word for word transcript

history of the entire world, i guess; a transcript

hi. you’re on a rock, floating in space. pretty cool, huh? some of it’s water. fuck it, actually most of it’s water. i can’t even get from here to there without buying a boat. it’s sad. i’m sad. i miss you. how did this happen? a long time ago, actually never, and also now, nothing is nowhere. when? never. makes sense, right? like i said, it didn’t happen. nothing was never anywhere. that’s why its been everywhere. it’s been so everywhere, you don’t need a “where”. you don’t even need a “when”. that’s how “every” it gets. (pause). forget this. i wanna be something, go somewhere, do something. i want things to change. i want to invent time and space. and i know it’s possible because everything is here and it probably already happened. i just don’t know when to start. and that’s exactly where it started. (background noise) woah. i… paused it. i think there’s a universe now. what’s it made of? quarks and stuff. ah, that’s a thing, in a place. don’t like it? try a new place, at a different Time™. try to stick together because the world is gonna get bigger and emptier. but it’s not empty yet. it’s still very full, and about a kjghpillion degrees. (about no seconds later). great news! the quarks are now happily married in groups of three called a “proton” or a “neutron”. and there’s something else flying around too that wants to join in but can’t cause it’s still to (HOT). (about ten minutes later). great news! the protons and the neutrons are now happily married to each other (some of them even doubled up). (about 380,000 years later). great news, the electrons have now joined in. congratulations, the world is now a bunch of gas in space. but it’s getting closer together and it’s getting closer together and it’s getting closer together. it’s a staaaar. new shit just got made. some stars burn out and die. bigger stars burn out and die with passion! and make some brand new way crazier shit. space dust! which allows newer, more interesting stars to be made, and then die, and explode into even crazier space dust. so now stars have cool stuff around them, like rocks, ice, and funny clouds, which can make some very interesting things. like this ball of flaming rocks, for example. holy shit, we just got hit with another ball of flaming rocks, and it kinda made a mess. which is now the moon. weather update: it’s raining rocks from outer space. weather update: those rocks might’ve had water inside them and now there’s Hot Steam in the sky. weather update: cooler temperatures today, and the floor is no longer lava. weather update: its raining. severe flooding alert: the entire world is now an ocean. volcano alert: that’s land. there’slifeintheocean. what? something’s alive in the ocean. oh cool, like a plant or an animal? no. a microscopic speck! it lives at the bottom of the ocean and eats chemical soup which is being served hot and fresh made from gnarly space ingredients leftover from when it was raining rocks or whatever. oh yeah, and it can do that. it has secret instructions written inside itself telling it how to build another one of itself. so that’s pretty nifty, i would say. tired of living at the bottom of the ocean? now you can eat sunlight. using a revolutionary technique you can convert sunlight into food. taste the sun. side effect: now there’s oxygen everywhere and the sky’s blue. then the earth might’ve been a snowball for a while, maybe even a coupla times. it’s a sponge, it’s a plant, it’s a worm and some other types of weird strange water bugs and strange fish. it’s the Cambrian explosion. “wow, that’s animals and stuff.” but we’re still in the ocean. hey, can we go on land? NoO. why? the sun is a deadly lazer. oh okay. not anymore there’s a blanket. now the animals can go on land. come on, animals, let’s go on land! “nope, can’t walk yet. and there’s no food yet so i don’t care.” (100 million years later) ok, will you learn to walk if there’s plants up here? “maybe,” said some bugs, and fish. “uh. uh. uh.” (five million years later) “ok so i can go on land but i have to go back in the water to have babies.” (idea) learn to use an egg. “i was already doing that.” use a stronger egg, and put water in it, have a baby, on land, in an egg. water is in the egg, baby, in the water, in the egg. works for me. bye bye ocean. aaand now everything is huge. including bugs. wanna see a map of the land? sure. ah fuck, now everything’s dead. just kidding here are the survivors. keep your eye on this one because its about to become the dinosaurs. here’s another map of the land. yeah, it broke apart, don’t worry about it, it does that all the time. here comes a meteor. and the dinosaurs are gone. its mammal time! here come the mammals. look at those breasts. now they’re gonna dominate the world, and one of them just learned how to grab stuff. and walk. no, like, walk like ‘that’. and grab stuff at the same time. and bang rocks together to make… pointed rocks. “ouch.” and set things on fire. “yeouch.” and make crazy sounds with their voice (“gneurshk.”) which can mean different things. that’s a human person. and now they’re everywhere, almost. ice age. what? you can walk over here? cool. not anymore. i guess we’re stuck here now.

let’s review. there’s people on the planet. and they’re chasing their food. fuck it, time to plant some grass. look at this, i control the food now. now everyone will want to be my friend and live near me. let’s all build houses except mine is bigger because i own the food. this is great, i wonder if anyone else is doing this. tired of using rocks for everything? use metal. it’s underground. better farming was just invented in a sweet dank valley right in between these two rivers, and the animals are helping. guess what happens next. more food, and more people who came to buy the food. now you need people to help make the food and keep track of the sales. and now you need houses for people to live in, and people to make the houses. and now there’s more people and they invent things, which makes things better and more people come. and there’s more farming and more people to make more things for more people. and now there’s business, money, writing, laws, power. sociiiety. coming soon to a dank river valley near you. meanwhile, out in the middle of nowhere, the horse is probably being tamed. why is all my metal so lame and lumpy? tired of using lame, sad metal? introducing bronze, made with special ingredient tin from the far lands of tin land. i don’t know, my dealer won’t tell me where he gets it. also, guess what - egypt. meanwhile, out in the middle of nowhere, they figured out how to put wheels on a horse. now we’re getting somewhere. also, china. and did i mention indusrivervalleycivilization. norte chico. the middle east is getting more complicated, maybe because it’s in the middle of the east. knock knock- er, clop clop, it’s the people with the horses? and they made an empire! and then everyone else copied their horses. greeks! ah look, it must be the greeks, or a beta version of the greeks. let’s check in with the indus river valley civilization. they’re gone. guess who’s not gone? china. new arrivals in india. maybe it’s thosehorsepeopleiwastalkingabout or theircousinsorsomething. and they wrote some hymns and mantras and stuff. you could make a religion out of this. there’s the bronze age collapse. now the phoenicians can get down to business. also, can we switch to a metal that’s a little easier to find? thanks. look who came back to israel, it’s the twelve tribes of israel. and they believe in god. just one though, he’s got like a ten step program. here’s some huge heads, must be the olmec. the phoenicians make some colonies. the greeks copy their idea and make some colonies. the phoenicians made a colony so big it makes colonies. here comes the assyrian empire. nevermind it’s the babylonian- median- it’s the persian empire. “wow, that’s big.” ah, the buddha was just enlightened! who’s the buddha? this guy, who sat under a tree for so long that he figured out how to ignore the fact that we’re all dying. you could make a religion out of this. oops, china just broke, but while it was breaking confucius was figuring out how to have good morals. ah, the greeks just had the idea of thinking about stuff. and right over here, alexander just had the idea of conquering the entire persian empire. it’s a great idea, he was…great. and now he’s dead. hopefully, the rest of the gang will be able to share the empire evenly between them. knock knock, it’s chandragupta, he says, “get the hell out of here, will you get the hell out of here if i give you 500 elephants? ok thanks bye; time to conquer all of india- or most of india”. but what about this part? that’s the tamil kings, no one conquers the tamil kings. who are the tamil kings? merchants, probably. and they’ve got spices. who would like to buy the spices? “me,” said the arabians, swiftly buying them and selling them to the rest of the world. hey, china put itself back together again with good morals as their main philosophy. actually they have three main philosophies. out here, the horse nomads run wild and free, and they would like to ransack your city. let’s check the greekification levels of the greekified kingdoms: greekification overload! “bye,” said the parthians, “bye,” said the jews. “hi,” said the parthians, taking over the entire place. “heyyyyyyyy,” said the romans, eating the entire mediterranean for breakfast. “thanks for invading our homeland,” said the jews, who were starting to get tired of people invading their homeland. “hi, everything’s great,” said some guy who seems to be getting very popular, and then gets arrested and killed for being too popular, which only makes him more popular. you could make a religion out of this. want silk? now you can buy it from china! they just made a brand new road to the world…or you can get there on water. “sick, new trade routes,” said india, accidentally spreading their religion to the entire southeast. hmm, that’s a good place for an epic trading kingdom. there goes buddhism, travelling up the silk road. i wonder if it’ll reach china before it collapses again. “remember the persian empire? yup,” said the persians, making a new one. axum is getting so powerful they would like to build a long stick. has anyone populated madagascar yet? let’s do it together. china is whole again…then it broke again. still can’t cross the sahara desert? try camels. “hell yeah, now we’ve got business,” said the ghana empire, selling lots of gold, and slaves. “hi i live in the roman empire and i was wondering, is loving jesus legal yet?” “no” “actually ok sure,” said constantine, moving the capitol way over here to be closer to his main rival. don’t worry about rome, it won’t fall. it’s the golden age of india. there’s the gupta empire. not chandragupta, just gupta, first name chandra, the first. guess who’s in rome? barbarians. what’s a barbarian? “non-romans,” said the romans, being invaded by non-romans. r.i.p. roman empire. or actually, just half is just fine. but it’s not in rome anymore so let’s give it a new name. the mayans have figured out the staaars. oh, and here’s a huge city, population everyone. the göktürks have taken over the entire eurasian steppe. great job, göktürks. how’s india? broken. how’s china? back together. how’s those trading kingdoms? bigger, and there’s more of them. korea has three kingdoms. japan has a kingdom, it’s the sunrise kingdom.

deep in the arabian desert, on the top of a mountain, the real god whispers in muhammad’s ear, so he goes down to the cube where everyone worships gods, and he tells them their gods are all fake. and everyone got so mad at him that he had to leave town and go to a different town. you could make a religion out of this. and maybe conquer the world as well. the roman empire is long gone, but somehow the pope is still the pope. plus there’s new kingdoms all over europe. i wonder if there’s room for moors. here’s all the wisdom, in a house. it’s the baghdad house of wisdom, just in time for the islamic golden age. “let’s bring stuff to the coast and sell it, and become the swahili on the swahili coast,” said the swahili on the swahili coast. remember this tiny space you have to go through to get from here to there? someone owns that now. wanna get enlightened in the middle of nowhere? the franks have the biggest kingdom in europe, and the pope is so proud that he invites the king over for christmas. “surprise, you’re the new roman emperor,” said the pope, pretending to still be part of the roman empire. then the franks broke their kingdom into what will later be called france and not france. the northerners, or just norse if you don’t have that much time, are exploring. they go north, from the north to the northern north, and they find some land. two types of land, and they name them accordingly. they also invade some other places and get called many names, such as vikings. there’s the rus, the kievan rus. are they vikings? “i don’t think so,” said the kievan rus. ok, fair enough. the pope is ready to make some more emperors of the roman empire, the holy roman empire. it’s actually germany but don’t worry about it. new kingdoms! christianizeallthekingdoms. which brand would you like? “mine’s better,” “mine’s better,” “mine’s better”. “time to conquer england,” said william. it’s a bird, it’s a plane, it’s the seljuk turks. “ahh!” said the byzantine empire, who’s getting so small it almost doesn’t exist anymore, “we need help!” they need help, so they call the pope. “hey pope, can you help us get rid of the seljuks? maybe take back the holy land on the way? come on, i know you wanna take back the holy land.” “yes, i do actually want to do that. let’s do a crusade.” crusade. they did many crusades, some of which almost didn’t fail, but at least the italians got some sweet trade deals. goodbye mayans. hello toltecs, goodbye toltecs, hello mississippi. look at those mounds. there’s the pueblo. i always wondered how to build a town in a cliff. guess who’s here? khmer. where? here, and pagan is there, and vietnam unconquered itself, korea just became itself, and japan is so addicted to art that the military might have to take over the government. china just invented bombs, and typing. and the mongols just invaded most of the universe. nice going, genghis. i bet that will last a long time! some of the islamic turks were unaffected by the mongol invasions because they were busy invading india. is it tonga time? i think it’s tonga time. i just found out where the swahili gets all their gold. look at this chad (means lake), there’s an empire there, right in the middle of africa. the king of mali is so rich he’s going on tour to let everyone know. “wow, that guy’s rich,” everyone said. the christians are doing a great job of conquering iberia which will soon be called spain and not spain. please remain christian. we will check in later to see if you are still christian when you least expect. whoops, half of europe just died. ming. china’s back, yay. hey khmer, time to share, new kingdoms here and there. oh look who controls all the islands, its the mahajapit. majahapit, mapajahit, mahapajit, mapajahit, majapahit? oh, italy’s really rich, time for them to care a lot about art and the ancient classics. it’s kinda like a rebirth. here’s a printer, lets make books. so you think you can conquer the byzantine empire? “yep,” said the ottoman turks. nice job, ottoman turks. whoops, you missed a spot; don’t forget to ban europe from the indian spice trade. “what? that’s bullshit,” said portugal, spiceless. well i guess we’ll have to find another way to india. “wait,” said christopher colombus, probably smoking crack, “if the world is round, lets go this way to india!” “nah, don’t worry we already got this,” said portugal. so chris goes to spain. “hey spain, wanna hire me to go find india by going around back of the world?”  “no.”  “please?”  “no.”  “please?”  “no.” “please?” “ok.” so he sails into the ocean, and discovers more ocean, and then discovers ‘the indies’ and ‘japan’. let’s draw a line to decide who gets which half of the world. the aztec and inca empires are off to a great start. i wonder if they know that europe just discovered their continent. the habsburgs are marrying into so many royal families they might have to start marrying each other. move over lithuania, here comes moscow. ivan wants to make russia great again. move over timurids, maybe go invade india or something. persia just made persia persian again. let’s make it the other kind of islam, the one where we thought the first guy should’ve been the other guy. hey christians, do you sin? now you can buy your way out of hell. “that’s bullshit, this whole thing is bullshit, that’s a scam, fuck the church, here’s 95 reasons why,” said martin luther, in his book which might have accidentally started the protestant reformation. “you know what would be magnificent?” said suleiman, wearing an onion hat, “what if the ottoman empire was really big, which it is now.”  “what if russia was big,” said ivan, trying not to be terrible. portugal had a dream that they controlled the entire indian ocean, including the spice trade, and then that dream was real. and spain realised that this is not india, but they pillaged it anyway. “damn,” said england and france, “we gotta start pillaging some stuff.” then the dutch revolt and all the hipsters move to amsterdam. “damn,” said amsterdam, “we gotta start pillaging some stuff.” question one: can you get to india through north america? no, but at least there’s beaver. question two: steal the spice trade. that’s not a question but the dutch did it anyway. sugar. guess where all the sugar’s made? in brazil. stolen! in the carribean, and it’s so goddamn profitable you might forget to not do slavery. the next thing on russia’s to-do list is to get bigger. britain and france are having a friendly discussion about who should control the entire world, more specifically, ohio. then it escalates into a seven year discussion, giving prussia a chance to show austria who’s boss. but what about britain and france, did they figure out who’s boss? yes they did, it’s britain. guess who’s broke? also britain. so they start taxing the hell out of america.

“fuck you,” says america, declaring their independence, and fighting for it. france helps them win, now france is broke. and britain will have to send their prisoners to a different continent. wait if france is broke, why do the king and queen still wear such fancy dresses? “let’s overthrow the palace and cut all their heads off!” said robespierre, cutting everybody’s head off until someone eventually got mad and cut his head off. you could make a reli- no don’t. haiti is starting to like the idea of a revolution, especially the slaves, who free themselves by killing their masters. “why didn’t we think of this before?” wait, who’s in charge of france now? “me,” said napoleon, trying to take over europe. luckily, they banished him to an island. but he came back. luckily, they banished him to another island. there goes latin america, becoming independent in the latin america wars of independence. britain just figured out how to turn steam into power, so now they can make many different types of machines and factories with machines in them so they can make a lot of products real fast. then they invent some trains, and conquer india and maybe put some trains there. “hey china,” said britain, “buy stuff from us.” “nah, dude we already got everything,” says china. so britain tried to get them addicted to opium, which worked actually, but then china made it illegal and dumped it all into the sea. so britain threw a hissy-fit and made them open up five cities and give them an island. britain and russia are playing a game where they try to stop each other from conquering afganistan. also the sultan of oman lives in zanzibar now, that’s just where he lives. india had a revolution, and they would like to govern themselves now. “nope,” said britain, governing them even harder than before. technology is about to go crazy. the united states finally figured out whether slavery is good or bad. “it’s bad,” they decided. and then they continued manifesting their destiny, which is to kill the rest of the natives and take their land, and maybe kick out the mexicans too. “i know, let’s rape africa,” said europe, scrambling to see who could rape it the fastest. they never got ethiopia.  britain and france are still hungry. they never got thailand. the united states ran out of destiny to manifest, so they’re looking for more. hawaii. cuba. wait spain controls cuba. “well, blame something on them and go to war! what should we blame on them? let’s blame the maine on spain!” so they blame the maine on spain. now we’re in business. to celebrate, they kick panama out of panama and make a canal, connecting the two oceans. britain just found oil in the middle east. it makes cars go. china is so tired of being bossed around that they delete their old government and make a new stronger government, which is accidentally weaker and controlled by a guy from the previous government. europe hasn’t had a war since the last war, so they start world war one. look at those guns. it’s gonna be a great war, so great we won’t need a second one. after it’s over, they blame germany. russia went on strike and the workers overthrew the government. now everyone’s paycheck is the same. communism, in the soviet union. the arabs revolt, and britain helps. now the ottoman empire is gone, so we can give the jewish people a place to live. hopefully the arabs won’t mind. “let’s cut the cake,” said sykes and picot, carving up the remains of the not-so-ottoman-anymore empire. except turkey, turkey makes a brand new turkey. and then the saudis conquer arabia. it just seemed like the right thing to do. hello? yes, it’s the 1920s calling. let’s get in a car and drive to a party and listen to the jazz on the radio and go to the movies. the economy’s great and it’ll probably be great forever. just kidding. germany’s back, featuring hitler, the angry mustache model. he’s mad at the jews for existing. japan is finally conquering the east, and they’re so excited they rape nanking way too hard. they should probably just deny it. hitler’s out of control, so the international community tackles him and tries to explain to him why killing all the jews is a bad idea, but he kills himself before they could explain it to him. that’s world war two. bonus round: pacific showdown, united states versus japan. fight! finish him. let’s unite all the nations and have some world peace. seems legit. “hi i’m gandhi and if britain doesn’t get the hell out of india i’m going to starve myself in public. wow, that worked?” bonus: now there’s pakistan. actually two pakistans. one of them can be bangladesh later. the jews and the arabs finally figured out which one of them should live in the holy land. “me”, they both said at the same time. “let’s divide up the land so everyone’s happy.” sike! they both get angrier. look out china, there’s a new china in china. what’s on the menu? communism! “no thanks,” said the other china, escaping to an island. i wonder which one is the real china. there’s the korean war, korea versus korea, nobody wins, then it’s on pause forever. let’s meet the sponsors. oh, it’s the two global superpowers. they’re having a friendly debate over which economic system is good and which is an evil virus of satan. and they both have atom bombs. fight! wait no that would be the end of the world. let’s just keep it cool and spy on each other instead. and make sure we have enough atom bombs. “i’ll race you to space. now let’s make some more countries fight themselves.” europe is tired of pillaging other continents, so the continents they were pillaging are tired of being pillaged. so here’s a new map, with new countries. now you can’t tell who they’re being pillaged by. the united states finally decided whether racism is good or bad. they decided it’s bad, and the world agrees. south africa might need another minute to think about it. let’s check the world population. woah. okay. technology’s better too, that might keep happening. the soviet union decides to relax a little and accidentally falls apart. europe makes a union, so now they can all use the same money; except britain because they don’t feel like it. let’s check the mail. surprise! it’s on the computer! whoops, someone just attacked america, i bet they’ll remember that. phone call, surprise, it’s in your pocket! wanna learn everything? surprise, it’s on the computer! now your phone’s a computer, which is in your pocket. whoops, the economy just crashed. don’t worry, the big banks won’t fail, because they’re not supposed to. surprise, flying robots! with bombs. wanna print a brain? some people have no friends. some people have no food. the globe is warming, and the ocean is full of plastic. “let’s save the planet,” said everybody, not knowing how. “let’s invent a thing inventor,” said the thing inventor inventor, after being invented by a thing inventor. that’s pretty cool. by the way, where the hell are we?

SDCC 2017 Rebecca Sugar interview

Rewind and Pause interviewed Rebecca Sugar in this fifteen-minute interview. Here’s a sorta-transcript–not word for word, but basically what the questions are and how she answered, paraphrased.

Question: A lot of the show’s symbolism is inspired by Utena. Can you discuss that show’s influence?

Rebecca: When I was a teen, that show was an epiphany for me! It plays with the semiotics of gender and I was a bisexual teen relating to it in a way I’d never related to anything before. The show is beautiful and I love that she decides she wants to BE a prince after being saved by a prince. And it’s also funny. It’s so extreme that it’s funny, and that was a huge influence on me as well, that something could be so dramatic and so beautiful but also wacky. It’s so extreme that it’s powerful at the same time as being funny. I got to see the origins and see Guys and Dolls at the Takarazuka Theater when I visited Japan. Osamu Tezuka grew up in that town! You know, Princess Knight, which has everything to do with Utena. I got to see some of the roots there and it was a big influence. Amazing.

Question: Another influence, especially lately, you can draw comparisons between Steven’s miracles and Christ figures. Are you exploring this, and potentially modernizing that allegory, with different kinds of love?

Rebecca: We’re inspired by every voice that has ever spoken about peace. I think–I’ve been reading about Hillel the Elder and how he said “If I’m not for myself, then who will be for me?” The gentleness with which he approached everything is really inspiring to me. I think that I’m very influenced by my Jewish upbringing. I’m half Jewish and was raised Jewish. I’ve felt the feeling of belonging but not belonging. I’ve been moved by this incredible history and this wonderful community that I wanted to understand and be a part of. That’s all been a big influence on the show as well. It was all about growing up with my brother, and that was a big part of my life. There’s a lot of spiritualism in the show.

Question: I wanna ask you about the color symbolism? And I’d be remiss if I didn’t say thank you for showing our community on TV. About Steven: His Gem is pink, his shield is pink, his sword is pink, his shoes are pink! It subverts the tropes of a traditional male hero. Was that intentional?

Rebecca: Oh, it’s COMPLETELY intentional. Yeah, I think one of the things I wanted to do as I went into the show was address how intensely gendered shows for children are and dissolve that. That was my first goal. And I think it came in large part because as a little kid I always gravitated toward boys’ shows, and I felt extremely guilty about that. And I don’t think my child self should have had to feel bad, but I understood “this is not really for me.” So as we went into this, I wanted NO ONE to have to feel that. I wanted everyone who wanted to, to feel it was for them. Especially since it’s gender nonconforming as a show.

Question: Silly question: Peridot and Lapis are roommates. What do you think their biggest pet peeves are of each other? If they have any, I mean.

Rebecca: Gosh. I think Lapis is sort of both annoyed and comforted by Peridot’s infinite energy. I often thought of them like the sort of old cartoon idea of a small dog and a big sort of like doesn’t-really-care dog. With a small very very excited dog. I felt that that was a dynamic for them. So I think that that, like those characters, it’s annoying to Lapis but she doesn’t actually dislike it.

Question: Congrats on the Emmy nomination!

Rebecca: THANK YOU!

Question: I hope we get to see “It’s Over, Isn’t It?” and “Both of You” during the Emmys. How do you feel?

Rebecca: I’m so excited, and I’m so glad it’s that one. It was such a fun dream to make a musical episode. I always loved those, they’re always my favorite. I couldn’t wait to do ours. Everyone was firing on all cylinders for that episode. I got to do music with Jeff Liu and Ben Levin, and Aivi and Surasshu’s compositions for the finals were stunning, the backgrounds are incredible, the art is so beautiful, it’s Jeff Liu and Joe Johnston’s last board together, it was one of the last episodes I got to work on with Ian before he left to do his show, so it also has a special place in my heart, I remember seeing it come back and being in the edit bay watching it and my eyes were welling up because “this is it, this is everything I ever wanted.”

Question: Not to mention Deedee crushing it.

Rebecca: She’s amazing! And that was when she was doing Tommy! So we got her on a day she’d been doing shows all day, and she came and knocked that out.

Question: First take?

Rebecca: We did several, but all of those takes were amazing. I love writing songs for Deedee. And that one, it has some notes in it that I cannot hit. But I know Deedee can do it.

Question: Now when you write songs, you hear a lot of the demos you write on ukulele a lot, but you play other instruments. Do you find that you write differently depending on what instrument you’re writing for?

Rebecca: Yes! Oh, completely. I have my go-to ukulele chords. But I also like to write songs on the omnichord, which is like a synthetic harpsichord from the 80s. And it has a row of buttons, you hit a button and you get that chord. I can use it for experimentation for chords I might not have thought of. I got one off eBay, the OM-84, and it was a little buggy, it wouldn’t play right, would go out of tune, and I took it to get it looked at, and these incredibly corroded batteries fell out of it! With this cloud of red dust! So I can’t put batteries in it anymore. But I can plug it in and it still works.

Question: So for “Love Like You,” is it connected to any of the characters or any point of view, or was it more a one-off?

Rebecca: “Love Like You” is so unusual. It started as a point-of-view song for all Gems, and the thesis of the whole show, sort of toward Steven, and my own brother Steven, but because it was the credits, I wrote the song over three years in little pieces. I thought at the start that this is about an alien that’s looking at a human, who loves them, and the secret meaning of this is that they don’t have the capacity to feel this way. By the middle of it I was deep into the show and going through a real crisis of confidence, where I was like “why are people looking to me? It’s not right!” and these people were coming out of the woodwork to thank me for the show, people who had been able to speak to their families in these wonderful new ways, people who had become comfortable with themselves in these incredible ways that I had not been able to do! Where I was like “I’m so inspired by everyone! Why are they thanking me?” So the middle of the song I was sort of in that place. And about a year later, I realized the beginning was not what I had thought it was about at all. It’s not a secret meaning about an alien who doesn’t understand humans. It’s about the fact that I had always loved my brother and had these people who would love me unconditionally in my life, and because of my insecurity I had not been able to be there for them 100%, and I realized this was maybe one of the most human things I’d ever written, and I had written it by accident. So I got to conclude it. It was seriously written over 3 years.

Question: Recently we talked about how the show has been dramatic and full of conflict. It’s great but do you ever have concerns about taking the show–it’s a very positive show, so does the conflict have the potential to go too far, or do you like making it more challenging?

Rebecca: I’m excited to be more ambitious with the story, and the danger they’re experiencing also feels like a danger for us who are writing the show. Writing stories that are more ambitious and challenging. It feels necessary, because it’s about how love conquers all, but you can’t write that story without showing what comes up against that. I’m excited to explore the–you’re right, it’s scary to explore where hate comes from in a show about love. I want to–it’s a challenge to stay positive while exploring that. But that’s a challenge I experience in LIFE. And that’s a challenge we’re all experiencing right now. So it also feels like the time to explore that in myself and in the show.

First of all, I just want to say something about mental health. I think we are in the embryonic stages of our understanding of mental health issues. There isn’t a person in this room, or in this stadium, or in this city, or in this country, or in the world that hasn’t at some stage, or will have at some stage, suffered from mental health issues. So you’re not on your own by any stretch of the imagination. I’ve had mental health issues in the past, and sometimes the weather is pretty stormy. But I think if you could remember that it is weather; it is weather and it can change, and by its very nature has to change. So you’re going for RADA. You know, maybe it will be a difficult year for you next year or maybe it won’t! I think all you can do is really take each day by the day that it is, you know? So don’t predict what it’s gonna be. It could be fantastic, you know! So I just think it’s really important to say that about mental health. We don’t know and there is no stigma attached, and I’d encourage any young person I’ve met. I’ve been genuinely so inspired by the bravery and courage of meeting people here who have spoken about their mental health issues, because I do think that what connects us as people is our vulnerability. I think when we go and meet new people and we say “How are you?”, and you say “You know what, I’m exhausted.” or “I feel lonely.” Then, if that’s the truth, people will respond to it. If we put up this constant guard and say “You know what, I’m fantastic!” …and we live in an age of Instagram and Facebook and filters, where we can be our own PR machine, you know? It’s very easy to just think that that is a reality for people, and for some reason in our unfiltered, desolate, lonely lives that we’re failing and we’re not. We live in an age where we’re fooled by other people, and, you know, we fool each other. We go “Oh I’m gonna get rid of that spot”, or “I’m gonna, you know, filter the light”, or “I’m gonna airbrush my life”, and that’s when it becomes an advertisement rather than who we really are and the way we really are – vulnerable, and sometimes unhappy, and sometimes joyful people. And great art, I think, reflects that. So when you go to RADA, my advice to you, or anybody who really wants to, would be to pursue life and art, and to tell the truth in some way. So be who you are and don’t feel that you’re not enough because you are.
—  Andrew Scott on mental health (x)
A Series of Unfortunate Events : the recipe to a good adaptation

This is a short analysis of the recent adaptation A Series of Unfortunate Events by Netflix. I will not mention everything here, it would require much more time and analysis but here is a general appreciation. Careful for spoilers !

Adaptations are quite tricky to accomplish because being true to the original work while bringing novelty to the piece is not so easy. The best adaptations are often the ones that manage to channel the spirit of the original work. A Series of Unfortunate Events is a very successful example of this. It was already visible in the first trailer where Lemony Snicket actually walks on the set of the filming to tell us not to watch this series. Right here, you have three core elements of the original series : our narrator-character, the breaking of the fourth-wall and the plea not to look into this horrific story. That last element actually is a known way to catch the reader/viewer’s attention and make him want to know more.

When it comes to A Series of Unfortunate Events, the character of Lemony Snicket is crucial. Therefore the adaptation needs to be perfectly true to his features. As a child, I really believed Lemony Snicket was this mysterious author hidding from malevolent authorities. The fact that Lemony is actually out of the story ,since he is the author/narrator, and a full part of it builds the whole myth around this series.
When I saw the movie, I did not get that feeling of mystery around Lemony mainly because it is not cleary explicited that he is part of all this : the viewer doesn’t see on-screen any important hint that Lemony is a central character of the story, he is presented above all as the writer.
In the Netflix series, Lemony is the first person the viewer visually encounters, just like in the books. The fact that you can see him entirely makes him a reassuring presence throughout the show : he is your guide. The show stages this aspect very cleverly by blending Lemony in the situations the Baudelaires find themselves in, usually through his costume.

Thanks to this process, the narrator’s role is fully depicted. A narrator that addresses directly to the reader/viewer is usually out of the story and Lemony is indeed “out” since he is telling the events. But Lemony is also “in” as an important character. The show drops hints along the way which keep getting bigger gradually : his investigation, the letters to Beatrice, the fact that he is being chased, among other things, and of course the reveal of the picture with Olaf in the last episode.

All these proofs show that Lemony really is involved in this story. It is very fortunate that they kept the dedications to Beatrice at the beginning of each segment of the story because she is the one who ties Lemony to the story. She actually acts as his muse, she is the main reason why he writes, the name Beatrice being a reference to Dante’s own muse.
Since he is an « in-between » character, literally the bridge between you and the story, Lemony is the one who constantly breaks the fourth-wall. This aspect is so crucial in A Series of Unfortunate Events. It allows Lemony to act as the antic chorus or Prologue : “If you are interested in stories with happy endings, you would be better off reading some other book. In this book, not only is there no happy ending, there is no happy beginning and very few happy things in the middle.” (The Bad Beginning).
With those few lines, the essence of the plot is completely laid before your eyes, just like the ancient tragedies. In the series, apart from those lines, the opening song has the exact same role : “Every single episode is nothing be dismay.”
The breaking of the fourth-wall is also at the core of both series because story-telling mecanisms are explained through it. In the Reptile Room, Lemony explains the dramatic irony which is then again an aspect of the antic tragedies. As I remember it, the book series crossed the fourth-wall to teach something to the reader : a word, writing techniques and less straightforwardly, literary references. All these elements were fortunately brought into the show as well.

Now Lemony is mainly the one to break the wall, as allowed by his narrator status. What is unsettling for the viewer is when Count Olaf breaks it, usually to advertise the TV show and stare at the camera for a couple of seconds. This leads to the other important aspect of an adaptation : the creativity. The writers did not only represent Olaf, they actually add depths according to the new medium : what would Olaf do if he was in a TV series ? Break the fourth-wall and sing its opening sequence !

A short word on the amazing cast, especially Neil Patrick Harris who pulled out a very good Count Olaf. This character is very complex to play, he needs the right amount of villainy, humor and the talent of an actor who can play a character playing other characters. Jim Carrey brought too much of his own eccentricity to the character and you saw more of the actor than of the character. Neil Patrick Harris really understood and nailed all of Olaf’s facets.

Hence adaptations would be rather dull without creativity and novelty.
Sure a lot of dialogues are actually taken word by word from the books because they are good as they are but an adaptation needs to adapt precisely even more when the media is different.

A book and a  TV show are of course very different mainly because of the images. In a book, a description can only be completed by the reader’s imagination. In a show, what you see allows very little space for imagination. This is why a successful adaptation is one that can get the spirit, the ambiance of the world, conveyed by the original words, and transcripts it on screen. From the language of worded images to the language of filming.

The unsettling ambiance, the faded colours and surreal pastel imagery are very fitting for the Baudelaires’ story. The main aspect of the series is its dark humor and stories that you find rarely in children’s book : one death if not more per book, usually a gruesome one. The TV show manages to render the baudelairian world : this very specific atmosphere, the feeling of being oppressed by all the places in which the Baudelaires find themselves.

Finally the most important aspect of an adaptation is that it must appeal to all audiences.What is complicated about making adaptations is that they are received by two different audiences : the one who knows the original material and the one who doesn’t and their first interaction with the original universe is through the adaptation.
That’s why getting the atmosphere right is so important, it shows the specificities of the work in another way which should not “betray” the original story.
An adaptation is full of references that will be immediately recognized only by the ones familiar with the original piece. These references show the adaptors love for the original work and also creates a complicity between them and the well-aware viewer. Which book lover did not scream at the sugar bowl in episode 2 or at those four simple words : the world is quiet here ?The beauty of references is that they are hidden, they could be seen as completely normal by an unaware viewer : the scene of the sugar bowl seems very innocent.

It allows the adaptors to play on what the reader already knows. Take the first appearance of the Quagmire mother and father: most of the book readers thought them to be the Baudelaire mother and father even though they know very well it is impossible. This builds up until the revelation in the first part of the Miserable Mill. Not only this plays with the well-aware reader but also stages already the Quagmire trio and most of their backstory. Being already intertwined since the first episode with the main story, they meet naturally at the end of the season and do not appear previously unmentionned like in the books.

As thrilling as this is, if the adaptation is only met for the experts, it won’t be a total success. An adaptation also needs to speak to new viewers who have no knowledge of the original work. This is why there is a need for balance of references so the newcomer will not spent his time on Wikipedia trying to figure out what happens. How the series introduced right away the Quagmires is actually rather clever : it allows the newcomer not to be lost in all the key characters.

Lastly, this show really catches the core humor of the original work by playing on the fact that it is an adaptation and therefore needs to depart sometimes from the original sequences. At the beginning of the Miserable Mill (episode 8), Mr. Poe freaks out because the Baudelaires are gone and in the middle of his panicked speech, he says : “It’s off-book !’. And indeed it is, because in the books the Baudelaires don’t go to Lucky Smells Lumbermill by themselves but are brought there by Mr Poe. An adaptation makes choices and the show plays on that aspect.

Of course, this show would need a 300 pages-long essay because of all the references and allusions not only to literature but also foreshadowing the main story. This show completely smashes the movie adaptation which did not manage to really transcript well neither the atmosphere nor the characters.

Remember, an adaptation is not a search of perfection because it will never be exactly like the original material. The change of medium requires changes in the story and the story-telling. The intelligence with which the choices are made makes all the difference between a good and a bad adaptation.

Ear Biscuits Ep. 69 at 42:13

Link: We decided to get on opposite sides of your room.

Rhett: I cannot believe you’re telling this story.

Link: And then we would just throw the ball at each other’s balls…

Rhett: [laughter]

Link: And see who could take it. We would take turns. I’m gonna throw it at your balls and see if you could ta- i mean, we were fully clothed.

Rhett: Yeah, fully clothed. We’re sitting across from each other.

Link: With our legs spread… we had to devise a test of manhood.

Rhett: I haven’t thought about this in a long time.

Link: I’m sure we’re like groaning and laughing and giggling and being complete idiots.

Rhett: The first thing I hear is the sound of my father coming up the stairs. And my dad had a bit of a quick fuse.

anonymous asked:

Is there a transcript/word for word quote of Robert Carlyle talking about Emilie and working with her at the Blackpool con?

From here (I’m assuming this is the quote you want, if not then let me know):

Fan’s question: How hard is it to portray Rumple’s emotions? (Gives examples of townline scene and Neal’s death)

Robert Carlyle: These are difficult scenes, you see, television is much more difficult to find these kind of places than film, because there’s not an awful not of time. You have to do it very very quickly, find it very quickly […], it might be towards the end of the day, maybe only two takes or something. So you have to be kind of on it. But again, when I’m working with Emilie de Ravin, then she makes it easy, you know, because we’ve got such a fantastic relationship together. We’ve bonded on the first day, you know, way back during a lot people’s favorite episode Skin Deep. That was a big, big thing for us, you know, we kind of found each other. And, um, it’s easy to work with Emilie. And that kind of thing I was talking about earlier about wanting to get into that “dark” kind of place, you can sort of find someone to go to that “dark place” with. Makes it an awful lot easier.

I was looking through my writing journal and I found some barely legible notes that i probably wrote in the dead of night before falling asleep about an su au and i thought i’d share a word for word transcript:

Lapis-Host (prisoner and shit)

Jasper-Dark (angry and full of themselves)

Peridot-Google (smol robot friend)

Pearl-Bim (gay, unrequited love)

Garnet- Jims (not, like, romantic love, but like, cool bro love or smth)

Amethyst-Warfstache (pastel chaotic friend)

Steven-Mark (smol space lovin boy)

SDCC 2017 Zach Callison Interview

Rewind and Pause interviewed Zach Callison in this fifteen-minute interview. Here’s a sorta-transcript–not word for word, but basically what the questions are and how he answered, paraphrased.

Question: What inspired you to wear that today?

Zach: This is my style now. I’m getting into fashion and music, trying to create an aesthetic. My designer’s father was the designer for Elvis.

Question: Over the series, Steven has grown up while maintaining innocence. How do you portray a character who’s had to maintain innocence while dealing with all that horror around him?

Zach: His innocence is part of who he is. He’ll always have childlike energy. He’s happy-go-lucky. But the things that happen to him make him be tested, make him more serious, make him more practical. His arc is those two things fighting against each other. It’s hard to maintain that balance.

Question: Because of all that change, is there something that you, as a voice actor, want for Steven at the end of this storyline? [Not sure I heard this right–it was noisy.]

Zach: I try not to do that as much. I don’t even read the storyboards before the session because I like to discover it as I read. I want some closure for Steven, which is hard because no one knows, but they reach a point where there’s only so much they can tell him. It’s hard for him to process all the information about his mom and all the unknowns.

Question: There are a lot of episodes where Steven is narrating as it goes along because he might be the only speaking character on the screen for minutes as a time. How do you approach that to keep it interesting?

Zach: Expository dialogue is really hard to make legitimate and not explanatory. The writers keep it natural. I talk to myself a lot, he has liberty to do that as well. The show is called Steven Universe and it’s always from his perspective, we ALWAYS see the show through his eyes. So the device of having him talk to himself helps. That’s more justification for it, that and it being a kids’ show. I didn’t even realize it was a writing device until Rebecca explained it to me. Genius!

Question: You’ve been voicing Steven for four years–

Zach: Five years, since the pilot.

Question: So what’s the most challenging thing about voicing Steven in Season 4?

Zach: My voice change has stabilized now, but it’s still hard. I get sick a lot, so I have to take care of my voice a lot. It’s easier now, and I spend so much time with him that it’s second nature. New characters, I don’t have that opportunity. It’s more the physical limitations than mental or emotional.

Question: How has growing up with Steven changed you?

Zach: We’ve grown up together. It’s affected that arc and my ability to relate to struggling with who you are, growing up with more responsibility on your shoulders. Rebecca said they want a real kid to play Steven, and that’s a benefit. And it’s opened so many doors for me, and it’s an amazing opportunity to be around people who view art with a purpose. They care about their message and have passion. That experience has been formative for me.

Question: I wanna know what your favorite aspect of Steven is and what was your biggest shocking moment.

Zach: I love his sense of humor and that he always gives people a chance. Example: He’s fighting Bismuth and he throws something at her while telling her to watch out. It’s insightful to who he is as a person. Violence is the last resort. He tries to talk it out first. What shocked me the most was the whole Lars thing. I knew about it coming up, and then oh, that on screen, wow. It was very dramatic. It was a challenge to act. I call it actor candy. We get a lot of it.

Question: Like to kind of Jesus Lars back to life?

Zach: Jesus as a verb! It was really cool. Their relationship has been rocky. Steven wants to be his friend and Lars wasn’t always there. I think this really cemented their friendship. I love anytime I get to work with Matt Moy and when they get to interact. It’s an example of how sometimes he bridges the gap. Their relationship ended stronger.

Question: Do you have any Larses to whom you have been a Steven, and have you ever been a Lars to a Steven?

Zach: I’ve never resurrected someone from the dead. Not yet. There’s a lot of life left to live, we’ll see. I’ve had childhood friends trying to be cool and didn’t want to hang out with a tiny kid that I was. (I didn’t grow for a very long time.) It wasn’t bullying, per se, but like “I wanna be cool and you’re not cool so I don’t wanna be around you.”

Question: So you’re quite a musician. Piano, dabbling in rock. Do you play any Steven music?

Zach: No, haven’t learned any songs on instruments. I love doing covers, I took them down because I was very young. My friends called me “the Drops of Jupiter kid.” I’m playing less than I should. It’s been all about writing songs lately and trying to get them in the studio. I am dropping a single this fall ideally! Current plan. Start gigging and do what I love.

Question: Will you be doing it under your name?

Zach: Yes. I’ll be playing as Zach Callison. I’ll be hiring a band, it’s rock music, I’ll be playing the rock way, but I’ve done the actual band thing and it’s impossible to keep together, so I decided to become a creative tyrant and take over the reins.

Question: Tell us about the Zach Callison show!

Zach: In the works. Sketch comedy show about making a sketch comedy show, very meta. We have digital shorts and a character development aspect. I’m teasing it on my social media. We’re gonna go around pitching it.

Question: Music: have you talked to Rebecca, or Aivi & Surasshu about it?

Zach: Yes, I’ve sent to Rebecca for notes. Aivi hasn’t heard my music, but she’s been supportive.

Question: Steven has been working through the stages of grief on his mom, talk about that.

Zach: At first he just wanted to meet his mom, questions about who she was, and now he almost wishes he didn’t know. He still doesn’t know definitive answers about a lot of things. The Gems not giving him the truth really frustrated him.

Question: What will it take for him to forgive her?

Zach: I don’t know the whole story. I don’t know if he can at this point. Lots of things wouldn’t be told to him. I’ll have to find out eventually.

Question: You love the Cookie Cat rap, what else do you really love?

Zach: If you need a great actor, you’ve come to the right guy! And the Peter Pizzapopolous thing. Rebecca found out I speak Italian semi-fluently, so we’ve been working that in more. It’s fun.

Question: Following up on Cookie Cat, it’s predicted the whole show.

Zach: Some fans comment on that. I didn’t even think, once I found out the Gems are aliens, I asked if that was intentional.

Question: People love the song, how do you feel about it being blown up?

Zach: Yeah, it’s great, people request me to do it at cons all the time.

Question: Which of the relationships YOU have with Deedee, Michaela, or Estelle mirrors Steven’s relationship with the respective Gem most?

Zach: All of them. From them to me and Grace, I always see us as really similar. The relationship between Deedee and me is like she’s my second mom. She comes up before my mom in my phone because she’s entered as Bird Mom. Michaela feels like a big sister. It’s cool to have that dynamic.

Question: What can we look forward to in Season Five?

Zach: We showed some stuff in the panel. Lots of drama, but I can’t say, I’m not qualified. It’s a murder mystery coming, crazy story arcs we may or may not pursue, but I know too much and I’ve said too much.

tezwrites-deactivated20170809  asked:

One of my characters has a severe stuttering problem. I'm confused on how to convey that in my writing.

In my opinion, just a sprinkling of stuttering in dialogue is enough to get the point across. Overdoing it can make the dialogue difficult to read or even get annoying to readers, and even if a character is struggling to speak, your reader shouldn’t have to strfr uggle to read. So, you probably don’t want to have it in every single sentence your character utters.

I usually show it with just a hyphen (-), but as for the exact typography of it, your editor will make that decision. If you self publish, it’s up to you!

“I-I don’t know what you’re talking about.”

“What’s the w-weather like out there?”

And, of course, there might be some variation in the stuttering. You can add in more when it’s a high-tension situation, if your character is saying something difficult (like confessing love, saying that a family member died, etc), when your character is excited about something, and if your character is with unfamiliar people. The stuttering might not be so severe around close friends/family.

If you establish that your character has a stutter early, then you don’t need to keep hitting your reader over the head with that fact. You can even outright say it with the occasional dialogue tag (he stammered, he stuttered), or have another character mention it.

It may not be as true to real life, but “real” dialogue just doesn’t always work in a novel. In the writing certificate class I’m taking right now, we just had an assignment to record a conversation at a coffee shop or something, and then write a word-for-word transcript of it.

In real life, people talk so strangely. They add in a lot of “ums” and “likes” and the conversation goes in random directions. They interrupt each other and talk over each other and switch subjects mid-sentence. It pays to take *some* advice from how real people talk, but following it 100% just wouldn’t work for most novels.

Here’s a great article I found with more advice (link). I especially liked this section:

You don’t have to write: I-I-I I I I’m S-s-s-sorry –because that’s ridiculous. Even if that’s how someone sounds in real life, it looks crazy in writing. You can write something like “I-I’m sorry.” Your readers will still get the point and they’ll know your character has a stutter.

Hope this helps!

–E

Scott: She was our partner.
Aaron: You’ve always been my partner.
Scott: Yeah we’ve always been–
Aaron: You’re my ONLY partner.
Scott: There we go.
Aaron: People talk about, like, Will and Hannibal… THIS is the bromance, right here.
Scott: This is the real bromance.
Aaron: People keep looking past us into, like… Just because the show’s named Hannibal… THIS is the stuff.
Scott: This is the true bromance because these two characters are actually having sex. So that takes it up a notch from Will and Hannibal.
— 

Aaron Abrams and Scott Thompson talk about preller completely unprompted like the beautiful dorks they are.

https://www.youtube.com/watch?v=aFYj6GyHGyU

Don’t underestimate Dump™’s style of speaking. I highly doubt he has the intelligence or coherence to do it on purpose, but his rambling, circular, simplistic style is a technique. It’s a sales technique–a favorite of people like my father, also a realtor.

They don’t give you big, complex, or academic words. It’s the air of the laymen and appears, at first, to hint at sincerity. Speaking off the cuff without time to prepare, speaking candidly. But it is utter falseness. It’s a lure as he rambles around you, distracts and tangents. Turning what should be a sentence into multiple paragraphs until he’s gone in so many directions that your head spins.

Which, frustrating the audience, makes them more prone to giving in to get the speaker to stop talking while the audience remains confused, no more enlightened than when the conversation started and honestly, probably even less so. It’s a manipulative tactic of bullies who don’t want to look like bullies–of slimey salesmen. It’s word-dumping until you, the receiver, are exhausted, like a verbal war of attrition. And like that, the sale is over.

Once a realtor always a realtor.

Quick word-for-word transcript of Matt’s description of the Kima/Allura scene, because I am nothing if not predictable:

As Allura pulls back, she looks up to you all, and immediately, Grog and Vex, you feel yourselves pushed apart as Kima rushes up and just grabs her around the side and says, “Don’t do that again!” Holds her for a second.

Allura rubs her head and says, “I’m so sorry, I should’ve been careful. We needed allies, I didn’t know.”

Kima says, “You shut up,” and she reaches up and gives her a kiss.

Allura takes her and holds her to her chest. She holds her, and you hear Kima quietly sobbing for a moment.

[…]

At which point, Kima pushes away from Allura, her head still down, and she sniffles through her tears, looks up, and just kind of punches her in the shoulder. Allura hangs back and rubs her arm. “I know.”

“You know.”