan watching court dv? Or his own news? He's mad the reporters ugly. Wild. They actually won. Oh, new number.

[broareweabouttoviberightnow]

roman, his girlfriend, and that damn waiter in season 1 episode 4 at the charity ball is like the more threatening version of me n my gf saw u from across the bar and we love ur vibe

[piratecaptainscaptainpirates]

I've been thinking about the pacing this season, and I think a lot of the issues with telling instead of showing we've been noticing come down to two big factors.

ALL the episodes this season are sticking very strictly to 30 minutes or less. Most of s1 did that, too, to be fair, but some of the most important episodes - 4, 8, and 10 - are all closer to 35 minutes. It doesn't sound like a lot but that's extra breathing room that we're not getting now, it means some things that were almost important enough to make the cut had to get chopped. We're probably missing a lot of little lines that would've rounded things out because the writers had to bank on us getting it from context.

I wouldn't be surprised if the writers went in expecting a 10 episode second season and Max hit them with cutting down to 8 eps, or they had to make the hard choice to save as much money as possible to increse the odds of getting renewed and decided to cut it to 8 themselves. Either way, I definitely think they'd planned on 10 episodes and because of that some things feel rushed; it's really starting to show in ep 7 and I think that's because they just haven't had the space to set things up they thought they'd get.

I really think that we're missing an episode here, and I'm pretty sure it would've gone between 5 and 6. That would've been the logical place to let Ed and Stede's relationship breathe a bit between their second kiss and having sex in 6, and it would've been the right spot to wrap up some lose plotlines (when did Ed get off probation? How does he feel about it? The crew seem so much more comfortable with him in 6, does that make him feel safer and more loved?) and forshadow what's coming up (literally just one line with Olu feeling bad about what happened with Zheng Yi Sao would've made that so much less jarring).

On the whole, I genuinely think the writing this season has been smart and efficient, but not to the same standard as season 1 (which, to be fair, was a very high standard, but still). And I really think the things that matter (Ed and Stede's arcs) are largely done very well.

But it has still been so obvious that they tried to make this season as cheap and palatable for Max to produce as possible. I really hope it pays off. I think it will - like I said, I think the writers always managed to keep sight of what matters, and that's Ed and Stede's story. And I'm grateful that, despite trying to make this show an easy one for Max to make the decision to renew, they didn't compromise on the queerness.

But it stings. You know any other show that's so successful and has not only such a devoted fanbase but such a deeply invested cast and crew would've been renewed a long damn time ago. I am so, so happy we got s2, and I've loved it, really I have, but I'm still a bit sad thinking about what we could've had.

[wildgeese98]

I wish I could dig up the post from very early on, I think when only a few eps were out, where someone was taking about the concepts of body, mind, and spirit in alchemy and how the three season of Protocol might follow this, with season 1 being body.

The op of that post explains it way better and in more detail and I think they were spot on. I wish I could remember who posted it.

Almost every episode so far has had some element that ties back to the physical body, with several hitting on the theme of accepting physical harm in exchange for something.

Ep. 1: a grotesque reanimated corpse and implied eye related body horror

Ep. 2: body dysmorphia, full on body horror, introduction of ink5oul who seems to effect people by tattooing their bodies

Ep. 3: body horror transformation

Ep. 4: violin that requires the player to maim himself or others in exchange for success.

Ep. 6: Needles, a monster who uses his body to kill

Ep. 8: the mirror world people in the tower trying to eat the guy alive and him jumping resulting in severe bodily harm

Ep. 9: much of the bad luck from the dice seemed to manifest as physical injury, especially the particularly gruesome death of dice guy's friend.

Ep. 11: moving old corpses, return of Ink5oul and tattoos with strange powers

Ep. 12: just a straight up massive amount of gore, as well as whatever body horror type deal Bonzo himself has going on.

Ep. 13: fiance bro severely physically harming himself for money.

The physical body seems to be a general theme running through the season so far. Again is wish I could find that post because it talked about how this might relate back to alchemy. If anyone remembers and can find that post send it to me please!

[fans4wga]

Where Are My Residuals? Actors/Writers Share Horror Stories On Picket Line, Social Media

"With all the strike talk about low pay, WGA and SAG-AFTRA members are starting to play a little show me yours and I’ll show you mine when it comes to their (paltry) residual checks.

Just about everyone has a story to share about how their residuals took a serious nose dive with the advent of new media. A recent story in The New Yorker about how actors on the once successful Orange is the New Black never enjoyed a financial windfall only exacerbated the angst felt by actors and writers these days.

Here’s a sampling of their stories:

With all the strike talk about low pay, WGA and SAG-AFTRA members are starting to play a little show me yours and I’ll show you mine when it comes to their (paltry) residual checks.

Just about everyone has a story to share about how their residuals took a serious nose dive with the advent of new media. A recent story in The New Yorker about how actors on the once successful Orange is the New Black never enjoyed a financial windfall only exacerbated the angst felt by actors and writers these days.

Here’s a sampling of their stories:

Jason Belleville (Home Economics): “I wrote on the first season of Cobra Kai, which is one of the biggest shows in Netflix history. I think I have more money in my pockets right now than any residuals I’ve seen from that. I was also was an executive producer of a show for Netflix called Sneakerheads, which was a smaller show, but it premiered No. 1 one in a bunch of countries for a little while. I have yet to see $1 from that. And I was a writer and EP on that, in comparison. Some of them [broadcast shows he worked on] you can still get some money from but obviously, it’s not like it was. But there’s always a steady trickle that comes in to remind you that you once worked, right? The [residual] formats for cable and for networks are clear and transparent. Whether they’re as much as we want them to be or not, they’re at least something that you can rely on. Whereas, some of these YouTube shows, these [shows licensed to] Netflix. This whole strike is about having money you can rely on through the years so you can pay for your mortgage, you can take care of your kids, as opposed to opening an envelope and going ‘oh, it’s a nickel this time.'”

Aisha Tyler (Criminal Minds, The Last Thing He Told Me): I do a show [Whose Line Is It Anyway] that is double and triple and quadruple pumped in the United States and maybe 50 countries, and I don’t see any residuals. I know it’s been very frustrating to me and my co-stars. It’s theft. We generate all of the creative output on that show. We are the writers, we are the performers, we do everything and we don’t get compensated for it. I already I already threw a couple of temper tantrums so you can see I’m a bit more sanguine about it now but we’ve been fighting about it for years and it’s just pure and simple. It is creative theft."

Mike Royce via Twitter (writer-producer, One Day At A Time, Men of a Certain Age): “Some people are wondering how residuals will work for this, and since One Day at a Time had the somewhat unique experience of running on streaming, cable AND network TV, I can tell you how it worked for me. In 2020, season 4 of ODAAT was on the Pop Network (cable). Later that year CBS repeated it, because it was the pandemic and they needed programming. I co-wrote an episode with Gloria Calderón Kellett so we split the residuals. For the Pop showings I got (lower) cable residuals, but the CBS repeat paid me half the network residual (exactly what it should be for a co-written episode) … For perspective, that one CBS repeat of one episode of ODAAT paid me roughly the same as I’ve been paid IN TOTAL for one episode of ODAAT streaming on Netflix 24/7 for the last 4-6 YEARS. In other words, 1 network repeat residual = 5 years of streaming residuals. This is why we’re on strike."

Sarah Sokolovic (Big Little Lies, Homeland): “I can tell you the money I made from residuals dropped in 2015 to less than half in 2018. And the funny thing about it was I was on two, Emmy-award winning shows. It’s not on the side of the individual producers, of course. It’s really about the studios making sure that the basic contract has things in place so that actors like me benefit from their work residually over time. There was a time when I was traveling out of the country, so I had to have my mail forwarded to my mother. She was helping me with deposits, physical checks at the time. She opens a check and she goes, ‘Sarah, it’s three cents’. I said yes. She said it actually costs more to mail it.'”

Marqui Jackson (showrunner, All American: Homecoming): “Just in general, residuals are not what they used to be. You can’t depend on residuals to even begin to sustain a living in between gigs. It’s just kind of like extra money because sometimes they’re as low as a couple of bucks. I don’t think there has been a wellspring of residuals from All American: Homecoming, even though we are doing well. It is hard to fight for the right number when you don’t know what the numbers [ratings] are. That’s part of why we’re fighting because if they’re making money off on our content we should be part of it.”

John Carroll Lynch (Trial of the Chicago 7, White House Plumbers): “I’ve noticed that anything I do for streaming is not even one-tenth of the residual stream that I got for something terrible that I did. I certainly got paid more for an episode of The Visitor, which is a show I did when I first got here and only lasted one season. I got higher residuals by about 100 percent to what I get when it [was licensed to] Netflix. At some level, we’re dealing with a different group of people who have union institutional memory. Disney as a corporation has institutional memory of using unions, often much to their chagrin. That’s true of Warner Bros. and Universal. Apple, Amazon, and Netflix all come from Silicon Valley which has no institutional memory of unions. It’s time to teach them what sharing needs to be.”

Kevin Sussman (The Big Bang Theory) “For me the big issue is residuals for streaming. I’ve known that it’s been untenable for years. I was surprised that it took this long for there to be a strike like this. I’ve seen residuals for my own shows absolutely tank once they go to streaming. I’m lucky because I was on The Big Bang Theory, which was on a broadcast network for years. Since it moved to streaming [like Max and Amazon Prime], it’s night and day. I don’t see how it’s possible for an upcoming actor these days to actually be able to make a living.”

Charlie Barnett (Men in Black 3, Russian Doll): I have those check stories of like $9 coming out. Twenty years ago, if I had the career that I have today, it would be entirely different. I can’t afford to buy a house. We just moved into a smaller place in order to start saving. It would be improper to say that I don’t have a certain amount of privilege in the position that I am. I have to recognize that. But us in these positions in of height, have all the ability to fight for the people who are under us, who are still climbing. Just the background deal that they said is historically different is bullshit. I started out in background. Are you going to tell me that I’m going to sell my image in perpetuity to a studio? It’s insane. What happens to my career for the rest of my life? It doesn’t provide any safety, any protection, any ability for growth for what this industry is, for what it’s always been. These contracts that we have built off of network television have stood for so long. We have not seen any growth through the streaming platforms. It’s kind of the Wild West. The conversation point in saying over and over again, the industry we are funding and continuing to put millions and millions of dollars into, is not profiting us. It’s BS. It’s also mirrored in the fact that half of these execs, their pay is raising continually, year and year. We have not seen growth on our side. And through the writers as well.”

[starkjoy]

i may write a longer post with more thoughts on season 4's tomgreg vs. tomshiv dynamic, but for now i'll get the below off my chest:

i'm disappointed by shiv's pregnancy storyline. i'm surprised jesse went there, and i wonder if sarah's own pregnancy impacted his decision knowing he often incorporates real-life dynamics into the show. i find pregnancy arcs uninspired in most cases, but it's particularly eye-roll-worthy for shiv. i hope he doesn't retcon seasons of tomshiv failmarriage abuse by having them reconnect over their baby or something just as predictably trite. it's succession, so i have faith jesse and the writers will veer down a more original path, but they're also responsible for comfrey and "straight" greg, so. yeah. we shall see.

as much as i've been loving tomgreg's chemistry so far, i find it odd they've regressed to mostly comic relief after season 3 shifted their relationship into a deeper space. tom's plane phonecall showed us a hint of the bond we've grown accustomed to, and here's to hoping there's more to come on that front. as much as i've been pleasantly surprised by greg's newfound comfortability around tom (and the intense homoeroticism of whatever the fuck was going on in ep 1), i've found the lack of energy from tom's side curious...and a tad disappointing. understandably he has a lot on his mind given the divorce and now logan, but i'm surprised he hasn't tried to seek out greg more often as his emotional crutch. i would have loved one earnest conversation with him about the divorce. maybe it's coming, but tom's focus on shiv over greg has felt a bit like narrative whiplash following last season's outcome.

i feel like the writers are trying to get me to root for tomshiv, but i can't. i haven't forgotten what they've done to each other. nothing can fix what's broken, not even a baby. please not the baby, god.

[simply-whump]

My Lovely Liar (소용없어 거짓말) - Whump List

Whumpee : Kim Do Ha played by Hwang Min Hyun

Synopsis : Mok Sol Hee is a young woman with an extraordinary and supernatural ability: she is able to “hear” other people’s lies, no matter how hard they try to obfuscate the truth. She meets a successful music producer named Kim Do Ha. Kim Do Ha has become embroiled in a murder case, and has gone into hiding…in the residence next door to Mok Sol Hee. (MDL)

Genres : Mystery, Comedy, Romance, Supernatural

Warning! Possible spoilers below!

Kim Do Ha

Ep 1 : Grabbed by the collar, punched three times —Anxious, leaning on his car, breathing heavily — Wakes up from a nightmare, has a bottle of anxiety pills next to him — Someone takes a picture of him, remembers bad memories, heavy breathing — Hand slightly shaking — Grabbed, chased, restrained, wrongly accused 

Ep 2 : Scar on his back shown — Cola sprayed at his face on purpose  — Sitting on the ground drunk

Ep 3 : Unsteady, concern for him — Half-panicked after being around many paparazzis flashing their cameras, covering his eyes

Ep 4 : (Flashback) Punched in the face, tripped, falls to the ground, beaten — (Present) Worried for someone, remembering traumatic memories, panic attack, collapses on one knee, concern for him, hyperventilating — Pale, weak, sweating, concern for him, remembering traumatic memories, worried for someone — Still pale, looking sick, falls asleep, blanket put over him (Gif Set) — Still asleep, having a nightmare

Ep 5 : (Flashback) Interrogated, anxious — (Present) Having a nightmare, wakes up, weak, exhausted, feverish, concern for him — Found passed out/sleeping at the side of his bed (he took sleeping pills), whimpering, put to bed, feverish, looked after (Gif Set) — Hands shaking — Distancing himself from others

Ep 6 : Lightly slapped (comedic)

Ep 7 : None

Ep 8 : Hot tea spilled on his hand, ice put on his hand— (Flashback) Grabbed by the collar, threatened with a knife, stabbed in the shoulder

Ep 9 : (Flashback) Arrested, handcuffed, interrogated — (Present) Crying, hugged — Punched, falls to the ground, grabbed by the collar, almost stabbed, saved

Ep 10 : Face bruised, treated 

Ep 11 : Startled (Comedic) — Interrogated at the police station

Ep 12 : Attacked with a knife, struggling, punched, choked — Blaming himself — Past exposed to the public — Water thrown at him

Ep 13 : None

Ep 14 : Crying — Learns a shocking truth, teary-eyed — Shocked, heavy breathing, worried for someone

Ep 15-16 : None

If you want another whumpy show with Hwang Min Hyun, I suggest Alchemy of Souls! There are great Whump Lists for season 1 and 2 done by @thewhumpyrabbit

>> More Whump List

[wingsoverlagos]

The Evolving Story of Kim Bennett, Pt. 1: Before Lewisohn

0. Mark Lewisohn’s Star Witness 1. An Introduction and Primer 2. The Evolving Story of Kim Bennett, Pt. 1: Before Lewisohn >You Are Here< 3. The Classic™ Contract Story, and Why Lewisohn Distrusts It 4. The Evolving Story of Kim Bennett, Pt. 2: Tune In 5. Lewisohn’s Other Sources 6. Lewisohn’s Portrayal of Kim Bennett & George Martin

After two posts and as many months of build-up, it’s finally time to look at Kim Bennett’s presence in Beatles history before Mark Lewisohn’s Tune In. As a refresher, Kim Bennett was a music plugger involved in a brief chapter of the Beatles' story, who Lewisohn draws on as a crucial witness to ~debunk the myth~ of how the Beatles’ first landed their recording contract with Parlophone. I’ve previously shown an example of Kim Bennett’s presence in Beatledom here, in an issue of Beatles Book Monthly, just a few pages before the name of a young Mark Lewisohn. I’ve also discussed some of the ways Lewisohn slants a story when he’s set on overturning a classic narrative – you can find that here.

Section 1: Mark Lewisohn on Kim Bennett

Part of the appeal of Mark Lewisohn’s Beatles-signing scoop is Kim Bennett’s oft-stated absence from the Beatles narrative. Lewisohn found and memorialized a man who had been marginalized from the Beatles’ story, a hero integral to their success who was erased from history due to his inconvenience to the legacy of a certain acclaimed producer. Not only has Lewisohn turned a classic narrative upside down, he’s righted the wrong done to Kim Bennett by the powers that be--or so he would have us believe. The importance of Bennett’s testimony and his exclusivity to Tune In is a crucial element of Lewisohn’s myth-building around himself and his work. Let’s take a look at a few examples:

In a 2014 interview with Dierdre Kelly, Lewisohn calls his revised version of the Beatles’ recording contract “probably one of the biggest things in the book.” As for how he came to that version of events, Lewisohn says, “It all fell into place when I met a man called Kim Bennett…without whose incredibly tenacious efforts—and he was never named in any book—we would never have heard of the Beatles. He literally was the story’s hero and he tells us a very different story.” [Emphasis mine]

From Allan Kozinn’s 2013 interview with Lewisohn, we get the following exchange:

Kozinn describes Bennett as “someone who had never been interviewed,” and Lewisohn not only doesn’t correct him, he furthers that idea by saying Bennett “had been trying for years to get people to listen to his story…and nobody wanted to know.”

As a final example, we’ll return to the episode of Nothing Is Real (season 7, ep. 7) that I excerpted in my first post on Bennett.

A partial transcript [emphasis mine]:

“I approached him, and he was so happy that I got in touch with him because he knew the true story of how the Beatles came to be signed to EMI and he knew that it was his efforts that had made the difference, and without him, it wouldn’t have happened. The Beatles possibly may never have happened without Kim Bennett, and he’d been trying to tell people for years, and people didn’t want to know.”

“He was a very frustrated man because no one had ever paid him the attention that he felt was his due.”

“…and if I hadn’t of got to him when we did, we wouldn’t know him, and we would always have that bizarre gap of how they got signed by someone who never met them.”

Again and again, Lewisohn tells us that Kim Bennett had been trying desperately for years to gain recognition for his action, and everyone ignored him--everyone but Mark Lewisohn. This is decidedly untrue. He has been mentioned in multiple Beatles publications by major names in Beatles history, which you can find in Section 3. But first!

Section 2: Biographical & Background Info

Here he is, the man of the hour, Kim Bennett - and I bet you thought that was the Barry Sisters! On the left, we see Kim Bennett's floating head from his days as a singer, and on the right, we see him fraternizing with Russ Conway circa 1967 - Bennett is in profile on the right. I've dug up some biographical information on the enigmatic Kim Bennett, and I wanted to share it here along with a little context about music publishing to make the accounts shared in the next section make mroe sense. If you're confident in your early-1960s music industry knowledge and know who Kim Bennett and Sid Colman are, scroll right along to Section 3.

I've cited Lewisohn a few times in this section when other sources weren't available. Every time I cite him, I put a quarter in the "Risky Citations" jar - once I've filled it a few hundred times, I'll take it to CoinStar and use the money to buy a copy of Fifty Years Adrift.

The Parlophone Contract Story is a story with many bit parts, most of whom won't appear until my next post--there will even be a figure! I'll assume you know the Beatles, Brian Epstein, and George Martin, the man who would become the Beatles' main producer. In the parlance of the times, George Martin was the A&R man (artistes and repertoire) of EMI's Parlophone label. As the A&R man at Parlophone, George M. has the head of the label, with duties including scouting artists, matching his stable of artists with songs, and overseeing the recording process.

Alongside record labels like Parlophone, Columbia, and HMV, EMI had other companies under its corporate umbrella. One of these companies was the music publisher, Ardmore & Beechwood (A&B).

Music publishers manage song copyrights; they make money by marketing and disseminating those songs. In the early 20th century, the big moneymaker for music publishers was sheet music sales. By the 1950s and 60s a sea change was in progress as record sales grew and eventually eclipsed the sale of sheet music. Just as the medium through which songs were sold changed, so did the way in which music publishers sold those songs: originally, song pluggers from publishing companies would pitch their songs to orchestras, brass bands, and dance halls, seeking out groups who performed live music, so that their audiences would go out and buy sheet music of the songs they’d heard (Southall & Perry 2006, p.ix-xii). With the rise of records, song pluggers would pitch their songs directly to A&R men; they would visit the A&R men in their office and sing the songs they had on offer, accompanying themselves on the piano while they did (Martin & Hornsby 1979, p.48). They could then market those records to sell their songs. If a song was recorded by multiple artists, as was often the case, the song publisher benefited regardless of which version of a song played. This set their interests slightly apart from record producers, who only benefited if their version of a song sold.

Let's illustrate with a Lennon-McCartney original: the music publisher for Lennon-McCartney's music, Northern Songs, would profit from both the Rolling Stones version of 'I Wanna Be Your Man' and the Beatles version, but the record companies would only benefit from the version they released - the Stones version meant money in Decca's pocket, while the Beatles version benefited EMI.

(I'm sure their are some additional business/contract complexities that come into play, but I believe the general principle is correct)

EMI Music Publishing would one day be a Big Fucking Deal, but when the Beatles joined in 1962, it didn't exist yet. Publishing was a minor interest for the company, and they had only a small publishing presence in the form of A&B, which opened in 1958 (Martland 1997, p.262). A&B was set up to handle the publishing interests of  two American companies, Ardmore Music Corp. and Beechwood Music Corp., both of which were owned by Capitol Records (Cash Box 1958 Jul 26, p.34). Capitol Records had been purchased by EMI in 1955 (Southall 2009, p.25), and A&B was set up a few years later to handle their catalogue in the U.K., while also providing and option to publish through EMI for any interested songwriters. This was done at the behest of EMI Chairman Sir Joseph Lockwood (Southall 2006, p.9-10).

From its genesis, veteran music publisher Sid Colman (1905-65) served as general manager of Ardmore & Beechwood (Cash Box 1958 Jul 26, p.34). He would serve in this role until his untimely death in April 1965 (Cash Box 1965 Apr 24, p.47). You will encounter multiple spellings of his name, but Lewisohn assures us that Sid Colman (rather than Syd Coleman) is correct (2013, p.856). Kim Bennett served as his assistant and music plugger.

Born Thomas Whippey (1931-2004) (Lewisohn 2013), he became a Decca recording artist in 1954 under the name Kim Bennett. He recorded six singles, none of which charted. I haven’t found any of his work online, but for an idea of the type of music he released, here are other versions of two songs he put out: ‘Softly, Softly’ by Ruby Murray and ‘The Kentuckian Song’ by Eddy Arnold. He maintained a day job as an office worker until 1955, then briefly worked as a musician full time. He worked a season at Butlin’s (not the same location as Ringo), played some clubs, and toured with the Ambrose orchestra, but his career as a singer had petered out by late 1956. As Don Wicks puts it “[h]e was a victim of the growing rock and roll industry no longer interested in a soft pleasant vocal style.” (Wicks 1996 pt.1)

He resumed work at a toy warehouse, (Wicks 1996 pt.1) but later took a job in music publishing with B. Feldman & Co. Ltd. (Cash Box 1967 Jul 22 p.65). He began work with Ardmore & Beechwood no sooner than August 1958. He was still with Ardmore & Beechwood as of June 1965 (Cash Box 1965 Jun 5 p.55). By July 1967, he had moved to South Africa, where he ran a newly launched publishing company, Francis Day (S.A.) (Pty), which was established to manage copyrights of B. Feldman & Co. Ltd., Francis Day & Hunter, and Robbins (Cash Box 1967 Jul 22 p.65).

According to Lewisohn, Bennett spent his later years in Shropshire in “quite humble circumstances (Nothing Is Real, Season 7 Ep. 7, 29:30). He was interviewed by Lewisohn on July 27-28, 2003 (Lewisohn 2013 p.869). He died in 2004.

While biographical information on Bennett between 1967 and 2003 is slim (perhaps nonexistent), his role in the Beatles story received several mentions in print in those intervening decades.

Section 3: Kim Bennett in Beatles History

As I highlighted in my first post in this series, Kim Bennett was quoted in Beatles Book Monthly Issue 70, but that isn't his earliest appearance in the Beatles lore - he first appears in an earlier issue of BBM, issue 13, published in Augst 1964, p.22-3. He's mentioned by BBC DJ Ted King in relation to his work plugging 'Love Me Do'.

To summarize: Kim Bennett went to lunch with Ted King and pitched “Love Me Do” to him. King wasn’t fond of the record, but Bennett’s enthusiasm convinced King to play it on “Twelve O’Clock Spin.”

Our next Bennett sighting (and the first to use Bennett as a source) is the aforementioned BBM Issue 70, p.8, published May 1969.

This is part of a piece titled “When did you Switch On?” whose author is unattributed. Whoever they are spoke to Kim Bennett directly. Here’s what we can gather from this piece:

Kim Bennett was Sid Colman’s assistant

Colman “had quite a job to persuade George Martin to see the Beatles”

Bennett, presumably, was in the room when Colman “first heard the Beatles’ tapes”, since Bennett is able to relate what Sid Colman said on the matter

Colman decided to call Martin because he did not have a similar-sounding pop group, while the other EMI A&R men did

Bennett next crops up in several of Bill Harry's books, starting in 1982. Bill Harry is the founder of Mersey Beat and was an art school chum of John and Stu's; he's written a number of reference books about the Beatles, including The Beatles Encyclopedia, The John Lennon Encyclopedia, and The Book of Beatle Lists, among many others. Four of his books mention Bennett. The information in these books seems to be pulled from the two BBM articles highlighted above - with the possible exception of the last one. The books where Bennett is mentioned include:

The Beatles Who’s Who (1982): An encyclopedia of Beatle people. Bennett does not get his own entry, but he is mentioned in the entry on Sid Colman (p.84). Bennett is said to be Colman’s assistant, and his involvement in “Love Me Do” promotions is noted without detail.

The Ultimate Beatles Encyclopedia (1992): Bennett now gets his own entry (p.84-5). Again, this appears to draw from the Beatles Book articles. More detail is included here than in The Beatles Who’s Who. Bennett is mentioned again in Sid Colman’s entry (p.168). There’s a reference to Colman and Bennett liking the demos for “Love of the Loved” and “Hello Little Girl”, which is not mentioned in BBM above. However, these songs were referenced in relation to Sid Colman in The Beatles Who’s Who, so I think Bennett is just lumped in with Colman here.

Also in the Colman entry, Harry points out two conflicting accounts of the promotion of “Love Me Do.” George Martin wrote in his memoir that Ardmore & Beechwood did “virtually nothing” to promote the song, but Ted King, in BBM Issue 13, said it was Kim Bennett who got him to play the song on “Twelve O’Clock Spin.” This apparent contradiction will be discussed in detail when we deal with Tune In’s version of events, but for now, I’ll say this: it can be true that Kim Bennett did his best to promote 'Love Me Do' and acheived limited success while still falling short of the expectations of George Martin (and, crucially, Brian Epstein).

The Encyclopedia of Beatles People (1997): Bennett has a brief entry (p.45) and is mentioned in Sid Colman’s entry (p.92-93.) The Sid Colman entry includes this quote from Sir Joseph Lockwood about the Beatles’ publishing rights “I don’t blame Sid Coleman [sic], because he published the first two songs without a contract. He wasn’t getting any support from either the record producers or the solicitors.” This quote appears in Ray Coleman’s The Man Who Made The Beatles (1989), seemingly from an interview conducted by Coleman while researching that book.

The Ultimate Beatles Encyclopedia (Revised & Updated, 2001): The entry for Kim Bennett includes the entirety of the entry in the 1992 version with an additional two paragraphs (p.135-6). These paragraphs are emotionally charged and add information not available in the two articles from BBM. After detailing Bennett's involvement in 'Love Me Do' promo, Bill Harry writes,

“It’s ironic that the two people who were so enthusiastic about the Beatles and helped to get them with EMI in the first place were to have George Martin shut the door in their face by suggesting to Brian Epstein that he see Dick James about being their publisher. For one thing, it was Coleman [sic] who, after talking to Brian realized that the only A&R man at EMI who hadn’t rejected the Beatles was George Martin. Apparently, Coleman had a hard job persuading Martin to see Epstein. Even then, Martin wasn’t initially impressed by their sound. He only agreed to a test session at EMI’s No. 3 studio four weeks later, then another three months elapsed before the release of their first single. EMI and Martin weren’t even confident enough to give the Beatles a plug rating. Artists such as Cliff Richard received an ‘A’ plug on EMI’s Radio Luxembourg shows. The lowest was ‘B2’. The Beatles weren’t even given this low plug, EMI gave ‘Love Me Do’ a nil rating. “So Bennett had a hard job pushing the record without EMI using their clout. As a result, Epstein refused Ardmore & Beechwood the future Beatles publishing. Had he done so, the Beatles might have retained the rights to their own songs, and Coleman might have received some acknowledgment for having placed the Beatles into his hands in the first place.”

It’s hard to say whether or not additional information from Kim Bennett made it into this article. Much of this could be pulled from other sources and presented through a negative lens stemming from Dick James’ involvement in the Northern Songs debacle. There are, however, two elements here that are consistent with Bennett’s later accounts that might suggest that he spoke with Bill Harry: (1) the phrasing that George Martin “shut the door” in the face of A&B, rather than Brian Epstein actively seeking out a different publisher and going to George for advice, and (2) the blame placed on George Martin for the Beatles low plug rating. Both new elements, and both inconsistent with certain other versions of events.

In Philip Norman's revised Shout! (2003), there is unambiguous evidence of Kim Bennett's participation.

In the original 1981 release, Sid Colman and A&B are mentioned, but not Bennett; in the revised edition, not only is Kim Bennett present, but the information surrounding him is clearly more than the familiar, regurgitated tale found in Beatles Book Monthly.

Norman doesn’t give citations, so I can’t say conclusively how he got this new information. There may be an interview with Kim Bennett published somewhere that I haven’t come across, though I’m inclined to believe either Norman or one of his research assistants spoke to Kim Bennett directly. The phrase “According to Bennett” appears a few times in Shout! (2003), which reads as if the information is coming directly from the horse’s mouth, so to speak.

Since the revised edition was published in the same year as Lewisohn’s interview with Kim Bennett, I considered that Lewisohn might have shared his information with Norman, and Norman may have rushed an edit. I looked for the exact publication date for the revised edition of Shout!—it was weirdly hard to find—and that put to bed any ideas of Norman cribbing off of Lewisohn’s notes: Pan Macmillan Australia gives the release date as January 9, 2003, several months before Lewisohn interviewed Bennett.

The Contract Story, as presented in the revised Shout! starts in the usual way: Brian gets an acetate made from the Beatles’ demo tape, the technician likes it and puts Brian in touch with Sid Colman, who works for A&B upstairs. Colman is interested in publishing the original Lennon-McCartney numbers. Then Kim Bennett enters the picture (Norman 2003, p.164-5):

Bennett likes the disc, too, and suggests they record the Beatles independently in the for-hire studio below their Oxford Street office. Colman takes Bennett’s idea to Len Wood, managing director at EMI, but it goes against protocol, and Wood won’t allow it. Only then does Colman put Brian in touch with George Martin. Colman and Brian have a “gentlemen’s agreement” that A&B will get the Lennon-McCartney publishing rights if they get a contract with George M.

It’s a short passage, but there are already a few problems here. First, the timeline doesn’t make sense. Most early accounts have Brian’s meeting with George M. occurring the day after Sid Colman hears the tapes (see A Cellarful of Noise, The Beatles (1968), and All You Need Is Ears). The largest gap is given by Lewisohn’s Chronicle (p.53-55), in which Epstein is said to have met Colman “around February 8” (a Thursday), with the Epstein-Martin meeting occurring on Tuesday, February 13. The Epstein-Martin meeting date seems to be pulled from George Martin’s date book (he has a meeting with a “Bernard Epstein” on that date), but I’m unsure what brought Lewisohn to the February 8 conclusion. Based on other information in the Chronicle, my best guess is either a meeting between Colman and Martin on February 9th, or a letter sent to Decca by Epstein on February 10th stating he had secured a recording contract. Whether or not he had met with Colman, Epstein certainly hadn’t secured a recording contract on that date – it was purely bluster, a kiss-off to Decca.

Regardless, even if Epstein met Colman on February 8th rather than February 12th, that’s a narrow window of time for Bennett’s story to occur. Rather than trying to place the group with an A&R man at EMI, Colman does nothing until his assistant suggests they record the Beatles themselves. This is unorthodox. A large part of the job of music publishers, as I’ve said above, is to pitch songs to A&R men to get them recorded. In this case, they’d be pitching a group along with the songs, but it seems strange that they wouldn’t try to work their contacts at all before making the jump to DIY. Still, let’s assume that happens. Colman takes the idea to Len Wood. Len Wood’s office at the time was probably at EMI House in Manchester Square, which isn’t far from A&B’s Oxford Street location, so assuming Len Wood had an open schedule, and Colman felt a high enough degree of urgency to immediately take Bennett’s idea to the managing director, I suppose it’s possible that Colman took Bennett’s idea to Wood, was immediately shut down, and then called Epstein back in to set up a meeting with George Martin if we assume Epstein’s first meeting with Colman happened on the 8th rather than the 11th. Still, it seems odd to me that these events wouldn’t turn up in Epstein’s account – getting shut down by the managing director of EMI Records is sort of a big deal, and would add to the drama of the everyone-rejected-them-but-George-Martin-story.

The other big issue here is that this version of events contradicts Bennett’s account from 1969. Rather than simply overhearing Colman’s conversation with Epstein and subsequent persuasion of George Martin, Bennett now has a more active, central role. He’s not driving the story, but he now gives a version of events in which he’s one of the Beatles’ earliest champions. I don’t think it’s unfair to consider that Bennett’s increased involvement in the story might indicate an interest in being more than a footnote in Beatles’ history.

Bennett is mentioned again during the promotions of ‘Love Me Do’ (p.182-3):

Bennett secures some airtime on Two-Way Family Favourites by “repeatedly nagging a radio producer friend.” This is not the same radio show mentioned in Beatles Book Monthly Issue 13 (above), but it’s in keeping with Bennett’s role as a plugger—and that’s where Bennett’s involvement ends in Shout! (2003). There’s one more tantalizing mention of Brian’s “gentlemen’s agreement” with Colman, which he breaks due to his dissatisfaction with A&B, turning to George Martin for publishing advice.

There you have it: Kim Bennett’s evolving story pre-Tune In. It starts as a bit of extra detail that fits inside the greater framework of the Beatles’ Contract Saga, and, after thirty years, morphs into something that contradicts Bennett’s earlier version and the many other accounts of the same events. Things will get even stickier once we get to Tune In. But first...

Section 4: Why Does It Matter?

I can think of three explanations for why Lewisohn pitched Bennett as an unheard witness when he had, in fact, gone on the record before, and none of these explanations helps the credibility of the story.

Explanation 1: Neither Lewisohn nor Bennett knew about Bennett’s previous statements on the matter. This would be extremely damning for Bennett’s reliability, as it would mean he had forgotten both his 1960s statement to Beatles Book Monthly (plausible) as well as the interview that led to the information included in Shout! (concerning). This scenario also requires Lewisohn to be unaware of the above Bennett appearances, which doesn’t reflect well on his abilities as a researcher. If you find someone who you think has never been on record, you might want to at least look him up in the glossary of books by major Beatle authors.

Explanation 2: Bennett knew; Lewisohn didn’t. Perhaps Kim Bennett either neglected to inform Lewisohn of his past interviews, or outright lied to him on the matter. Lewisohn says that Bennett is “known for a dogged persistency” (Lewisohn 2013, p.571), has said that Bennett “just picks something up and he will not let it go,” (Let It Roll 2020, ~25:50), that he is “very insistent about things” and by the time Lewisohn interviewed him, “was a very frustrated man because no one had ever paid him the attention that he felt was his due.” (Nothing Is Real S7Ep7) Could this tenacity and feeling of entitlement to a part of the Beatles’ legacy have led Bennett to present himself as a bigger scoop than he really was? Might he have sold Lewisohn a tale of exclusivity and, perhaps, a version of the Contract Story more salacious and headline-grabbing than the truth?

Again, this explanation also hinges on the idea that Lewisohn was in the dark about Bennett’s prior interview(s), which is a huge oversight, but not as damning as explanation 3.

Explanation 3: Lewisohn knew and lied. Whether Bennett told Lewisohn outright that he had been interviewed in the past or if Lewisohn came upon that information in his research, Lewisohn chose to portray his interview with Bennett as exclusive. Perhaps this was purely to make his “scoop” seem juicier. Perhaps he was reluctant to give Philip Norman credit for finding Bennett first – there seems to be no love lost between Lewisohn and his former employer. Or perhaps Lewisohn knew that Bennett’s prior accounts made the story told in Tune In less credible. The early anecdote related in BBM already conflicted with the revised version in Shout! – if Bennett’s account, as related in Tune In, presented further inconsistencies, it would undermine Lewisohn’s major finding.

I’ll close with a segment from one of the better Lewisohn interviews I’ve heard. It’s from Ken Michaels’ radio show ‘Every Little Thing’, conducted in ~2013, and it’s one of the rare instances where an interviewer gives Lewisohn any pushback or asks follow-up questions regarding some of his more explosive claims. It’s an uncomfortable listen – Ken Michaels even appeared in the comments of this YouTube channel to counter claims that he has beef with Lewisohn– but satisfying to hear some meaningful questions when so many people are content to simply deify Lewisohn. Here's the relevant exchange:

KM: Aren’t there also problems with certain people that you’ve interviewed that have played some part in Beatle history that want to really elevate their status?

ML: Oh yeah, oh yeah, and it’s up to authors to ensure that they don’t get what they want. And there are unfortunately too many authors who just very happily take the stuff they’re given without challenging it. You’ve got to challenge all these things. And unless something completely fits into the framework of the story, you can’t use it.

Next time, on Days of Our Lies: the Classic Version of the Contract Story, and why Mark Lewisohn is so intent on debunking it. After that, we’ll finally look at the Contract Story as portrayed in Tune In.

Sources:

Cockcroft S, Carty J. 2023 Feb 14 [conducted 2023 Jan]. Nothing Is Real – Season 7 Episode 7 – Mark Lewisohn Returns [podcast, season 7, episode 7]. Nothing Is Real. 1:17:15. Available from: https://open.spotify.com/episode/5mtbNIreAY0Car6VASuZGV?si=b1e322e001a347e3

Coleman R. 1989. The Man Who Made the Beatles: An Intimate Biography of Brian Epstein. New York (NY): McGraw-Hill Publishing Company. 400p. Accessed online 2024 Mar 19. Available from: https://archive.org/details/manwhomadebeatle00cole/mode/2up

Kelly D. 2014 Jul 30. Setting the Record Straight: Interview with Beatles biographer Mark Lewisohn. Critics at Large. Accessed 2024 Mar 4. Available online: https://www.criticsatlarge.ca/2014/07/setting-record-straight-interview-with.html

Kozinn A. 2013 Dec 27. Tune In, and Turn On the Reading Light. ArtsBeat: New York Times Blog [accessed 2024 Feb 6]. Available from: https://archive.nytimes.com/artsbeat.blogs.nytimes.com/2013/12/27/tune-in-and-turn-on-the-reading-light/?_r=0

Lewisohn M. 1992. The Complete Beatles Chronicle. New York(NY): Barnes & Noble Books. 365p. Accessed online 2024 Mar 14. Available from: https://archive.org/details/completebeatlesc0000lewi/mode/2up

Lewisohn M. 2013. 1st U.S. Edition. The Beatles: All These Years Vol. 1: Tune In. New York (NY): Crown Archetype. 932p.

Lichtman I [editor]. 1965 Apr 24. Great Britain. Cash Box XXVI(40); International Section p.45. Accessed online 2024 Mar 18. Available from: https://archive.org/details/cashbox26unse_31/page/44/mode/2up

Lichtman I [editor]. 1965 Jun 5. Great Britain. Cash Box Vol.XXVI(46); International Section p.55. Accessed online 2024 Mar 13. Available from: https://archive.org/details/cashbox26unse_37/mode/2up

Lichtman I [editor]. 1965 Jul 24. Great Britain. Cash Box Vol. XXVI(53); International Section p.53. Accessed online 2024 Mar 13. Available from: https://archive.org/details/cashbox27unse/mode/2up

Lichtman I [editor]. 1967 Jul 22. Overlooking South Africa. Cash Box Vol.XXVIII(52); International Section p.65. Accessed online 2024 Mar 13. Available from: https://archive.org/details/cashbox28unse_50/mode/2up

Martin G, Hornsby J. 1979. All You Need is Ears. New York (NY): St. Martin’s Griffin. 293p.

Martland P. 1997. Since Records Began: EMI: The first 100 years. London: B.T. Batsford Ltd. 359p. Accessed online 2024 Mar 17. Available from: https://archive.org/details/sincerecordsbega0000mart/mode/2up

Michaels K. 2013. Mark Lewisohn interview [radio broadcast episode]. The Beatles – Every Little Thing. Originally aired on XM Radio. 1:53:18. Available from: https://www.youtube.com/watch?v=CjAUtngSoKc

Parnes S [editor]. 1958 Jul 26. Ardmore & Beechwood Open London Office. Cash Box Vol. XIX(45); p.34. Accessed online 2024 Mar 18. Available from: https://archive.org/details/cashbox19unse_43/page/34/mode/2up

Southall B, Perry R. 2006. Northern Songs: The True Story of The Beatles Song Publishing Empire. London: Omnibus Press. 218p. Accessed online 2024 Mar 13. Available from: https://archive.org/details/northernsongstru0000sout/mode/2up

*Wicks D. 1998. Updated 2012. The Ballad Years: From the Bombs to the Beatles: a Directory and Discography of British Popular Music-makers from 1945-1960. Accessed online 2024 Mar. Available from: https://archive.org/details/theballadyears/Book%20Contents/

Wilcox N. 2020 Apr 27. How The Beatles Got Signed [podcast, season 7]. Let It Roll. 57:21. Available from: https://dcs.megaphone.fm/PAN2878353172.mp3?key=5204cb23c38410bae94e208461239e2d&request_event_id=e800ecea-9c5e-40f2-90e3-dad820306501

Images from The Ballad Years and Cash Box 1967 Jul 22

*The Ballad Years by Don Wicks was originally published circa 1998 (by a company called In Tune International, of all things!) There is some great contextual info included at the Internet Archive link; to condense it here, after the original print run of the book, Don Wick continued to update the book, primarily to reflect the death of artists. He distributed these via Microsoft Word Document, and the 2012 version of these documents was uploaded to the Internet Archive. I believe that is the reason for “The Barry Sisters” being plastered across Kim Bennett’s face – the pages including artists’ pictures have very wonky formatting.

[kolbisneat]

MONTHLY MEDIA: March 2024

……….FILM……….

Dune: Part Two (2024) Every piece of technology felt and looked so tangible. The baby worm too! Love the tactile nature of this whole production and I hope studios take note that CG can't be the only tool in your belt. So much bigger than I imagined and just enjoyed the whole thing.

Forgetting Sarah Marshall (2008) Ages surprisingly well and a script that lets the main quartet be both funny and layered.

……….TELEVISION……….

Columbo (1.01 to 1.03) Hey I'm starting Columbo! Love that each episode is feature-length and Columbo appears fully formed right out of the gate. The sets and costumes are all so glamorous and L.A. Very excited to keep going.

Succession (2.05 to 3.04) The Kendall play at the end of season 2 felt very much like the Kendall play at the end of season 1 and while I'm still a huge fan of this series, I just hope it's not the same going into season 3 and 4.

Delicious in Dungeon (Episode 1.09 to 1.13) Great adaptation that isn't just a straight recreation of the artwork in the manga. The more kinetic/frantic moments in the animation are a nice departure and while they don't pop up in each episode, now that I'm 13 eps deep I can appreciate how they're sprinkled throughout.

Love is Blind (Episode 6.02 to 6.13) It still amazes me that anyone goes on reality tv.

……….YOUTUBE……….

Twilight | ContraPoints by ContraPoints Yes I did watch a nearly 3-hour essay on Twilight, sexual expression, and all that comes with that. And you should too. VIDEO

Instagram fatigue and the rise of 'Resentment Reels' by Taylor Lorenz While I haven't noticed this specific phenomenon, I have noticed Instagram declining as an app (both as a user trying to see anything other than ads, and a creator trying to get my work seen in between those ads). It's a bummer. VIDEO

Saltburn: The Tumblr-ification of Cinema by Broey Deschanel Every since I saw Saltburn, I've been thinking about what wasn't quite sitting right with me. This unlocked a lot of what I couldn't describe and most of it stems from the writer/director's upper class upbringing. Saltburn isn't a "take down the rich" movie, it's a horror story from the perspective of a wealthy family. VIDEO

Why Is It So Hard To Cross The Street? (& What You Can Do To Help) by Strong Towns Accidents where drivers hit a pedestrian are going up in my area so this really hit home. And for those feeling like there's nothing you can do at ground level, consider taking their course (not a paid sponsorship I'm just in real support of community-lead initiatives). VIDEO

……….READING……….

Elric of Melniboné by Michael Moorcock (Complete) After picking up the last book in this series (which I've yet to read) I figured I'd start at the beginning. Love the fast pace pulpy action and I can see how this influenced the creation of D&D.

The Man in the Brown Suit by Agatha Christie (Complete) This one would lose me for stretches but the final quarter of the book is stronger. A lot less cozy and a lot more action than I was expecting but skimming other reviews it sounds like this was written during her more...adventure-focused era. Three books deep and I have to give Christie credit that each has been a completely different experience.

Adventures of a Japanese Business Man by Jose Domingo (Complete) Always love going back to this nearly wordless epic that follows the titular Japanese business man. I love the complexity of the earliest panels and wish that could carry throughout more of the book, but it's always such a treat to discover just where each new panel will go.

Delicious in Dungeon Volume 5 by Ryoko Kui (Complete) Enjoying rereading this with shorter breaks between volumes as I certainly missed/forgot details on my first read. It's here that the story and tone shifts from light romp to a more dramatic and dangerous affair but it never loses its spot-on humour. Love those dryad pumpkins.

Ultimate Spider-Man HC Volume 11 by Brian Michael Bendis, Stuart Immonen, David Lafuente, and more (Complete) Going from some of my other comics back to this, I'm struck by just how wordy it can get. Now knowing where the story goes, it was a great idea to prime readers to the idea of Peter Parker dying even if it's not from this event.

……….AUDIO……….

Blank Check with Griffin & David (Podcast) Late to the game on this but really enjoying burning through their back catalog. Obviously started with their episode on Speed Racer as it's a near perfect film that you should watch right now.

……….GAMING……….

Oz: A Fantasy Role-Playing Setting (Andrews McMeel Publishing) The Tuesday group just killed a mayor! So the aftermath of that is going to play out over the next couple of sessions. And the Mof1 crew is investigating the aftermath of their own district-wide catastrophe and it's all looking rather suspicious!

Spot It (Blue Orange Games) I can't recommend this game enough. It's so easy to learn, rounds last maybe 5 minutes, it plays well with small or large groups of any age, and all it requires is pattern recognition and quick reflexes. Every time I've played this someone says they're going to buy a copy for themselves.

And that's it. See you in April!

[pynkhues]

So I know people tend to have lots and lots of opinion about dog pound but more often then not, I’ve seen a tendency for folks to give Roman’s recollection of the game (that dog pound was bulling/abusive/messed up in some way shape or form) the most weight…and this candidly baffles me for a bunch of reasons. I know the actor's opinions don't need to be given weight, but I see tons of weight given to actor interviews for Succession in other contexts and both Jeremy and Kieran (per an interview with Kieran around S3) signed on to the read that dog pound wasn’t traumatizing but was instead a rewritten memory because Roman generally felt like a victim and I tend to agree with that read. It also kind of fits in more with the dynamic we generally see Kendall and Roman have throughout the show and especially in Seasons 1-3. Add to this that Roman was around 4 when this took place if we're taking his word for it (making Kendall under 10 and Connor early 20’s-ish?) and again I’m wondering why his memory is given so much more weight than Connors.  Do you have any view or thoughts as to why Roman is treated as the more reliable narrator when it comes to dog pound and more broadly how do you tend to think about the siblings various contradictory childhood memories?  

It's an interesting one, isn't it?

I agree with you (and the actors, haha), that I think the dog pound wasn't traumatising or that it even really meant anything at the time they were playing it. It's just a children's game that took on a different meaning in their adulthood as Roman and Kendall's particular dynamic crystalised. I talked about it a little bit in this post about games on the show if you're interested in reading more about that in particular!

I do think the context of Roman bringing up the dog pound game when he did is also important and not talked about as much as it should be. After all, Kendall's kind of seen to have the more defined arc over these episodes between the failed coup, his relapse, then the upswing of him getting in bed with the enemy (Sandy and Stewy).

Roman though has a really complicated arc too - it's his inability to stand with Kendall which makes the coup fail, and his elevation as prized son in Austerlitz is undermined by what I tend to interpret as a mix of guilt and shame first over letting Kendall down and then over his relapse, which bleeds into a degree of protectiveness which we don't usually see from him, both in that episode and in the next (it's an underrated moment, but Roman offering to make everyone stop doing drugs at the party before they go in in 1.08 is very special to me).

But there's a shift then in 1.08 which is triggered by Stewy pretty blatantly cutting him out of something and folding Kendall back in. It's this teetering new power dynamic where any guilt he felt is swallowed up by the realisation he doesn't want to lose this new station as the dog at their father's side, and I think he uses this distorted memory from childhood to justify his anger and try to reinforce this position. Kendall thought Roman was the weak dog once, but he's not, Kendall is. Kendall's the one out, Kendall's the weird one, Kendall is, as Shiv aptly put it in 1.01, not emotionally strong and has addiction issues.

(Interestingly too, while it's not in the episode, in the 1.08 script it shows that Roman's there when Kendall realises their dad's sent Greg to keep an eye on him, and I think there's this interesting emphasis there in Roman realising Kendall needs a babysitter twice - himself in the last ep and Greg in this one - which for him reinforces Kendall as the 'weak' one.)

He weaponises a long past memory that he treats as an immovable truth to not just play victim, but I think as a yardstick to show how far he's come, and how far Kendall's fallen.

As for why Roman's treated as the more reliable narrator, I think there are a few reasons for it. In particular, I do think Kendall is the Known Liar of the show, haha. All the kids lie to varying degrees of course, but Kendall really lies in a way that I tend to think can feel more insidious, particularly as he lies in such a wildly broad spectrum - sometimes it's aching self-flagellation, sometimes it's mortifying self-aggrandisement, sometimes it's just straight up pathetic, and sometimes it's just the awkward vulnerability of trying to save face (particularly when he's relapsing).

We don't see Roman explicitly lie all that much on the show, at least not in the way many of the other characters do. In some ways he's actually the opposite to Kendall because Kendall tends to use lies as a means of defense or a way to hide while Roman absolutely and often weaponises a truth. Orrr at least I'd say that's what he would like to think of himself? I actually think Roman lies all the time, it's just less through actual lying like Kendall does, and more through undermining the truth or playing around in the grey of it. He likes to lean on a question and see what it does to the truth, like he knows that it's malleable and wants to see the shape it could take, and that's overall something I find super interesting about his character, and I think feeds into a distortion of truth / memory.

But back to your question about why people see Roman as the more reliable narrator of their shared past, yes, I think it's viewed through the prism of Kendall being the one more likely to lie, but I also think it's due to Roman's abuse being easier to understand and more textual than Kendall and Shiv's. We see him get hit, both Shiv and Kendall talk about Roman being hit, Roman jokes about it and diminishes it, and even in 3.09 blames Kendall and Shiv for it (I actually think there's such an interesting parallel there to Roman being abandoned with the waterpistols and the story of Shiv being abandoned with the chocolate milk in the car, but that's a whole other story, haha).

We get childhood stories from Roman more than any of his siblings, so he feels like the one who thinks about it the most. Is that true? I don't know, but I get why that would make people put more stock in his role as the narrator of it.

As for the contradictory childhood memories, I do think the show is interested in the subjectiveness of memory overall, and the way people influence the past and make history malleable, and I think that exploring that through the very specific context of a family like the Roy's, who have a loose relationship with the truth at the best of times, is a pretty remarkable way to do it.

[woomycritiques543]

As a lackadaisy fan who dropped helluva 5 episodes in, I think you’re overestimating the effect of the fandom has on things outside of itself because you are inmeshed in it. You don’t have the outside view. Don’t get me wrong, it sounds like a toxic shit show, but it doesn’t have a ‘monopoly’. If all it took to gain a monopoly in entertainment was to have a horribly rabid fanbase that won’t take the smallest bit of criticism, the history of indie entertainment would be very different.

(TW: LONG POST, mentions of Vivziepop's behavior, also if you're another lackadaisy fan that's curious about what's been happening over at the Hazbin fandom PLEASE DONT SKIP THIS POST!)

"If all it took to gain a monopoly in entertainment was to have a horribly rabid fanbase that won’t take the smallest bit of criticism, the history of indie entertainment would be very different."

Hm...

As a Helluva Boss fan who's seen how many views most indie projects have nowdays, plus what Vivziepop did here, especially since this wasnt just about the fanbase to begin with:

(Psst. Vivienne, these people got bills and families to pay for, so maybe dont try to push them away from other projects just because you like Hazbin Hotel? You can hire other people, you've done it millions of times before- let other projects thrive, and let them have different projects so they can be successful too! Far-Fetched barely has as any workers compared to you, so maybe stop being selfish and share the load so other projects can get all the help they can get? Especially when you rush out 5+ episodes a year and treat your staff like shit? So maybe... I dont know... treat them better so "A BUNCH!" of people from Spindlehorse wont think of even having to do so much extra work, day jobs and all, when there's 40+ million bucks sitting from your shows RIGHT THERE?! There's a reason why "a bunch" of people would be brought to do other projects at the same time. -and it's not because of all the red...)

I think it's pretty safe to say that theres an obvious monopoly going on. Why else would these episodes be getting 20+ million at a time, for years, while other just as good projects get next to none in comparison. Honestly, look at how much views, how many trends the shows follow, how much mainstream appeal, how much merchandising fills the "shelves" of Sharkrobot, how many episodes were shilled out in 2021 alone, how much it dominates the indie industry, and try to tell me that Helluva Boss and Hazbin Hotel are " not a monopoly!" Shilling out multiple Helluva Boss episodes full of softcore porn and bright colors a year to keep Spindlehorse's shows on top of the trending tag on Youtube EVERY YEAR SINCE 2019! -and end being what millions end up being reccomended. Though many people dont know that HB exists, many others do, and it's almost constantly being mentioned with indie animation while equally beautiful looking, or much better written projects get only 50,000+ views. Even in spite of Exxes and Oohs situation:

Season Two's premiere got 4+ million views in 15 hours.

While when I was watching the premiere of Exxes and Oohs with my freinds a couple of weeks ago after it premiered:

I noticed that it only had 1 million views in 5 hours, and then pretty much stayed that way throughout the entire week with only about 3 million for several days after Ep 1 had 4+ mil in only 15 hours.

While the premeire of Season Two passed 4+ million in LESS THEN TWENTY FOUR HOURS! -and the last episode is barely over it's despite being over 5 months apart. It's been a whole month, yet Seeing Star's views are still similar to when it was released and Exxes and Oohs is barely surpassing Seeing Stars despite a whole month having passed, while for Season One, in 5 months there would be 20+ million views and at times... more!

-and just to make this worse...

Hazbin Hotel.. a show with a pilot with over 70+ million views:

It's anniversary/sneak peak into the official show got only-

Get this...

THREE MILLION VIEWS!

-when FIVE WHOLE MONTHS have already passed and the fandom's still popular! While most of the previews for the pilot got OVER 3.5 million and the most popular being 20+ mil!

So it's really just people not caring to see the literal anniversary of the show since most were turned off by Helluva Boss or moved on because they grew out of all the stereotypes. It's got only about 0.8% of the views Hazbin's pilot has gotten despite the fact that people have been waiting for this show for THREE YEARS now and the fandom is bigger than ever. So even for that monopoly, it's slowly falling, and people barely cared about Hazbin's anniversary and release date reveal despite having waited for 3+ years.

So "Seeing Stars's" views has barely budged since release, Season Two's premiere has 20+ mil, but has also been that way since over three months ago, Exxes and Oohs only had 1 mil after even 5+ hours and onward, and Hazbin Hotel, a show with billions of fans, it's anniversary got only 3 mil- while the past season made OVER A YEAR AGO continues to receive views regularly. Meanwhile, Lackadaisy, had 6+ million in only TWO WEEKS while Exxes and Oohs barely got passed that in that time period (I remember it having maybe 5+ mil in about two weeks last time I checked, or even less that that.) and has been stagnant in views for 3+ weeks while Lackadaisy got over half of that in only 2+ weeks.

Which now makes it Helluva Boss's very first competitor.

While Murder Drones has Seeing Star's level of views after an ENTIRE YEAR so this is really saying something about the quality of Helluva Boss's latest episodes as Season One still skyrockets, the latest episodes stay stagnant even after 3+ weeks, and Helluva Boss now has a direct competitior due to this lowering in quality and just how many reviews are now criticizing it while Lackadaisy's reviews are majority positive with little to no hiccups in between.

Not joking, the first thing you get when you search "Seeing Stars Review" is thousands of negative reviews because of Vivienne, Adam, and Brandon Rodger's refusing to improve in their WRITING- you know... WHAT THEY WROTE ON A DOCUMENT?! The thing people have been CRITIQUEING?! Not "a personal, useless preference" but ACTUAL CRITICISM that they keep ignoring to look "near perfect" and to keep the monopoly going while other indie shows continue to get mediocure level views in comparison to Helluva Boss.

The views have been stagnant since near release. I remember seeing 17 million 3 weeks after it came out- and now it wont budge!

Yeah, im sure those statistics and thousands of people getting upset for actual reasons are "bad faith!" too. Adam- FUCK OFF! People aren't "bad faith" for telling you that using anti-black and fatphobic stereotypes in your show is awful! Also- you're show is now getting genuine competition so I suggest not being an egotistical jerk to your own fans and to actually listen to them for once before shit hits the fan and you have to further get hit by your own karma!

While look at all of the positive reviews Lackadaisy's getting!

Lackadaisy has almost all positive reviews, is catching up with Helluva Boss's latest episodes, all the other episodes in Season Two are also still static in views and Season One continues to get thousands on a daily basis, and yet is still- and I mean- still, Barely scratching Daisy's success! In comparison to how you'd think these "still being rewatched a lot" last episodes would be doing since this is HB, the monopoly of indie animation, that we're talking about!

So i'd say that Helluva Boss Season Two has been getting it really rough for the past 8 months in comparison to the success Season One still has, and even then, the first episode still has 54+ mil and yet most of the episodes continued to decrease by the millions each release. So even in Season One, the signs that people were losing interest were already there. -and Ozzies and Truth Seekers have just now caught up with Season Two's first episode (You know... the one people got hyped as all hell by but then lost interest once the episode started getting slammed for how terrible it was?) despite being the ones that are praised often, while Season Two's premiere has barely budged for the past year- making this a receipe for MILLIONS of lost views in total, and this is a fandom that constantly says "I binge watch the episodes a ton!" and yet Season One has barely budged in one and a half years. Its been in 30+ mil I think since last year... it's April now. -and they're now all catching up to each other and are about the same views, which would mean that they're barely going up by the thousands for ENTIRE MONTHS and Season Two, is getting even less because of the negative reviews from not a "useless personal opinion" but OBJECTIVELY BAD WRITING!

Season Two stays stagnant in views even after 5+ weeks and onward since the difference in views is that small.

THEY NOW HAVE A COMPETITOR! So Vivienne really needs to start giving a shit or WOOAH boy things are going to get intense!

So though Helluva Boss is still on top, it's falling over, and now has competition to worry about after only two weeks.

-and even then, it's still on top, because of Vivienne manipulating both her audience and staff into meeting constant demands and giving it constant praise regardless of quality under the threat of being seen as a "bad person" for not doing so.

Helluva Boss having almost billions of dollars in merch, 40+ million views with many of their episodes, a majority celebrity cast with little to no indie actors, Vivziepop having basically tried to put down Far Fetch from having any actual success by trying to not get her team with a show of BILLIONS of views to not work on it just because Hazbin is her "favorite project!" when these people have BILLS TO PAY and a FAMILY that can't be held up just by one project- which is why people like Erin had to work extra jobs, overnight, despite this show getting millions of dollars each day, in the first place! Yet to Vivienne, what mattered the most was her project, and not their lives. Which is the reason why she overworks her staff, and according to people who worked there, aren't even actually allowed to work on other projects, including Far-Fetched, either. While Far Fetched has not nearly as many people working on it and everything we see there has with has 100,000+ or less while Helluva Boss continues to monopolize the industry. (in case you're asking: Yes, it was also her supervisor's fault, but she's a million dollar creator, can't she just hire someone else instead of getting in the way of other people's lives other a cartoon show? Most freelancers do multiple projects, how else are they going to pay the bills?)

Yeah, Erin was lifted from a few things- but did they still have to work an extra job just to support themselves despite working for a 40+ million dollar show, did most people in Spindlehorse end up having to suffer even worse to meet those kinds of demands?

YES!

So does that make all the "Erin's not a real victim" or "Erin Frost's mistakes, as a human being, makes everything people say about Vivienne's behavior "not true" just because we beleive people who bootlick Vivienne but not people that she's hurt despite both people "only" using word of mouth. Except no, because no the ex-staff have evidence and yet the current staff who threatened to punch the people who spoke out about Vivziepop's behavior have nothing but word of mouth but we'll still beleive them just because they give us softcore porn! :D" comments now complete bullshit?

YES!

-and with Ashley Nichols in particular:

You'd think that Vivziepop would try to help Ashley... A LOT!

-since Ashley gave her projects millions of views in publicity and support with Hunicast and having actually worked on Hazbin!

But instead, Viv prioritized herself in the situation, fired all of her indie voice actors and replaced most of them with celebrities when she could have easily found other indie vcs but choose to use her status to get an actor from Grey's Anatomy and NORMAN REEDUS- and most likely will get more celeberties for Hazbin just because "famous = don't accociate with indie actors." appparently despite her main thing being "Support indie creators guys! :("

Vivziepop, again, pulling herself up while she's already been the top of the indie industry for the past 4+ years, while other projects continue to be pushed into the mud of a "cult classic" grave.

So in reality- Helluva Boss isnt "helping" the indie industry grow stronger, it's causing a monopoly which gets in the way of people's shows, their careers, their jobs, and even their mental health.

-and many people having little to no mentions of other projects outside of "Look at this pretty cool project I found- Ok, BACK TO HELLUVA BOSS AND HAZBIN HOTEL WOOOOAH LOOK THIS IS THE BEST INDIE SHOW EVAR!1!" is a literal monopoly in it's most capitalistic, trend serving, overproduced form.

Ashley even saw Vivienne trying to blacklist yet another staff member just because that staff member was upset about how much they were being rushed and overworked in order to meet even near the same demands, even with a few things being lifted since they have ADHD, they were still overworked, and for the rest of the staff it was even worse since they were overworked and bullied in order to meet the demands of said monopoly and stay in Spindlehorse.

Far Fetched got announced years ago- yet Vivziepop hasnt even mentioned it once as far as ive seen, she fired Ashley's partner and seeing how HB is, is likely going to replace him with an non-indie voice actor when apparently she could have easily kept them if she just paid a fee, when she has MILLIONS of dollars in support for her show now, lives in LA, and could easily use her platform to support THOUSANDS of indie projects. But as usual, she pulls herself up, bullies her own fandom by saying that they're "NOT A WRITER!" and "CANT UNDERSTAND WRITING!" for giving her any feedback and has basically manipulated her audience into seeing her and her shows as "NEAR PERFECT!" to continue said monopoly with HB's continous trending and high reviews regardless of quality. While other projects are only "secondairy". -and despite having worked on Hazbin Hotel, Far Fetched has gotten the average amount of acknowledgement for indie animation- Which, isnt much... at all.

Compared to that of mainstream shows, and especially Hazbin Hotel!

Yet as usual, Vivziepop manipulates her followers into contuining to put her on top regardless of her channel's ever reducing quality, and even views since it's lost millions since debut. With people constantly making excuses such as "ITS JUST BEEN UP LONGER!" and "ITS NOT LOSING VIEWS THE PANDEMIC HAS JUST ENDED AND PEOPLE ARE OFFLINE MORE NOW!"

Yeah-

Say that to how Lackadaisy has 6+ million in only two weeks despite being another show altogether, despite the show also having been produced in the pandemic since 2019.

It's been only two weeks yet it already has almost just as many views, and if this keeps up, will likely even have more than HB's latest episode while "EXXES AND OOHS!" has been only at 13+ since it was released. It barely has moved on inch in a entire month while Lackadaisy keeps going... and going... and going...

While Helluva Boss's latest episode has barely scratched the surface despite being just as new with only a month difference.

It's honestly messed up how Ashley was shafted after supporting Vivziepop and working for her after all this time. Same for all the other artists who worked for her. -and as Erin said:

-and seeing how Far Fetched is doing right now, this couldnt be any more evident of just how much of a capitalistic, worker mistreating, monopoly that Vivziepop's channel has become to the point where people who worked with her FOR YEARS still end up getting the short end of the stick or even outright harassed by her and her fandom, and she doesnt even defend them, she just... let's the bullying happen, let's her ex staff get slandered, let's her staff threaten to HIT THEM while only caring about shippings involving literal FICTIONAL CHARACTERS! -and last time I checked... going to the levels of not just trying to manipulate people into thinking that Vivienne is a "perfect little lamb" to gaslight people into not looking into how she treats her staff- but also THREATENING VIOLENCE over the fact that someone was actually honest about what was happening in Spindlehorse- Isnt exactly what i'd like to call "good treatment" of your staff since Vivienne let you do this to people. Hell- is- IS THIS EVEN ALLOWED ON TWITTER?! Is it even allowed for people on the platform to threaten to hurt someone on Twitter in their guidelines, hell, is it even legal to threaten to hurt someone like this at all?! Especially if it's being used to threaten people into not speaking out about actual workplace mistreatment?!

HOLY SHIT! Just let these people tell you that you need to do better, and going to the levels of threatening to hit someone for critiqueing Vivienne for her behavior even once and then going out of your way to call them "GLASS JAWED MOTHER FUCKERS!" is genuine hostility and honestly, I dont even think it's even legal to verbally harass and threaten people to this extent. WHAT THE FUCK?!

I looked into this and... yeah! What Monica did was against Twitter guidelines by threatening to hit people who were in the studio that said anything about how Viv was actually acting.

I also checked to make sure, but.... yeah, she actually wanted to hit people for saying that Vivienne was overworking her own staff by rushing and also having to work full day jobs despite Helluva Boss continuisly ranking in millions of dollars. Which means that they were getting a small percentage of pay compared to what ends up being used for Vivziepop's "spectacle!" animation. So this isn't just acephobia, but also threatening genuine violence towards people for saying that they don't deserve to be mistreated. This is vile.

Hell, even without those guidelines- it's disgusting that Vivienne let her staff talk to people this way and then also mistreated Spindlehose for all these years too. NO ONE deserves to be treat this way for speaking out, especially if all they're doing is saying what happened to them in a studio that they worked in, and the fact that everyone demonizes Erin Frost for a few mistakes but then lets Vivziepop's "favorites" threaten to HIT SOMEONE is actually horrifying.

Honestly.

Helluva Boss isnt even "INDIE" anymore, it just fills up space in the indie community while clearly being a million dollar, mainstream show that has Norman Reedus and other celebrities in it to give the "We're indie so we can do what we want just because we're smaller than Disney!" excuse to be assholes to other people for even saying something as simple as "tone down the saturation a bit."

It's a monopoly. A monopoly built on years of breaking trust, threats, more bullying, betrayal, prioritizing in fame over indie creators, worker mistreatment, rushed projects, fanbase manipulation, and it's why I have so much faith in Lackadaisy. It gives me hope, it gives me hope that one day Vivienne will finally get told to "WAKE UP!" through all that's been happening. That the monopoly will end, that the indie industry will become more balanced again, that freelance artists will be treated better and receive more respect for their craft instead of just being used to meet corperate demands. That hope... is why, that though I like Hazbin Hotel and Helluva Boss, that I also wish for other creators to get the spotlight and that one day... maybe... just maybe... that a new franchise will take Helluva Boss's place.

So to answer your question:

Yes. By defintion Helluva Boss has become a monopoly. It's taking a large chunk of the indie animation industry, and the creators overworked their staff to meet high demands for it to get trending almost every year through high amounts of demand and episodes in 2021 alone. It's taken a large amount of control over the industry and it's come to a point where creators have to rely on supporting Vivziepop to even get a piece of what HB has. Honestly, how is that fair? How is it "fair" to overwork her staff and appeal to even the bottom of the barrels of trends to keep her show trending while most of the other indie shows on Youtube suffer for it?!

It's making the indie animation community almost as corperate as the very companies that caused these people to steer towards indie animation in the first place. Which is such a shame, because there's so many good projects out there- yet to be discovered by most people. -and yet HB gets the trending almost every time because it appeals to as many mainstream trends and porn accounts as possible through all it's fetish and ship bait content and mass amounts of merchandising, and from mass amounts I mean HUNDREDS OF PIECES OF MERCHANDISING every year, even after the show already has 40+ million dollars in it's budget so it's just capitalism and mainstream pandering at this point. The indie community went from going against corperations and capitalism to BECOMING corperate and capitalistic.

It makes me miss back when all we had mostly were just fun short films and play dough animations. It's like people in the indie community have forgotten why we even make all these animations in the first place.. Not just for money and sucess....

But for fun, to animate away from corperations... for fun.

[extasiswings]

Sorry if I'm too curious, but what you thought about Tim during these years? Because I see so many people wanting him back and then when I see LS comments I'm like🤢

Ah, Tim. Tim, Tim, Tim, Tim.

Tim suffers from what I like to call Mediocre White Man Syndrome. This is a condition that is defined by being a white man in Hollywood who has very little talent on his own, but will get extremely far in the industry by surrounding himself with exponentially more talented and creative writers whose success is then projected onto him by association. But you see, the problem with Mediocre White Man Syndrome is that said mediocre white man has to be put into a position where he can no longer fall back on the work of others to be revealed for his true self. Which is where the OG vs. LS comparison helps.

OG vs. LS is the perfect example of how a showrunner can be an absolutely terrible, talentless hack, but if surrounded by good enough people the end result will still be good enough to mask just how bad the problem is. On OG, Tim was working with a team of excellent writers and storytellers who had the ability to prop him up and smooth the edges of his bad ideas and/or steer him in better directions. On LS, he doesn't have the same cover and the difference is...stark.

But since I don't expect you to just accept this at face value, I have receipts. Subtitled: don't ever trust a bitch who can't write his own shit.

On OG, in the 5 seasons during which he was a showrunner, Tim wrote 8 episodes. Of those, all but one were co-written with at least one other writer (3 were in season 1 and were co-written with both Ryan Murphy AND Brad Falchuk). The only episode for which he has solo writing credit is the S2 finale which, as much as I can admit I love it, has some big pacing issues resulting from the fact that the main plot was started in the previous episode, Tim finished it in the first 20 minutes, and then had to fill dead air for the whole second half. [By comparison, the last episode Tim wrote for OG was 5x1, which he co-wrote with Juan Carlos Coto, and honestly imo you can tell who wrote what parts of the episode just by the stylistic differences and it's...not a good look for Tim (I'll give you a hint, the parts of the episode that truly jumped the shark? Tim)].

On LS, which is currently only 3 episodes into its fourth season, Tim has already written 10 episodes, all co-written, primarily season openers and finales.

Also on LS, Tim has primary creative control. Everything is his idea. No one is there to tell him no. When he says that he thinks that people being happy in relationships is "boring"? No one gets to be happy because he invents random drama for no reason. When he says that Carlos is going to be secretly married despite the fact that it does not match anything from S1 at all? Who cares, it's his world and we are subject to his whims. On OG, despite being showrunner, that wasn't the case. For example, things that were Tim's idea on OG: everything with Taylor (because he has some weird reporter fetish), the blackout arc. He also regularly spoke without planning anything at all and it's clear when you compare the things he said were likely to happen vs. what actually ended up on screen that although he may have signed off, the ideas were not his (hello, the majority of S4 and Eddie's trauma recovery arc in S5). Things that were other people's ideas/responsibilities: the will/guardianship situation, the tsunami arc, Buck Begins, etc.

If you want to dig deeper, on OG, 8/10 of the top 10 episodes (out of 87) were written by just 3 writers: Kristen Reidel (4), Juan Carlos Coto (2), Andrew Meyers (2) [the last two were written by writers who are no longer on the show]. Kristen is now the showrunner, and JCC, Andrew, and Lyndsey Beaulieu (who are also EPs) are clearly the core writing team - strong, stable, and consistent. Now, I have critiques of Kristen: primarily her copaganda (which has to do with personal preference) and her pacing (a more objective critique). But I have the same critiques of Tim (and much more), and at least Kristen has proven that she can write a fucking exceptional story on her own (hello? Fight or Flight? Athena Begins? Kids Today? Awful People?). And when you look at the series overall by the numbers? The top 50 OG eps (again, out of 87) are rated 8/10 or higher (and more than half of those are from writers who make up the core team now, including Kristen). For LS, that's only 15/ 45 (and there's no LS ep rated higher than 8.7). And those discrepancies have to do with the quality of the writing and the storytelling (of which Tim has been doing much more on LS than he did on OG, to LS's detriment).

Anyway, that's my spicy take of the night. The things on OG that were actually Tim's idea (like all the Taylor) were some of my least favorite parts of the show and the core things that I love about the show are things that other people were/are responsible for. And to be perfectly blunt, given his storytelling on LS, I am so happy that he no longer has control over OG (or anything to do with Buddie).

Mediocre White Man Syndrome. A Hollywood Staple.

[lok-repository]

The Avatar Wiki newsletter has published the final portion of their earlier Q & A last year with Janet Varney, Korra's VA .

Questions after the cut.

What is your favorite Korra battle scene and the change that it brought to the world? Oh you know I can never pick just one favorite! But if I have to pick one for now, I think for sheer intensity, I might have to pick the big Zaheer scene, which I’m not even really thinking about the world impact more than even just the impact on Korra and where it takes us all… the journey afterwards… the PTS… Toph… clarifying her feelings for Asami…

If you weren't Korra’s VA, which character(s) in the show would you want to voice instead? It’s funny, it’s like even though we all know you aren’t asking me to take someone else’s job, the knee-jerk response is to be like “Nooooo! I couldn’t replace anyone! I love everyone too much!” But in a multiverse where we’re all just… maybe swapping roles? I might grab Bolin or Varrick!

Who would you pick as Korra’s VA if it wasn’t you? Thank goodness this would never be up to me in real life- I could never choose between all of the phenomenal VAs out there! That said, I’m kind of obsessed with all the ladies on one of my all-time favorite shows, “Reservation Dogs…”

What is something you have come to appreciate more about the original series while rewatching it for the podcast? Great question! Just when you thought you couldn’t appreciate something more… you watch it one more time, and every “one more time” you love it even more. I think an easy answer would be how much Dante and I appreciate “The Great Divide.” Especially after a recent conversation we had with a certain author about a certain history in that episode that may have influenced a certain book or two…

How are you feeling about talking about Korra on Braving the Elements? Does it feel different than talking about ATLA? Honestly? So far, it doesn’t feel like it will be that different, because anytime I watch Korra, I get so immersed in the story, I basically forget I was in it. But how much Dante might get to tease me about little things like I tease him about Zuko? Now THAT could change things. LOL!

What is the process of planning and recording episodes like? It’s pretty involved, tbh! For a recap ep, I rewatch the episode in question at least three times. You know I like to see what Avatar Wiki has to say! I consult the art book and all the dvd commentary (luckily Nickelodeon made all the commentary/bts stuff available to me, which is great!). I think about the themes of the episode and what kind of guest would be really fun and why. And writing the outline really cements the episode for me in new and interesting ways. And then Dante and our guests STILL manage to blow my mind with their own insights!

Did you know about the spiritual arc that Korra was going to have in Season 4, or when and how did you learn about her bisexuality during production? I knew some broad strokes, but Bryke/the whole amazing team did a good job of keeping us in the moment, episode-by-episode. I can’t remember exactly when Bryke told Seychelle and me about Korrasami, but it was definitely one of the things we knew before it actually happened. And we were both so, so happy!

How do you think Korra grew from her relationship with Mako and the lessons she learned that contributed to a healthy relationship with Asami? Good old Mako. This was a relationship I recognized so well from my own teenage years, and my friends.’ So combine that it was in some ways a very classic teenage relationship with the Avatar circumstances on top of that, and it’s kind of hard to see how it would succeed. But at the same time— who’s to say what “succeeding” or “success” means? What if that relationship was a complete success in that it lasted exactly as long as it was supposed to, and helped Korra and Mako both see what they would really be looking for in a relationship going forward? Plus, it was a success in that she and Mako were ultimately able to love and support each other as dear friends, and that’s a beautiful outcome.

Do you miss and enjoy voicing Korra for as long as you have? Here’s the thing- I don’t know what my answer would be if I *didn’t* get to keep talking about both series (and all the other media in the Avatarverse!) at conventions with fellow fans and with Dante and everyone on the podcast. But because I get to live in the Avatarverse through those things, I honestly haven’t thought about “missing” doing the actual show. Please, everyone, just let me keep nerding out on Avatar forever, and I’ll be happy! ;)

[sometipsygnostalgic]

We watched Castlevania up to the end of season 2!

I think that season 1 is a very good and cohesive piece of media, despite its length.

Season 2 suffers for having no focus. Hector, Isaac, and Carmilla's plot has absolutely nothing to do with Trevor and the gang's plot.

In fact, Trevor, Sypha, and Alucard are relegated to minor characters until the last two episodes of the season...? They weren't even doing anything interesting during the break, just rehashing the same points about Alucard and Trevor's porcupine personalities.

I found the last three episodes of season 2 to be good at tying together the story of Dracula, Alucard, Trevor and Sypha, but its impact was lost a bit due to how distracted it got with the bad guys plot. They were good enough at reminding us what the characters were here for, so the last eps pull hard at your heartstrongs.

In my opinion the season would've benefitted from tying these threads together somewhat. For example, having Alucard's success be an integral part of Carmilla's plan - what if she manipulates things so that they get into the castle? I do thoroughly enjoy Sypha stealing the castle and causing environmental disasters though. But what if she or Hector handed the good guys some key information or opportunity that allowed them to do this?

I heard that season 3 and 4 is even worse with disconnected plot threads, and that they never ever tie together. It's like two or three parallel shows are happening at the same time. I think that's not a good thing to do with a series that has as short a runtime as Castlevania.

[akajustmerry]

I remember seeing somewhere you think of romangerri as a tragic mentor/apprentice dynamic and I really want to know more about that, if you feel like answering. mwah!

yeah well, you know...... that's why the whole "i could have got you there. But no" line is so devastating, right? because she could have if roman's attraction/obsession with her wasn't such an exploitative corrosion on their mentoring partnership. obviously, roman betrays the potential and trust gerri sees in him with those pics which i think for gerri was the final straw when it came to putting up with his sexual harassment. this is succession though and no betrayal is strictly one-way. i do think gerri was initially quite happy to use roman to serve her own interests and those of the company. using the sort of framework of mentoring him, she essentially deployed him to do these risky things like getting lawrence and matsson and eduard onside for wystar knowing if it didn't work logan would punish roman, but if it did they would all benefit. you can really see this in ep 1 of season 4 where without the kids around to send in as logan's punching bags, the old guard are kind of scrambling to stay out of his way. now obviously, i am not blaming gerri for roman's harassment (as someone whose been a victim of that, you'd catch me dead). i think it's more that she thought she could leverage his obsession with her as a way of gaining more soft power in the company through him, but ultimately she doesn't have the power in that relationship to do that. even if she can give him advice, make him do his homework, or get him off, etc roman both as a man and as the guy with his name on the building is the one with all the power. as we see he abuses that power to harass her. what makes it a tragedy is the admiration at the core of that relationship, the fact that these 2 somewhat overlooked people saw the potential in one another where most didn't was squandered, as all things are in succession, by abuse of power and influence. the care, the admiration even was there but it wasn't enough. because those things can't thrive in a place where only the opposite is valued. i don't see romangerri as a romance or whatever and not really sure why people do precisely because roman's "feelings" for gerri are what poisons their partnership. so to me its always a corrupted mentorship doomed from the beginning. if I've ever given impressions otherwise it's just because i am bisexual and kieran and j are hot as shit and they're both so fucking good at their jobs <3

[sunnyhoneyshimmermagic]

First update on the "Every Scooby Doo reviewed" project: I'm on day 4 and I've reviewed 5 episodes, with 3 on the docket for today! So far I've done:

Scooby Doo and Guess Who? Season 1 Episode 19: Fear of the Fire Beast (guest starring Steve Buscemi)

A Pup Named Scooby Doo Season 1 Episodes 1 and 5 (not in order because my sis and I wanted to watch one together): A Bicycle Built for Boo and For Letter or Worse

Scooby Doo and Scrappy Doo Season 1 Episode 1: The Scarab Lives

What's New, Scooby Doo? Season 1 Episode 1: No Creature like Snow Creature

Something I find quite interesting (and refreshing) is how while it may not seem that way, each show is a different flavor of the same pie. Guess Who is trying to balance comedy with mystery and characterization, but often focuses more on the guest (though it worked in this episode); Pup does the same but for younger viewers and is far more successful because it's all toned up to 11; What's New takes the classic formula and probably is the best at taking itself seriously while still having fun (everyone felt fleshed out, it was great); snd Scrappy is God's anus (fr, he's already being pushed SO HARD). It's fun to see different takes of the same concept of fun mysteries with characters you like!

For today's trio of eps I have some real throwback stuff: the first episodes of Laff a Lympics (a barely counts sports parody, not gonna be the deepest reviewed in the vid), 13 Ghosts (very interesting premise but we'll see if it's executed well) and the episode that started it all, the first of Where are you! More thoughts to follow, asks are welcome!