If you had to pick five figures from any of the current major world religions to have dinner with, who would you pick and why? (you can pick all from one or a combination)
3. No, seriously. Jesus. And it’s not dinner, it’s a month, and it mostly involves me following him around and pestering him with endless questions as we do laundry and I make him food and he tells lots of stories and laughs and we watch movies and basically do everything I normally would but WITH JESUS.
4. The disciples. All of them, gathered around a table, knocking over empty wine bottles and possibly slightly drunk, swapping stories and ribbing one another and basically acting like a family with me in the middle of it all.
It’s true that Robert Wise’s film adaptation of the Leonard Bernstein/Stephen Sondheim musical is a classic, featuring an all-star cast and iconic choreography by Jerome Robbins.
But here’s why we want Spielberg to tear it all down and start over.
More authentically Spanish? Si, por favor.
In the 1961 film, Russian actress Natalie Wood played the Hispanic Maria, with her voice dubbed by famed Hollywood songstress Marni Nixon. Spielberg is unlikely to whitewash the casting, so we would actually have a Hispanic actress play Maria. Equally important to the show’s authenticity: actual Spanish in the script. In 2009, the show’s original librettist, Arthur Laurents, helmed a revival that utilized a wealth of new Spanish translations and insertions to the original text, written by Tony-award-winning In the Heights composer Lin-Manuel Miranda. The chance for new film audiences to see the musical with this additional context is one we shouldn’t pass up for anything.
"I've "figured out" that I'm "transexual," if that means anything to you. I developed early mentally and sexually and identified myself as female before I was taught anything about sex and guilt." Campbell's own words. Tumblr pronoun culture is fucked up, somebody who explicitly says "I identify myself as female" should not also have to say "Call me she/her" in order to get people to use the right pronouns. Quit fucking up, Aja.
I completely agree with you. I completely agree with you.And while I recognize that this quote you provided is from Campbell, it comes from a locked backer update, so I can’t take it to my editor and use it as a piece of hard confirmation. And I think that sucks.
Here is something I said to my editor about this yesterday when having this discussion. I am screencapping it straight from the news room.
I am not my editor. I do not make editorial decisions about my stories. I don’t get to decide when we issue corrections, when we change pronouns, and when we decide something is genderqueer. Yesterday, my editor decided that writing out the use of pronouns altogether would be easier than using “they” or “she.” He offered to do this for me because he knew I didn’t want to accept this as a compromise.
Please don’t think that this is not something that I have fought for, because it is. And it’s something that I will continue to fight for, because it’s something that is very important to me. My newsroom does not allow for the use of gender-neutral pronouns without hard confirmation that the subject is genderqueer, and I wasn’t able to give my editor conclusive evidence that Campbell was genderqueer, let alone that Campbell was trans.
I also have been begging my editor to change our canonical tag from ‘lgbt’ to ‘glbtq’ because I don’t want to erase anyone. My editor disagrees with me that it’s a necessary. So I’ve just been using both tags as a compromise, while continuing to argue for the use of the ‘q.’ I know that it looks to you like this is me fucking up. I’m sorry. I am trying. I really, really am. And I am sorry that I can’t do more.
The movies I made, I wasn’t even trying to make them diverse. It’s just when you’re a filmmaker of any ethnicity, you’re going to write from your own experience. So all my scripts started with “Hispanic character…” then I’d be like, “Oh, gosh, now I have to find an actor to play this,” and then I’d find there were no actors in Hollywood. It was puzzling.
When I was doing “Spy Kids,” the Weinsteins asked me — not that they were being jerks at all, they were just wondering — "Why are you making the characters Hispanic? It doesn’t make any sense, isn’t this supposed to be for everybody?" “Well, it’s based on my family.”
They’d just never seen it. Hollywood is very much… no one wants to do it first, because what if they screw up? If someone else does it first and it’s successful, then that’s something we can imitate. It just makes business sense for people not to constantly be putting themselves out there.
[Weinstein] said that, and it really put me on the spot to come up with a reason. “Why not just give them American names? It’s America, it will confuse people.” I said “They are American — they’re based on my family, so they’re Hispanic, but they’re going to be speaking in English. It’s going to be for everybody.” But no one had done it before, so there was nothing to point to.
"But why?” They couldn’t understand why I was doing it that way, and I couldn’t come up with a good answer. And I realized, wow, if I wasn’t Hispanic, I would have folded, I would have changed the name. That’s why there weren’t more scripts like that. Somebody would have asked them at some point “Why are you doing it that way?”
Finally, I came up with the right answer. I said “You don’t have to be British to watch James Bond. Making him British actually makes him more universal because it makes him very specific.” And they were like, okay, that makes sense. And we did it, and “Spy Kids” was a big hit. And those who were Hispanic, it really meant a lot to them. People have come up to me for a lot of years since and said “You changed my kids’ whole life. They see little kids who are Hispanic that are spies and they saw your name as the writer and director and you changed their idea of what their future could be.” The ripple effects of that one movie were enormous.
"this is supposed to be for everybody"
I realized, wow, if I wasn’t Hispanic, I would have folded, I would have changed the name. That’s why there weren’t more scripts like that.
the 1995 Pride and Prejudice is so great it’s like *sticks exactly to the book, sticks exactly to the book, sticks exactly to the book COLIN FIRTH IN A WET SHIRT sticks exactly to the book, sticks exactly to the book*
“Ah I hate it when Aztecs force themselves into your hotel room and make you try on belts…”—Tom Servo - 903 “Puma Man” (via theletteraesc)
i want to quote Puma Man in response to this Puma Man quote but if I start quoting Puma Man then I’ll just be here all day quoting Puma Man, so just pretend I took your favorite Puma Man quote and stuck it here instead
No, seriously, I don’t think you guys understand how much Tumblr wants Leo to win an Oscar.
Leo vs. the Oscars: The early years
Demanding Oscar justice for Leo is not a new pastime. In 1998, Siskel, Ebert, and millions of sobbing teenagers all declared that he was robbed of a nomination for Titanic. Even Celine Dion opined on the fracas: ”To me, he’s James Dean. He’s wonderful — I can’t believe he’s not nominated!”
I should be sleeping, but I want to take a moment to say something about John Green, Tumblr, and why it’s easier to write simple villains than it is to write complexities.
So, for those out of the loop:
John Green is a person. Some of his characteristics include whiteness, maleness, American-ness, YouTuber-ness, and YA author-ness.
It’s difficult to imagine, but his YouTuber-ness and his YA author-ness intersect curiously. Around the time of his first novel, Looking for Alaska, being released, he and his brother Hank started a YouTube channel; it is called vlogbrothers, and when it started they used it for a mostly insular project called Brotherhood 2.0, where just for kicks they’d limit all their interaction with each other to online videos for one year. That was in 2007; since then they’ve grown a massive fanbase, called Nerdfighters colloquially, who care deeply about their projects. These Nerdfighters (of which, full disclosure, I am among the number) have raised thousands for charity several times, helped support upstart YouTubers and writers, and constantly are creating and recreating and engaging in their spaces, imaginatively and compassionately, as their contribution to the collective that is Nerdfighteria - a thing the Brothers Green admit often has become larger than themselves in ways they hadn’t even fathomed. You’d think that doesn’t mean anything, but having thousands of people care about your opinions does wonders for your ability to sell a book, let alone a half dozen written in less than a decade.
He has a movie coming out for his latest book, The Fault In Our Stars. It will be out in June 2014 in most of the world. It’s, if I recall correctly, the third time a novel of his has been optioned since he started writing, but the first time it’s actually been a thing will definitely happen.
On February 20th, 2014, Aja Romano wrote a piece for The Daily Dot entitled ‘Young Adult publishing and the John Green Effect’, which draws some interesting conclusions about John Green’s weight in the YA literary community compared to female YA authors of equal or greater merit. It’s a brilliant piece.
In the original piece, Romano gives mention to a Tumblr post (which is itself a collection of tweets from fellow Tumblr-er catagator). Catagator’s original post assumes the part of a section of the larger conversation about racial and gendered privilege in the literary sphere; another heavily-shared reblog of it - the version Romano linked to - argues that we should ‘END JOHN GREEN’, ‘END JOHN GREEN SUPPORTERS’, and ‘END THE JOHN GREEN INDUSTRY’. (Personally, I believe Catagator is right, but arguably the second poster is wrong.)
The response, generally to the second poster’s Tumblr reblog and the surrounding conversation around that got so heated that not only did Romano remove the link from her article (as noted therein), but posted a commentary on the issue on her blog only a few days after the Dot article. Again, Romano’s commentary is brilliant.
Now, we’ve been discussing YA lit politics (and media politics overall) for a while here on Tumblr, and for the most part we do a bang-up job at it. From the near-academic analysis from Cindy Pon and Malinda Lo’s diversityinya, to Maureen Johnson’s hilarious but critical CoverFlip project, we’ve been cutting up YA’s race and gender politics good and proper. (It’s not the only time we have: we did #PoCecil, dreamcast the Twelfth Doctor as Indira Varma, and asked Hawkeye to take some initiative.)
It is in that light that I think having a conversation about the ‘John Green effect’ is not only fair, but invaluable.