Shepard: Girl of the 21st Century (Released January 29, 1999 on VHS)
The crossover that no one wanted, Zenon: Girl of the 21st Century and Mass Effect. Anything space related I immediately think of Mass Effect, so when I watched Zenon with my friend last semester, well…
So, it occured to me: In terms of sheer quantity, Critical Role is basically the longest I have ever spent watching a show.
Goblins and O’Brien specials aside, there are 76 episodes. Which in a normal show would be three seasons.
But this isn’t a normal show. The episodes are over three hours long.
A regular TV show has 42 minute episodes.
Total runtime on the series so far is 236+ hours (15 HOURS LONGER THAN THE SIMPSONS), which doesn’t include breaks, Critmas and the Q&As (thanks @critrolestats).So if Critical Role was a ‘normal’ show, it would have 337 episodes. An average television season is 22 or 24 episodes. Assuming 22 episodes to a season, we’re a third of the way through Season 16. 24 episodes a season, we’re watching the start of Season 15.
What other show have you watched 15 seasons of? Because according to Wikipedia,there are only nine scripted primetime shows in the US with 15 or more seasons. Four of those are ‘half-hour’ (22 minute episodes) programs. So really, only Gunsmoke, Law and Order, Law and Order SVU, CSI and ER are longer. And by the end of the year, it will only be Gunsmoke (which is around twice as long right now) and the Law and Orders left. SVU will be left in the dust by mid-year, and Gunsmoke will be last show standing by the end of the year.
And while I’m here, Critical Role is around twelve and a half times longer than Harry Potter. Ten times longer than The Hobbit/LOTR. Five times longer than Game of Thrones (so far). It’s more than two and a half times longer than all of those combined. And how attached are we to the charactersand story in those? The defining fantasy media of the 21st Century. And we’ve had two and a half times the world building, the character development, the action, the drama, the comedy. Even if you cut the combat mechanics out, it’s still close to twice as long as long as those three series.
Since we’re talking about UBI, and its usefulness as a structural stopgap, as part of abolishing capitalism, it is also worth noting that one of the largest problems with it is that not only does it allow for even more dramatic realizations of The WalMart Strategy (underpay employees dramatically such that they in fact are forced to go on welfare and food stamps at a systemic level and you become infamous for it but nobody cares that much anyway) but also that more generally, the realization of UBI would be fraught with ways in which it can be denied, can also be matched with suggested discussions on the role of full employment as a strategy that goes as a response to UBI
now, I am not exactly the biggest proponent of wage labor, as one should be able to figure out from my blog. Nor do I find the vague capitalist concept of being employed as it is currently understood, this sort of becoming-employed as teleological shift into the becoming-career that is usually implied by the language of employment and unemployment.
however, discussing UBI also raises questions about how one would prevent its abuse by companies who specifically use UBI as a way to raise the precarity of unemployment: as there is an already-present income, one can effectively act in order to make the consequences of unemployment as a whole more violent. Even in the proposals we are talking about, UBI is a largely capitalist apparatus at heart, and while the same can be said of certain realizations of full employment, that is not true by necessity either!
“employment” is such a strange an unsettling way to talk of status, let alone to demarcate an entire person, and so doing away with it as a meaningful status could be part of a revolutionary change, or at least part of creating conditions that lead to such. This is because, simply put, if you already have a job in place, what is gonna want to make you leave it? that job being miserable, not paying well enough, just not being what you hope you can get done, all of that, sure. but with structures of full employment, such that job movement is made relatively easy but the process of courting workers far harder, the ability to create precarious populations of the unemployed is dramatically reduced.
this is a theoretical proposal based on a sort of schizoanalysis of the ideology of labor and its reappropriation by a sort of half-baked Maoism-Leninism in the 21st century (namely MY half-baked MLM postcolonialism) and should not be taken as a meaningful economics lesson but rather as a point of differentiating between two proposals and their potential as ways of ameliorating violence while structuring meaningful dual power
consider: diana prince and steve rogers working together durin wwii………… being good friends……………. mourning together abt war……….. big hearts……… her being reminded of Someone Else and then when steve goes down in the plane…………………. BUT THEN them meeting each other again in the 21st century
Disclaimer: my WIP is only “IP” in that it’s with the publisher’s editor right now and I’m sure they’ll be having me make some corrections/changes, but it’s essentially finished. This novel is under contract with Falstaff Books publishing house and will be available for sale later this year!
I can’t tell if you’re really interested in these questions, anon, or if you just have a thing for intervals of four…
4: Describe the setting of your WIP. It starts in California’s Mojave Desert, near Death Valley (but not in the national park), close to the Nevada border. Then the characters travel through Nevada and into Utah. The country is a wasteland filled with ghost towns, as it’s set two years into the zombie uprising and humanity is slashed by 99%. It’s a record warm November in the second half of the 21st century.
8: What is your biggest challenge? When I came up with the story idea, it seemed to just write itself and started snowballing, I had an over-9000-word outline and I was so overwhelmed by how huge it was that I put it on the shelf for like 4 years because I thought I could never achieve it. A friend gave me the idea to split it into three books, so then I had to rework each part into novels with their own arcs and a whole lot changed. It’s been quite a battle.
12: Which character do you have the least in common with? There are 5 central characters and tbh they’re all a facet of my personality/history in some way for better and (more often) worse. I didn’t set out planning it that way (I thought I was basing them on other people I knew!), but after years of working on this story, they all wound up with a bit of me in each of them. But I guess I’d have to say I have the least in common with Death as he’s the one I had the most set idea of his character at the start, so he changed the least from that original concept over the course of developing everything. Also, I mean, he’s Death. How much in common with him could any of us meat people really have??
16: What would your characters be for Halloween? –Death would not participate, but he would enjoy observing. –Emily would do something extreme and gruesome with a lot of prosthetics, like a monstrous alien or hell demon, or otherwise something from an old horror movie ala Texas Chainsaw Massacre or Pinhead. And then terrify as many obnoxious teenagers as she could find. –Scott would be some anime character. I’m not that familiar with anime, but someone who’s a fighter and tough, but not dark evil or gritty. One of those lithe yet manly good guys with spiky hair and bright colors. –Leif would dress like Death just to troll him. But he’d probably double dip and wear a second costume under the black robe. Something extravagant with a lot of frills, like Mozart or Jack Sparrow –Carol wouldn’t be interested in participating, but if someone offered her a costume, she’d wear it, not caring what it is, from sexy nurse to Mr. Potato Head, as long as she accomplished some goal by enduring whatever it is.
20: Post a brief excerpt. omg aksdjfhsdkjhf ummm… I’m closing my eyes and sticking my finger into a random page over here… gah!
She worked her anvil
eyes open. The night tilted sideways, and she found herself in the midst of a
dark fog. It was as if a thundercloud decided to take a nap with her on the
Several yards away… was
that a horse? Pawing at the gravel. At first, Emily took it for translucent,
but as her vision prickled into focus, it glowed through the mist with
greenish luminosity. The effect made it appear concave, like a hollowed-out
mold of itself instead of a solid object.
Its bedraggled tail gave
a dull flick and it snuffed and pawed again. This time, Emily noticed the stick
resting before its hooves. The long, black stick. Her gaze grappled along its
length to the massive sickle blade at its end.
Hey, gorgeous people. I'm planning to make an rp blog of deaf character (not deaf and dumb, he speaks, although with difficulty, of course). Can you help me with resources, bc I'm just starting to know about a sign language and stuff. Thank you!
A masterlist of categorized links on D/Deaf/HoH information including terminology, communication, and a list of YouTubers’ personal stories!
The Strokes are the last of a certain breed. They don’t make rock bands like them anymore: the larger-than-life, the mythic, the kinds that can fill an arena with screaming fans that span generations. You can argue this — you have Arcade Fire, or the National, or the Black Keys, maybe. There are still rock artists who ascend to the major leagues, but there’s something different and specific about the Strokes. They were a vicious, new thing that also held more in common with the rock mythos of the past. The youthfulness, the leather jackets, the partying. Most of our biggest rock artists are too self-conscious or self-deprecating or self-aware to have the kind of magnitude of the Strokes and buy into it entirely. Which they did, under all that detached cool. They were a rock band in the classic mold. They burned out, faded away, and returned as classic rock — and given this is the 21st century, that all happened within about half a decade. Sure, the War On Drugs signed a two-album deal with Atlantic, but it’s hard to envision any of these other rock bands embodying the classic ethos of the genre in the same kind of big-screen fantasy as the Strokes. They have an aura. They’re the kind of band where they walk onstage and you have to process the fact that you’re in the presence of them. That’s the stuff of bands that define a generation. They don’t feel human.
I’m a birdwatcher. Granted, I’m not too
organized about it. I don’t keep notes or anything. But let’s say, I run into Bob Dylan behind
a movie theater and a sparrow lands on a tree branch behind him. Dude, I’m totally
fixated on that sparrow the whole time. I just like watching birds. I think they’re funny.
I remember one time while laying in the backyard on acid, squinting at a bird on
a fence, I realized I needed glasses. Jesse was there. I even said to him, “Dude!
I think I need glasses cuz I can’t see that bird for shit.” And a couple of
weeks later I had glasses. And Jesse thought that was hilarious. Of course he’s
gone now. So, it’s just me and the birds and a different kind of looking glass.
I’ll see a weird bird I’ve never seen before and I’ll look it up. Not for
science or a hobby. I just like to read about their little bird lives, like where do they live and what kinda music are they into?
These stories I write are weird birds too, I guess. People I
see on the street and in the mall keep asking me the same question, “How ya
doing?” and I can’t for the life of me figure out the answer, so I write these little stories like
descriptions of little birds I know nothing about. I write them to the trees
and the Walmart parking lot. It’s something to tell myself so I don’t go crazy perhaps. It’s some kinda song to sing to the first half of the 21st century.