Day #21- Year 2 of Pandemic
Apr. 6th, 2021 05:16 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
shadowkatThe day flirts with me, but my sore body after walking 3.2 miles around a Graveyard on Monday, and 2.5 miles on Sunday, could only handle a walk around the block. Also it's dry outside, the air filled with tree pollan.
Pretty though - bright blue sky, and sun filled.
I'm bored at work. So, I started listening to Renegades: Born in the USA Podcast on Spotify. For those who don't know about it? Barack Obama and his friend, Bruce Springsteen, have gotten together in Springsteen's barn this past winter to record a series of podcasts about the divide in America and how to come together. They chat about their odd friendship, their backgrounds, and what they have in common and what they don't - along with various events in our history - snatches of song and speeches.
It's part, stroke the old ego, and part insightful commentary on the various racial and class divides. Obama in response to Springsteen's question about a US President addressing the reparations that the US needs to make to the generations affected by slavery, states that White Tax Payers had issues with it - and it was impossible to push forward without controversy and upheaval. In response to Springsteen's comment that they'd bailed out the bankers - Barack stated, believe me, they weren't happy about that either.
I didn't know that Springsteen hadn't learned how to drive until he was 24. And Obama's mother never learned to drive, and his grandmother rarely drove.
Also they talk about how our media and Regan's upheavel of the Securities Act in the 80s created a certain tension in the US between the classes that had not quite existed in the 70s, 60s and 50s, at least not to that extent.
They both recall how they grew up in the 60s and 70s unaware of the need to own more than they had. Perfectly happy with less. Then the 80s and 90s roared in - along with cable, and the Lifestyles of the Rich and Famous. And suddenly materialism was brought into our lives. Where we are constantly equating success based on whether we have a pool, a big back yard, a deck, a car, a house, etc. And how folks who don't have these things are made to feel like failures. This idea that you have to own certain things or have a certain wage. Obama states how people were surprised he wanted to become a community organizer as opposed to a corporate lawyer or litigator. There's this pressure to bring in the big salary. And Springsteen notes how at his son't school - the Head Master's opening salvo is about the kids struggling at Bear Sterns, when they are only four years of age.
Both also mention how to do what they've down effectively - you need to have a mixture of meglomania (Barack's term for huge ego) and compassion for others.
I found it insightful - about the two men and about our world. Also a nice companion to Michelle Obama's book Becoming - which I recently finished. It's insightful as well, but also aggravating in places. I like her husband's better - it's more succinct. Michelle kind of rambles around her theme a bit. But she does mention how it is important to let people in. Open up and let them in. I thought, I'm trying, Michelle, I am trying.
My mother believes I am. But I don't know. I am a tad stand-offish, I guess.
But I'm shy and retiring too in my way, I suppose. And every time I get interested in anyone and try to strike up a close friendship or romance, they leave town on me. I don't know if it's a New York thing or just a thing.
Mother: Didn't the last guy move to France?
Me: Yes, to take care of his uncle who has dementia. He left in 2018. It was king of hard to keep a long distance relationship, it's not like we dated. Also I suck at long-distance relationships.
Mother: Most people do. You're brother is the only one I've noticed that maintained it - and only for short periods of time.
Me: I can't even maintain friendship and family long-distance that well, outside of you. Ames comes and goes.
On Twitter, discovered a lengthy interview with Ray Fisher regarding what happened with Whedon et all on the set of Justice League. It's more detailed than the previous interviews, and not all that surprising. Just manages to underline my current take on Whedon and Hollywood - aptly summed up by one responder as : "Hollywood is filled with assholes." Yep.
If you are at all curious, HERE's The Article.
My take aways? Whedon was an asshole on that set. And a lot of white folks don't understand racism or aren't sensitive to it. (I picked up on this during the Barack/Springsteen conversation, along with Michelle's book, but also talking to folks in my workplace.)
Katherine Forrest, a former federal judge who conducted the WarnerMedia probe, tells THR in a statement that in interviews with more than 80 witnesses, she found "no credible support for claims of racial animus" or racial "insensitivity."
I don't know, I watched the two films and compared them - I'd say what that I found the Whedon film to be insensitive racially (and gender wise) on multiple levels. But that may be subjective on my part.
The Justice League that Fisher had signed up for was a far cry from the film that Whedon ended up finishing. Snyder had Fisher talk at length with screenwriter Chris Terrio before there was even a script. "Zack and I always considered Cyborg's story to be the heart of the movie," Terrio tells THR. "He has the most pronounced character arc of any of the heroes," beginning from a place of despair and ending with a feeling that "he is whole and that he is loved." And Terrio says he and Snyder took the portrayal of the first Black superhero in the DC film universe "very seriously," adding, "With a white writer and white director, we both thought having the perspective of an actor of color was really important. And Ray is really good with story and character, so he became a partner in creating Victor," referring to the character's given name.
When new filming proceeded under Whedon, says Fisher, he came to feel that he had "to explain some of the most basic points of what would be offensive to the Black community."
After Fisher's reps were told that Whedon planned to make major revisions to the film, he flew from New Jersey to meet with the filmmaker in L.A. When the two met at a bar, Fisher says, Whedon "was tiptoeing around the fact that everything was changing." As he left the meeting, Fisher was handed the revised script, which he read twice on the plane back. Gone was Cyborg's traumatic backstory — his relationship with his mother, whose loving scenes with her son were eliminated, as was the accident that killed her and led to his transformation (the material was later restored in the Snyder Cut version of the film that streamed on HBO Max). "It represents that his parents are two genius-level Black people," Fisher says. "We don't see that every day."
Whedon sent out an email asking for questions, comments or "fulsome praise," but Fisher says it became clear: "All he was looking for was the fulsome praise." Trying to strike a jocular tone, Fisher responded that he mourned the loss of the Cyborg material but was moving on. He said he had notes to avoid issues in terms of representation of the character. But in a call with Whedon, Fisher says he had barely started to talk when the filmmaker cut him off. "It feels like I'm taking notes right now, and I don't like taking notes from anybody — not even Robert Downey Jr.," he said. Other sources on the project say Whedon was similarly dismissive of Gadot and Momoa when they questioned new lines.
Whedon declined to comment for this piece.
Fisher turned to Johns, who he says had presented himself as a kind of mediator. But Fisher says his ultimate response was, "We can't make Joss mad." Publicist Howard Bragman, who represents Johns, denies that but says Johns "recalls suggesting that any creative pitches should happen when Joss Whedon was not preoccupied so he would be most receptive."
Once Whedon got involved, Fisher says that Johns told him that it was problematic that Cyborg smiled only twice in the movie. Fisher says he later learned from a witness who participated in the investigation that Johns and other top executives, including then-DC Films co-chairman Jon Berg and Warners studio chief Toby Emmerich, had discussions in which they said they could not have "an angry Black man" at the center of the film. Johns' rep responds that once the chairman of the studio mandated a brighter tone for the film, all further discussions centered on "adding joy and hopefulness to all six superheroes. There are always conversations about avoiding any stereotype of race, gender or sexuality.
***
The tension only escalated when the issue of having Cyborg say "booyah" arose. That phrase had become a signature of the character thanks to the animated Teen Titans shows, but the character had never said it in the comics or in the original script. Fisher says that Johns had approached Snyder about including the line, but the director didn't want any catchphrases. He managed the situation by putting the word on some signs in his version of the film, as an Easter egg. But Johns' rep says the entire studio believed the booyah line was "a fun moment of synergy."
Fisher says he doesn't see the word in itself as an issue, but he thought it played differently in a live-action film than the animated series. And he thought of Black characters in pop culture with defining phrases: Gary Coleman's "Whatchoo talkin' 'bout, Willis?"; Jimmie Walker's "Dy-no-mite!" As no one else in the film had a catchphrase, he says, "It seemed weird to have the only Black character say that."
With reshoots underway, Fisher says Whedon raised the issue again: "Geoff tells me Cyborg has a catchphrase," he told him. Fisher says he expressed his objections and it seemed the matter was dropped — until Berg, the co-chairman of DC Films and a producer on the project, took him to dinner.
"This is one of the most expensive movies Warners has ever made," Berg said, according to Fisher. "What if the CEO of AT&T has a son or daughter, and that son or daughter wants Cyborg to say 'booyah' in the movie and we don't have a take of that? I could lose my job." Fisher responded that he knew if he filmed the line, it would end up in the movie. And he expressed skepticism that the film's fate rested on Cyborg saying "booyah."
But he shot the take. As he arrived on set, he says, Whedon stretched out his arms and said a line from Hamlet in a mocking tone: "Speak the speech, I pray you, as I pronounced it to you." Fisher replied, "Joss — don't. I'm not in the mood." As he left the set after saying just that one phrase for the cameras, he says, Whedon called out, "Nice work, Ray."
****
Sources say Whedon clashed with all the stars of the film, including Jeremy Irons. And one Justice League star ended up taking her complaints not only to the head of the film studio but also to the chairman of Warner Bros. A knowledgeable source says Gadot had multiple concerns with the revised version of the film, including "issues about her character being more aggressive than her character in Wonder Woman. She wanted to make the character flow from one movie to the next."
The biggest clash, sources say, came when Whedon pushed Gadot to record lines she didn't like, threatened to harm Gadot's career and disparaged Wonder Woman director Patty Jenkins. While Fisher declines to discuss any of what transpired with Gadot, a witness on the production who later spoke to investigators says that after one clash, "Joss was bragging that he's had it out with Gal. He told her he's the writer and she's going to shut up and say the lines and he can make her look incredibly stupid in this movie."
A knowledgeable source says Gadot and Jenkins went to battle, culminating in a meeting with then-Warners chairman Kevin Tsujihara. Asked for comment, Gadot says in a statement: "I had my issues with [Whedon] and Warner Bros. handled it in a timely manner."
From the above? Whedon pissed off some interesting folks. Patty Jenkins, Gail Gadot, Jeremy Irons, and apparently everyone in the cast. (That cast included Amy Adams, Ben Affleck, Henry Caville, Diane Lane, Joe Morton, Jeremy Irons, Jason Momoa...).
I think he'd have gotten away with it, if his version of Justice League wasn't such a bad film, and hadn't bombed at the box office. What's interesting is why HBO/Warner Brothers stuck with him after that? I'd have fired his ass. How'd he get to do the Nevers? Maybe they gave him a break due to the impossible circumstances? Or he had something on one of the execs, who finally left?
Anyhow, from what I read - I'd say the Whedon Cut was racially insensitive, and from what I saw of Whedon's cut - as compared to what Zack Snyder did? The Whedon version was racially insensitive and gender insensitive. I mean I was offended by it - when I compared the two films. You don't necessarily see it without the comparison - and I think the reason for that - is people think, oh, it's a comic book or that's just the medium. We hand-wave a lot of things. OR that's just Whedon's sense of humor. Or it's not like it's not like that in the comics or cartoon.
It's not the medium. You don't have to do it that way. That's what I think is coming out right now - that excuse, oh we have to do it this way, is just that an excuse, it's justified. There's no reason why you can't have a diverse superhero team, where all the characters have an arc and agency, not just the White Guys. It can be done. And it can be done well.
Going back to Barack and Springsteen's podcasts...I've made it through four so far, I think there are eight? Anyhow, going back to the podcasts, they make an interesting point about the cinema of my childhood, and theirs - the 1970s Westerns, where we have ingrained in us the loner hero, who has no home, no roots. No community. And this fear of being domesticated. I think that's partly the old school Hollywood writers and directors problem at the moment - they are stuck in that mindset. I know Whedon kind of is. That toxic white male loner mentality. John Wayne's misanthropic character in The Searchers. Or Clint Eastwood in High Plains Drifter and later The Unforgiven. It's ingrained in a portion of our society and breaking out of that mold is not easy - I don't think. But necessary. To find community and roots...which is hard for outsiders to do.
***
On the COVID front? Still being inundated with bereavement notices and requests to take the vaccine via workplace.
Sis-in-law told mother that she is going to take the second dose of the Moderna. She'll just get sick is all. She now has a two boils on her leg, but it appears to be getting better - and she'll survive. Niece apparently is lined up to get the vaccine next week.
Family is making headway. I may get to see them all again in the not too distant future.
Huzzah! Also I'm thinking of sending my niece flowers to congratulate her for getting into the London School of Economics Foreign Exchange Program (she had to apply and worked hard for it) and on her up-coming graduation.
Pretty though - bright blue sky, and sun filled.
I'm bored at work. So, I started listening to Renegades: Born in the USA Podcast on Spotify. For those who don't know about it? Barack Obama and his friend, Bruce Springsteen, have gotten together in Springsteen's barn this past winter to record a series of podcasts about the divide in America and how to come together. They chat about their odd friendship, their backgrounds, and what they have in common and what they don't - along with various events in our history - snatches of song and speeches.
It's part, stroke the old ego, and part insightful commentary on the various racial and class divides. Obama in response to Springsteen's question about a US President addressing the reparations that the US needs to make to the generations affected by slavery, states that White Tax Payers had issues with it - and it was impossible to push forward without controversy and upheaval. In response to Springsteen's comment that they'd bailed out the bankers - Barack stated, believe me, they weren't happy about that either.
I didn't know that Springsteen hadn't learned how to drive until he was 24. And Obama's mother never learned to drive, and his grandmother rarely drove.
Also they talk about how our media and Regan's upheavel of the Securities Act in the 80s created a certain tension in the US between the classes that had not quite existed in the 70s, 60s and 50s, at least not to that extent.
They both recall how they grew up in the 60s and 70s unaware of the need to own more than they had. Perfectly happy with less. Then the 80s and 90s roared in - along with cable, and the Lifestyles of the Rich and Famous. And suddenly materialism was brought into our lives. Where we are constantly equating success based on whether we have a pool, a big back yard, a deck, a car, a house, etc. And how folks who don't have these things are made to feel like failures. This idea that you have to own certain things or have a certain wage. Obama states how people were surprised he wanted to become a community organizer as opposed to a corporate lawyer or litigator. There's this pressure to bring in the big salary. And Springsteen notes how at his son't school - the Head Master's opening salvo is about the kids struggling at Bear Sterns, when they are only four years of age.
Both also mention how to do what they've down effectively - you need to have a mixture of meglomania (Barack's term for huge ego) and compassion for others.
I found it insightful - about the two men and about our world. Also a nice companion to Michelle Obama's book Becoming - which I recently finished. It's insightful as well, but also aggravating in places. I like her husband's better - it's more succinct. Michelle kind of rambles around her theme a bit. But she does mention how it is important to let people in. Open up and let them in. I thought, I'm trying, Michelle, I am trying.
My mother believes I am. But I don't know. I am a tad stand-offish, I guess.
But I'm shy and retiring too in my way, I suppose. And every time I get interested in anyone and try to strike up a close friendship or romance, they leave town on me. I don't know if it's a New York thing or just a thing.
Mother: Didn't the last guy move to France?
Me: Yes, to take care of his uncle who has dementia. He left in 2018. It was king of hard to keep a long distance relationship, it's not like we dated. Also I suck at long-distance relationships.
Mother: Most people do. You're brother is the only one I've noticed that maintained it - and only for short periods of time.
Me: I can't even maintain friendship and family long-distance that well, outside of you. Ames comes and goes.
On Twitter, discovered a lengthy interview with Ray Fisher regarding what happened with Whedon et all on the set of Justice League. It's more detailed than the previous interviews, and not all that surprising. Just manages to underline my current take on Whedon and Hollywood - aptly summed up by one responder as : "Hollywood is filled with assholes." Yep.
If you are at all curious, HERE's The Article.
My take aways? Whedon was an asshole on that set. And a lot of white folks don't understand racism or aren't sensitive to it. (I picked up on this during the Barack/Springsteen conversation, along with Michelle's book, but also talking to folks in my workplace.)
Katherine Forrest, a former federal judge who conducted the WarnerMedia probe, tells THR in a statement that in interviews with more than 80 witnesses, she found "no credible support for claims of racial animus" or racial "insensitivity."
I don't know, I watched the two films and compared them - I'd say what that I found the Whedon film to be insensitive racially (and gender wise) on multiple levels. But that may be subjective on my part.
The Justice League that Fisher had signed up for was a far cry from the film that Whedon ended up finishing. Snyder had Fisher talk at length with screenwriter Chris Terrio before there was even a script. "Zack and I always considered Cyborg's story to be the heart of the movie," Terrio tells THR. "He has the most pronounced character arc of any of the heroes," beginning from a place of despair and ending with a feeling that "he is whole and that he is loved." And Terrio says he and Snyder took the portrayal of the first Black superhero in the DC film universe "very seriously," adding, "With a white writer and white director, we both thought having the perspective of an actor of color was really important. And Ray is really good with story and character, so he became a partner in creating Victor," referring to the character's given name.
When new filming proceeded under Whedon, says Fisher, he came to feel that he had "to explain some of the most basic points of what would be offensive to the Black community."
After Fisher's reps were told that Whedon planned to make major revisions to the film, he flew from New Jersey to meet with the filmmaker in L.A. When the two met at a bar, Fisher says, Whedon "was tiptoeing around the fact that everything was changing." As he left the meeting, Fisher was handed the revised script, which he read twice on the plane back. Gone was Cyborg's traumatic backstory — his relationship with his mother, whose loving scenes with her son were eliminated, as was the accident that killed her and led to his transformation (the material was later restored in the Snyder Cut version of the film that streamed on HBO Max). "It represents that his parents are two genius-level Black people," Fisher says. "We don't see that every day."
Whedon sent out an email asking for questions, comments or "fulsome praise," but Fisher says it became clear: "All he was looking for was the fulsome praise." Trying to strike a jocular tone, Fisher responded that he mourned the loss of the Cyborg material but was moving on. He said he had notes to avoid issues in terms of representation of the character. But in a call with Whedon, Fisher says he had barely started to talk when the filmmaker cut him off. "It feels like I'm taking notes right now, and I don't like taking notes from anybody — not even Robert Downey Jr.," he said. Other sources on the project say Whedon was similarly dismissive of Gadot and Momoa when they questioned new lines.
Whedon declined to comment for this piece.
Fisher turned to Johns, who he says had presented himself as a kind of mediator. But Fisher says his ultimate response was, "We can't make Joss mad." Publicist Howard Bragman, who represents Johns, denies that but says Johns "recalls suggesting that any creative pitches should happen when Joss Whedon was not preoccupied so he would be most receptive."
Once Whedon got involved, Fisher says that Johns told him that it was problematic that Cyborg smiled only twice in the movie. Fisher says he later learned from a witness who participated in the investigation that Johns and other top executives, including then-DC Films co-chairman Jon Berg and Warners studio chief Toby Emmerich, had discussions in which they said they could not have "an angry Black man" at the center of the film. Johns' rep responds that once the chairman of the studio mandated a brighter tone for the film, all further discussions centered on "adding joy and hopefulness to all six superheroes. There are always conversations about avoiding any stereotype of race, gender or sexuality.
***
The tension only escalated when the issue of having Cyborg say "booyah" arose. That phrase had become a signature of the character thanks to the animated Teen Titans shows, but the character had never said it in the comics or in the original script. Fisher says that Johns had approached Snyder about including the line, but the director didn't want any catchphrases. He managed the situation by putting the word on some signs in his version of the film, as an Easter egg. But Johns' rep says the entire studio believed the booyah line was "a fun moment of synergy."
Fisher says he doesn't see the word in itself as an issue, but he thought it played differently in a live-action film than the animated series. And he thought of Black characters in pop culture with defining phrases: Gary Coleman's "Whatchoo talkin' 'bout, Willis?"; Jimmie Walker's "Dy-no-mite!" As no one else in the film had a catchphrase, he says, "It seemed weird to have the only Black character say that."
With reshoots underway, Fisher says Whedon raised the issue again: "Geoff tells me Cyborg has a catchphrase," he told him. Fisher says he expressed his objections and it seemed the matter was dropped — until Berg, the co-chairman of DC Films and a producer on the project, took him to dinner.
"This is one of the most expensive movies Warners has ever made," Berg said, according to Fisher. "What if the CEO of AT&T has a son or daughter, and that son or daughter wants Cyborg to say 'booyah' in the movie and we don't have a take of that? I could lose my job." Fisher responded that he knew if he filmed the line, it would end up in the movie. And he expressed skepticism that the film's fate rested on Cyborg saying "booyah."
But he shot the take. As he arrived on set, he says, Whedon stretched out his arms and said a line from Hamlet in a mocking tone: "Speak the speech, I pray you, as I pronounced it to you." Fisher replied, "Joss — don't. I'm not in the mood." As he left the set after saying just that one phrase for the cameras, he says, Whedon called out, "Nice work, Ray."
****
Sources say Whedon clashed with all the stars of the film, including Jeremy Irons. And one Justice League star ended up taking her complaints not only to the head of the film studio but also to the chairman of Warner Bros. A knowledgeable source says Gadot had multiple concerns with the revised version of the film, including "issues about her character being more aggressive than her character in Wonder Woman. She wanted to make the character flow from one movie to the next."
The biggest clash, sources say, came when Whedon pushed Gadot to record lines she didn't like, threatened to harm Gadot's career and disparaged Wonder Woman director Patty Jenkins. While Fisher declines to discuss any of what transpired with Gadot, a witness on the production who later spoke to investigators says that after one clash, "Joss was bragging that he's had it out with Gal. He told her he's the writer and she's going to shut up and say the lines and he can make her look incredibly stupid in this movie."
A knowledgeable source says Gadot and Jenkins went to battle, culminating in a meeting with then-Warners chairman Kevin Tsujihara. Asked for comment, Gadot says in a statement: "I had my issues with [Whedon] and Warner Bros. handled it in a timely manner."
From the above? Whedon pissed off some interesting folks. Patty Jenkins, Gail Gadot, Jeremy Irons, and apparently everyone in the cast. (That cast included Amy Adams, Ben Affleck, Henry Caville, Diane Lane, Joe Morton, Jeremy Irons, Jason Momoa...).
I think he'd have gotten away with it, if his version of Justice League wasn't such a bad film, and hadn't bombed at the box office. What's interesting is why HBO/Warner Brothers stuck with him after that? I'd have fired his ass. How'd he get to do the Nevers? Maybe they gave him a break due to the impossible circumstances? Or he had something on one of the execs, who finally left?
Anyhow, from what I read - I'd say the Whedon Cut was racially insensitive, and from what I saw of Whedon's cut - as compared to what Zack Snyder did? The Whedon version was racially insensitive and gender insensitive. I mean I was offended by it - when I compared the two films. You don't necessarily see it without the comparison - and I think the reason for that - is people think, oh, it's a comic book or that's just the medium. We hand-wave a lot of things. OR that's just Whedon's sense of humor. Or it's not like it's not like that in the comics or cartoon.
It's not the medium. You don't have to do it that way. That's what I think is coming out right now - that excuse, oh we have to do it this way, is just that an excuse, it's justified. There's no reason why you can't have a diverse superhero team, where all the characters have an arc and agency, not just the White Guys. It can be done. And it can be done well.
Going back to Barack and Springsteen's podcasts...I've made it through four so far, I think there are eight? Anyhow, going back to the podcasts, they make an interesting point about the cinema of my childhood, and theirs - the 1970s Westerns, where we have ingrained in us the loner hero, who has no home, no roots. No community. And this fear of being domesticated. I think that's partly the old school Hollywood writers and directors problem at the moment - they are stuck in that mindset. I know Whedon kind of is. That toxic white male loner mentality. John Wayne's misanthropic character in The Searchers. Or Clint Eastwood in High Plains Drifter and later The Unforgiven. It's ingrained in a portion of our society and breaking out of that mold is not easy - I don't think. But necessary. To find community and roots...which is hard for outsiders to do.
***
On the COVID front? Still being inundated with bereavement notices and requests to take the vaccine via workplace.
Sis-in-law told mother that she is going to take the second dose of the Moderna. She'll just get sick is all. She now has a two boils on her leg, but it appears to be getting better - and she'll survive. Niece apparently is lined up to get the vaccine next week.
Family is making headway. I may get to see them all again in the not too distant future.
Huzzah! Also I'm thinking of sending my niece flowers to congratulate her for getting into the London School of Economics Foreign Exchange Program (she had to apply and worked hard for it) and on her up-coming graduation.
no subject
Date: 2021-04-06 11:43 pm (UTC)no subject
Date: 2021-04-07 12:00 pm (UTC)no subject
Date: 2021-04-07 10:07 am (UTC)Have you been watching or recording the PBS doc on Hemingway? Whoa! I wasn't originally going to tune in, but now I can't seem to look away. I was actually thinking of Whedon at times while watching this, not that Joss is in Hemingway's class, but, jeez, the similarities regarding talent married with being royally screwed up personality-wise, ay-yi-yi...
no subject
Date: 2021-04-07 11:58 am (UTC)A lot of writers, unfortunately are a bit like this - a kind of wounded ego that feels it needs to flaunt and aggressively assert itself to heal and be noticed.
The big difference between Whedon and folks like Hemingway, is that Hemingway wasn't a film director, nor ever really in charge of others - he was a novelist. You can be royally screwed up as a novelist - but only really hurt yourself or anyone who decides to get involved with you. But as a film director, not so much.
I was reading a few tweets by a woman who worked on with Whedon - and whoa. Also others. Fisher basically states that has no issues with Whedon writing - but he shouldn't be put in a position of power over others or in charge, because he abuses it. (Which I found insightful and rather, ironic, considering the underlying theme of all of Whedon's work is people abusing their power and the negative consequences of doing that.)
no subject
Date: 2021-04-08 08:30 am (UTC)I give the series a solid thumbs up though for... as usual with Ken Burns docs... showing the humanity behind the history. You see the often serious flaws in people, but also the glorious things they manage to do sometimes, all too often in the very same group or individual.
no subject
Date: 2021-04-08 12:02 pm (UTC)At any rate, I'd be going in knowing a lot this already, what I didn't know and what surprised Burns was the positive stuff. (We already all knew about the serious flaws - that's kind of been emphasized over everything else in Hemingway bios.)
no subject
Date: 2021-04-08 12:58 am (UTC)(Good for Gadot standing up for her character. I knew about her refusal to film the scene with the Flash face-planting on WW's breasts, but I was unaware that there was more to it.)
no subject
Date: 2021-04-08 01:56 am (UTC)A lot of the shows that were considered progressive and ground-breaking back then, don't hold up well with today's audience. Buffy certainly doesn't. I've seen new watchers bewildered by why we were so excited about it. My niece was bewildered by my devotion to it. I had to explain it to her. What television was like back then - we didn't have the gadgets we do now.
If you don't advance with the times - you stop being relevant and lose favor. From what I've seen of the Nevers? It's not that interesting. We have so many other shows on already. Shadow & Bone is popping up on Netflix, along with The Boys on Amazon Prime, and The Irregulars. We also have all the shows on CW, and the MCU. The Nevers feels a bit dated in the midst of all of that.
Also agree on Gadot. I give her and Patty Jenkins a lot of credit. I also understand why they came forward and fought - it could have hurt their franchise.