The brilliant insight of the PDF was, nobody cares about the operating history of a company, they care about the story of the company. And the story of the company is best told in a document that you control, that you craft, that has beautiful graphics and beautiful fonts and compelling narrative.
There's been this kind of minimizing of comedies in terms of their significance and their cinematic value, but we were all raised on comedies that felt incredibly cinematic.
I wrote some of these stories feeling existentially like a daughter, and now I have returned to them with a different identification. It was as if I had failed to see the drama on the mother's side, too, her particular longings and humiliations and needs.
Ego, pride, wrath, fear, gods, superheroes, mortals, and lots of killing. Welcome to Homer's Iliad, which reads at times like a script for a Tarantino film or the latest installment of the Avengers franchise.
This is maximalism. Not only is it layer upon layer aesthetically, it's idea on top of idea conceptually. It becomes its own story almost, that you can almost read like a book.
I think that when I saw that movie for the first time, and I had a Lionel electric train set, and by actually crashing the train into things and watching the train derail and watching the passenger cars and a couple of boxcars and a caboose pile up, I was able to, I think intuitively, wrest back control of my fear. And I really think it helped assuage the fear. It helped me get in total control over it. So I was the one causing something that was going to maybe have a chance to scare other people but no longer myself.
I refer to my romance the way I write it, as Trojan horse, you know? I'm smuggling in discourse, I'm smuggling in the conversation I want to have in what, to me, is the most accessible genre in publishing.
Details in fiction are everything. Even kids write and say, "I like your books because people brush their teeth." I mean, it's that kind of, you know, everyday stuff. And that gives us a bond with the characters.
What I loved about jellyfish is they kind of resist all efforts to see ourselves in them. You look at a jellyfish and have to ask yourself, "Where is its mouth? Where are its eyes?" And I think that makes something a very good candidate for a monster, because what is a monster if something that we can't relate to and can't see ourselves in at all.
It's like there's so many horror movies you see now that just feel like they're kind of grinding their gears in the first 10-20 minutes until you start getting to the kills and the premises established. And I think this is a movie that like actually cares about the
It was a very emotional and very authentic broadcast because it was just myself on air, and very happy for my home country. It was something that I had been waiting for as much as all the Argentinian soccer fans for 36 years.
I got in my suit with the helmet off stage and I pedled onto the stage in the car like knees to chest driving it and got out modeled my suit got back in and and tried to pedal but you know like it the floors were slick. So as I'm pedaling the tires are moving but the car isn't moving.
AI is not built to do that ever. I mean the the the the tool itself is built to give you the most predictable outcome possible, the antithesis of what we're trying to do when we make a TV show or a film.
I have always considered myself kind of a bridge. I can help those people who do not understand the military, who don't understand that these are the guys next door who four days before they were in a war zone were in a minivan taking their kids to school.
Will Rogers had a way of saying things that made people laugh, and then think. He understood that humor could be a Trojan horse — a way of sneaking past people's defenses to deliver an uncomfortable truth.
I can't teach you if I don't have your attention. But if I can get your attention with something remarkable, well, now I suddenly have something to attach the learning to.
Will Rogers was perhaps the most beloved public figure of his time. His radio show reached tens of millions of listeners. He was the highest-paid Hollywood star of the 1930s. He was so popular that there were serious efforts to draft him as a presidential candidate — efforts he had to publicly reject.
Will Rogers was born in 1879 in what is now Oklahoma, to a prominent Cherokee family. He grew up roping cattle, learned to do tricks with a lasso, and eventually turned his cowboy skills into a stage act. But it was his folksy observations about politics and society that made him one of the most beloved figures in America.
I'm more interested in depicting a reality that I'm more familiar with, which is intergenerational debt, struggling, single parenthood, and it's more interesting to me to write stories with characters who subvert these expectations of what an immigrant and a woman should and can be in America.
If I spoke to every person on this bus and asked them about their life story, I bet it would be so much better than any fiction that I could write because you wouldn't believe what people have survived and triumphed and seen and done and the grief and the loss and the joy.
And when you heard more compelling, you understood that to mean that I needed to write about hardship and overcoming trauma or pain, um and something that reflected or talked more about my identity as a black girl, a black girl from Detroit, a black girl from a low-income community, a black girl who was first-generation college.
The story of black comedy, it has always moved through contradictions like that. Moments of limitation that eventually open the door for something bigger and something better.
What we're doing is we're creating a hero's journey for somebody. And what we're surrounding him with are this cast of bizarre, eccentric weirdos and hopefully carving out a path for him to become the leader at the end and have his 12 Angry Men moment where he inspires us all and unites us and then we pull the curtain back and celebrate him as a human being.
Reporters go out into the world. They bear witness to important things that are happening that the public should know about. And then they translate that with sensitivity and judgment in a way that's meant to get people to understanding.
I really want to give them the most amount of swoon as I can. I want people to read these quieter moments that are the louder moments in the book, but quieter moments in real life and be able to relate them back and think that was really romantic when my partner did that for me.
I think actors look for characters that are layered and by that I mean may contradict themselves. They break the stereotype, let's put it that way, if they contradict themselves.
4mo ago
Underscored — save the words that stop you in your tracks.
