commented on What Are Your Norman Rockwell Feelings?
Hm, looks like Slog munged that link. Anyway, Rockwell's "Rosie the Riveter" is marvelously lively and strong. It's a more vital and human image than the iconic "We Can Do It" poster by J. Howard Miller.
commented on What Are Your Norman Rockwell Feelings?
I have to assume that whoever called Rockwell "pointless" was unfamiliar with his actual body of work. They were probably just thinking of Coke ads and what Republicans mean when they talk about "Norman Rockwell's America."
@7 links to the painting that *actually* illustrates Norman Rockwell's America, and it's as powerful today as it was in 1964. See also "Murder in Mississippi" and "Uneasy Christmas in the Birthplace of Christ".
Nobody who actually knows anything about Rockwell would call him pointless.
commented on Caucasian Seattle Model Paints Herself Black for Local Fashion Shoot
That Facebook thread (and this one, too) is so cringeworthy. The people of color who so VERY gently said, "hey, this looks like blackface, have you considered that issue and how it might be offensive?" are immediately caricatured as "raging," racist against white people, and BLAH and blah and blah.
It's so, so painful.
commented on Orson Scott Card May Be a Hateful Homophobe...
A friend of mine nominated the phrase "playing the Orson Scott Card" to describe those situations when somebody says something so appallingly racist, sexist, or homophobic that it makes further conversation impossible.
commented on Media Conglomerate Would Rather Throw Money Away Than Make a Movie Starring a Strong Female Lead
Here's the trailer to my Wonder Woman movie. (I have a finished script.)
SCENE: Ancient ruins. We are underground, in an immense natural cavern, and everything is suffused in weird blue-green light. The camera pans slowly over the rubble: we see the remains of huge stone columns and Grecian-style statuary done on an immense scale. A girl's light voice says in voice-over:
Do you hear it? It's coming.
Cut to a TITLE SCREEN: black with burning golden script.
AN ANCIENT EVIL
SCENE: An executive office suite, richly appointed in a traditional style. Behind the gleaming mahogany desk a huge window shows us an urban night skyscape. There are two men here, identifiable at a glance as an EVIL EXECUTIVE and his LACKEY. The evil executive is darkly handsome, wears an impeccably tailored suit, and occupies a commanding position behind his desk. The lackey is more dishevelled and is standing to one side.
Sir, the board has doubts. The kind of power you're talking about...
...Will be a red tide washing over the nations of this Earth. Ah, but Lester, there's profit in it.
The executive rises, striding over to a corner of his office. He palms the wood paneling, which slides open smoothly to reveal a hidden passage. The glimpse we see of the corridor beyond doesn't seem to belong in such a modern, businesslike environment: it's white marble, and the floor is carved with strange runes. The executive pauses before entering, turning slightly to address Lester over his shoulder.
Are you a praying man, Lester?
I--I was raised Lutheran.
That won't be enough.
The camera swings around as he steps through the secret door, so that we see his face as the lackey watches his back. A swirling darkness gathers around his face and his eyes take on a deep red glow, but he still sounds pleased as he says:
That won't be nearly enough.
THE OLD GODS
Scene: A New York city street, daytime. People clog the sidewalk. Moving briskly through them is a beautiful young African-American LAWYER, looking very smart in her tight, short skirt and jacket, a cellphone to one ear and a briefcase in her other hand. We don't need to hear what she's saying as the camera tightens on her face, but we should get a good look at her startling bright grey eyes.
She peels off from the crowd to turn into a dingy alleyway, slipping her phone away as she does so. The alley is shadowed, secluded, and seems an unlikely place for her; there's an overflowing dumpster and an old man, sleeping, wrapped in blankets. She kneels beside him and begins tracing a pattern in the air over his forehead. Bright blue magical light follows her finger, etching in the sigil she is making. When it is complete the old man's eyes snap open, glazed pure white.
Father? I've found her.
AND FROM A FORGOTTEN WORLD...
SCENE: Suddenly everything is color and noise, a blur of motion and yelling voices. There's some sort of fight going on, maybe a war. The camera's cutting fast, showing us glimpses of antique burnished armor, spears thrusting, human mouths snarling incoherent challenges. As we get more of a sense of what's going on we see we're on a sun-drenched beach, and six warriors in golden Roman-style armor, wearing plumed helmets and carrying spears and shields, are surrounding one unarmed girl in a simple toga. But she's taking them down, quickly and viciously. She uses her metal bracers to deflect their weapons and she's inhumanly strong and fast. She fights with a combination of straightforward brawler's tactics -- smashing punches, headbutts -- and more sophisticated martial-arts moves.
OUR HEROINE slams the last of the armored warriors to the ground. She has lots of dark hair and wears golden jewelry, including a gold tiara. She is taking a violent pleasure in this fight.
Just then another toga-clad young woman, a MESSENGER, runs up.
And we see OUR HEROINE's attention snap to her.
A CHAMPION HAS COME.
SCENE: A waterfront pier, night. The water ripples and breaks as our heroine surges up, catching the edge of the pier in her hand and pulling herself up in a fluid motion. She's on her feet in the next second and we get to admire her for a second as she pushes her wet hair out of her face, magnificent with the wet toga clinging to her sculptured form. Then something catches her attention: her eyes lock with the camera and her fists clench as she sinks into a fighting crouch.
Theme music swells as we get a montage of clips from various action scenes. One is on the pier as the wet heroine takes down three attacking thugs. In another she seems to be racing through a burning building. And in the third, she is in the ancient ruins shown at the very beginning of the trailer, but a huge tentacled monster has emerged and is throwing statuary around; the monster grabs her with a tentacle and smashes her around as she struggles.
The music goes quiet again as we cut to a final SCENE. Our heroine slams into a wall, clearly having arrived there at the force of some great blow. The evil executive we saw before, but this time even more more transformed into something demonic (and with some rents in his nice suit) follows into frame, backhanding the girl as she reels.
He hits her again.
She spits blood, then slowly raises her eyes to the camera. She's battered, seriously pissed off.
My name...is Diana.
She makes a fist, slams it into the executive's face.
I'm a princess.
The word "princess" is gritted out through angry teeth and punctuated by the sound of her fist thudding into his flesh. CUT TO: