Archive for March, 2014

anonsally: clavisa: leslielikesthings replied to your post:leslielikesthings replied to your…

Monday, March 31st, 2014



Yeah that’s where I am mostly lately as well. Easier for me though sad that Sally’s not in on it. :(

Yeah I see aeternamente more there too these days. And rosieramblings and thedovenest and genderific and thelorelaisquared and yeah basically most people. 

Hey anonsally, have you considered getting twitter so you can talk to us? Please? 

I’ve definitely missed leslielikesthings here on Tumblr, and I’m sad if you’re all migrating over there… However, there are a couple obstacles to me getting Twitter: 

  1. I originally got into Tumblr because I liked the longer analytical and meta posts… which Twitter is the wrong platform for… and those are still my favorite thing about it.
  2. I don’t have a smartphone (yet. I assume it will eventually be inevitable).

That said, knowing you Spinstrs are all there is certainly an incentive.

I keep making tweets that mention giraffes in the hope it will conjure up anonsally via some sort of social media sympathetic magic. No luck so far, but I remain hopeful.

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Monday, March 31st, 2014

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gameraboy: Disneyland, CA, 1971 by Nguyen Ngoc Chinh on…

Monday, March 31st, 2014


Disneyland, CA, 1971 by Nguyen Ngoc Chinh on Flickr.

This was the Disneyland I remember best. The PeopleMover, Skyway to Tomorrowland, Adventure Thru Inner Space… Those were the days.

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rainbowrowell: slureads: I read Eleanor & Park by Rainbow…

Monday, March 31st, 2014



I read Eleanor & Park by Rainbow Rowell, and it was adorable.  I felt inspired to do this quick sketch.  The book is sweet, but it also tackles some tough issues: poverty, growing up as mixed, bullying, abuse, among other things.  I hope I captured the characters well.

Colors to come (??) if I have the spare time.  I might also pick a more specific scene, since I know my environments need a bit of work. 

I also read two John Green books (Looking for Alaska, The Fault in Our Stars) — not sure if I’ll get around to any sketches.

This is one of my favorite Eleanor and Park pieces. So much emotion in their posture, and Eleanor is especially lovely — thank you!

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the-eldest-woman-on: Milky Way & Venus Taken by Mike…

Sunday, March 30th, 2014


Milky Way & Venus
Taken by Mike Taylor on February 8, 2014 @ Bristol, Maine

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lifeofjardini: A watercolor of shipwrecked comedy’s wonderful…

Sunday, March 30th, 2014


A watercolor of shipwrecked comedy’s wonderful kissing in the rain

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bobak: bookoisseur: jawboneradio: The Geek A Week trading…

Sunday, March 30th, 2014




The Geek A Week trading card for Bobak Ferdowsi.  Hear his podcast interview here.

Hey, I know that guy! bobak look!


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“Transmedia is a word for old people” | Alisa Rivera

Sunday, March 30th, 2014

“Transmedia is a word for old people” | Alisa Rivera:



Sharing a blog post I wrote on my professional site. If you follow the link, you can read a very interesting comment that someone left in response:

Transmedia—telling stories across multiple platforms and formats like YouTube, Twitter, Facebook, blogs and other social media—is very trendy right now. You’ve got the success of shows like The Lizzie Bennett Diaries and East Los High, in which fans got to interact with characters in “real time,” making them not only consumers of the content but story tellers as well.

As a relative newbie to transmedia, I’ve been feeling psyched about the possibilities, particularly when it comes to storytelling for non-profits. Think of the possibilities for engaging donors and volunteers, bringing organizations’ missions to life in a visceral way.

But when a friend of mine shared my obsession with her 17-year-old daughter, this was her response:

“Transmedia is a word for old people.”

What?? Aside from making me feel about 100 years old, what did my friend’s daughter mean by that?

My friend’s daughter explained that young people don’t need a word to describe transmedia because this is how they live every day. The narrative of their own lives unfolds across different social media platforms and they consciously create identities for themselves depending on where, what, how and with whom they share information.

So a younger person may have one persona on Tumblr, another for Facebook (where their parents and grandparents hang out), yet another for Instagram, and so forth. And they take in information in the same way: watching a series on Hulu while IM’ing a friend or scrolling through animated gifs on Tumblr or watching reaction videos on YouTube. The idea that there is just one way to consume content is just flat-out incomprehensible to them.

So that’s why transmedia is a word for old people—if you’re older than age 30 or so, you grew up in a broadcast world where you watched whatever the networks or cable channels chose to beam at you with no easy way to beam back at them or communicate with like-minded folks consuming the same content (though some folks tried their best—I’m looking at you, old-school Star Trek fans).

Of course, nowadays nearly everyone consumes content the way younger people do. For example, the NY Times recently redesigned their news pagers so that comments appear to the right of the original article, giving both equal visual weight on the page. But while older consumers are “doing” transmedia, they don’t live it the way younger folks do.

You can see this playing out in organizations because the primary decision makers—senior executives and CEOs—generally Don’t Get It. They still think of marketing and communications as a one way street. They treat social media channels as PR tickers. Most importantly, they still think of people as audiences rather than as co-collaborators in creating a shared experience—which is how younger folks see themselves.

In order for companies and non-profits to succeed, they need to reevaluate where and how they tell their organizational stories. It’s not just from a narrative perspective. For example, something that drives me crazy is how brands promote themselves on Tumblr. Some companies like General Electric and IBM are producing cool gifs and graphics, but they never share anyone else’s content. The whole ethos of Tumblr revolves around endless sharing, so why aren’t companies participating in that? It isn’t just about what you put out there, it’s about what you pass along.

As content creators, we need to make the case for true multichannel, multidirectional storytelling that is collaborative and gives a chance to folks share their own stories in turn. This isn’t a nice-to-have opportunity, it’s an absolute must-be-done to survive. Remember my friend’s daughter. She’s not waiting around for us to “get it.”

This is actually super interesting because my roommate, Laura Laham (in addition to designing roller coasters and helping me build rain rigs) works in something called “experience design” and a large part of what her company (Thinkwell Group) does is find ways to make a client’s ad or art exhibit more interactive in interesting ways that actively engage the viewer. The first example of her field of work she ever showed me was an ad another company did for Coke and Skyfall, called unlock the 007 in you, where IRL people were prompted at a vending machine to make it across a train platform in a number or seconds with obstacles in their way. It was such a cool new way to market a product it kind of blew my mind.

This makes a lot of sense to me, in part because for the last few years I’ve been consuming/participating in the creation of transmedia content for things I’m a fan of, and also because in witnessing the ways my kids interact with others online, I can totally validate the generational divide in how they represent themselves in different online venues.

And also, in part, because I’m old (at least by the standards of tumblr-mediated fandom). I’ve been an enthusiastic/obsessive participant in online communities for almost 30 years now, so I’ve had time to see these trends emerge and morph into new shapes, and to see many examples of things that worked and things that didn’t.

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indigodreams: loupelu: Paul de Longpré ‘Peonies and…

Sunday, March 30th, 2014



Paul de Longpré ‘Peonies and Butterflies’ c.1900

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echosvoice: Growing on trees- Sequoia National Park

Sunday, March 30th, 2014


Growing on trees- Sequoia National Park

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yulinkuang: On the production of episode 3 of Kissing in…

Sunday, March 30th, 2014


On the production of episode 3 of Kissing in the Rain

This episode was kind of a wild, self-contained adventure in behind-the-scenes production, apologies in advance if this gets long. 

Sequentially, it was the very last episode of the series that we shot. We had originally planned on shooting this at our Day 1 location, but ran out of time and had to push it to Day 3. Though it’s not totally obvious in the episode, we actually filmed it on the porch of a treehouse I had previously used for my last short film, Irene Lee, Girl Detective:

This new location kinda threw a wrench in the works for my originally planned scene, which involved a 1950’s couple walking home in the rain from prom. The treehouse is located at the top of a very steep hill (which becomes dangerously slippery when you spend hours spraying it down with movie rain) and the porch is extremely narrow, which made for logistical fun times. 

I didn’t have time to rewrite this episode between Days 1 and 3 because we had been working non-stop throughout. So on Day 3, during a lighting setup and a wardrobe/makeup change, I pulled out my laptop and rewrote the scene about two hours before we had to shoot it. I printed the new script for episode 3, finished shooting episode 7, and then handed the revised pages to Sean and MK as they rushed into their last wardrobe/makeup change.

In case it’s of interest, here’s the original script and here’s the revised scriptI rewatched a crap-ton of Joey/Pacey clips of Dawson’s Creek right before rewriting. I think the scene became much angstier and better for it. 

Meanwhile, Zack (our multitalented DP) told me that 1) we couldn’t bring the tripod up because the hill was too slippery for heavy gear, so we’d have to shoot this episode handheld and 2) all our other memory cards were full, so we had only 1.5 memory cards at our disposal for this last episode. That meant we had about 6-8 total takes to get 3 shots of coverage for the entire episode: a wide profile, Sean’s close up, and Mary Kate’s close up.

For the record, I usually average between 4-6 takes per shot, so when we did the math my brain started to hurt a lot. The number of vitally necessary takes changes depending upon how complicated the lighting setups/camera moves are/what part of the scene it is/amount of actors’ improv, etc. – but you usually want to budget at the very least a throw-away first take, your great take, and a safety take. Which we did not have the memory card space for at all.

We’d also been shooting fairly locked-down for the rest of the series, so I was nervous about Zack shooting handheld without any kind of shoulder mount or steadicam. It also meant that I couldn’t check the camera monitor with Zack, so I had to direct the scene picture-blind. So this was a Wild Nutty Filmmaking Challenge and a Half.

I still don’t really know how we managed to pull it off. I just remember somewhere around our third take, it was after midnight, I was totally drenched, our actors were soaking wet and dead tired, a neighbor’s dog was barking non-stop, and I asked Zack, “Should we just call it quits? Is any of this even usable?” Then he showed me a camera still of this shot of Sean and I said something like, “HOLYCRAP that looks too good, okay, let’s finish this.” I think we ended up shooting about 2 takes of each closeup, 1 of the wide, an extra half-take of the scene post-title smash, and had just enough memory to shoot the close-up on the flowers that opens the episode. 

For about a month afterwards, I kept waking up from bizarre fever dreams where we had to shoot/reshoot this episode and only the production stills would remind me that we’d actually wrapped. I will add that this episode is an incredible testament to the grace-under-pressure of our production team and the trust we have in each other’s work. 

The song in this episode was composed by my good friend Paul Sprangers (who’s in a pretty cool band called Free Energy) with his friend, Scott Barber. We had two really awesome fanmixes that were canonized for this episode, one of which was a playlist for James to get the “romance of the scene”. (If you don’t know what I’m talking about, read this post.)

I loved that fanmix especially because this episode’s temp track seemed like it would fit perfectly on that playlist. (A temp track is the original musical track directors give to editors and composers so they have an idea of the editing pace/musical tone we’re going for.) For this episode, my temp track was Elvis Presley’s Can’t Help Falling in Love With YouThe whole scene is partially inspired by the song It’s Raining on Prom Night.

Because we shot this episode handheld instead of locked-down and the score was by a different composer, I decided to attribute the movie in this episode to a distinctly different director’s voice. In my personal headcanon (some of which made it into my companion drabble for the episode), this movie was a first feature for a younger indie filmmaker, who probably was able to work with actors of Lily and James’ caliber because he was friends with one of them. I’d guess Lily, since James is a little out of his element at the wrap party. Maybe they made a short film or webseries together in college or something. But I feel like friendship/loyalty would be the only reason Lily would risk catching bronchitis for a film, anyway. (I assume that’s why seanpersaud and marykatewiles did for me, thanks again, you guys are the best.) #non-canon headcanon.

Apologies for the lengthy technical commentary this week, I promise I’ll be more concise next time! Let me know if you have any more production questions specific to this episode, my ask box is open and I also answer quick questions on Twitter. As always, thanks for watching and commenting!

Much love,


Please don’t ever apologize for making these commentaries longer. Longer is always better.

Except I guess that means the apology-including version is automatically better (because longer).

Okay, new version: Please don’t ever apologize for the length of these, unless you promise not to let the apology actually work its way into your thinking such that you actually make that or a subsequent commentary shorter. In other words, please continue to apologize, but don’t mean it when you say it.

In other words: Please lie. At length.


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feathersandbeaks: Émeraude Orvert (Chlorostilbon mellisugus)…

Sunday, March 30th, 2014


Émeraude Orvert (Chlorostilbon mellisugus) mâle / Blue-tailed Emerald

by Yannick TURBÉ

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exponential63: lbmisscharlie: ETA a source: these are from the…

Sunday, March 30th, 2014



ETA a source: these are from the book We Go to the Gallery by Miriam Elia, who is now in danger of being possibly sued by Penguin for, as they claim, infringing on the Ladybird brand.

Page 34: ‘“The balloon is worth $58million and if you touch it the security guards will call the police,” says Mummy.’ This almost actually happened:Jeff Koons, Serpentine Gallery, 2009.

And that awkward moment when you didn’t realise Penguin had bought Ladybird.

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Ruby Rhod is the best.

Sunday, March 30th, 2014

Ruby Rhod is the best.

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pennedhelvetica: Ok so I wasn’t too happy with the earlier one…

Sunday, March 30th, 2014


Ok so I wasn’t too happy with the earlier one I did for episode three so I took some cold and flu medication and bashed my head into my laptop until this came out.


I like how the unreadable credits are only mostly unreadable.

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rapunzelie: I picked up my liquid eyeliner and looked at the clock and thought “yeah I can do this…

Saturday, March 29th, 2014


I picked up my liquid eyeliner and looked at the clock and thought “yeah I can do this in three minutes” and I don’t think I have ever told myself a more blatant lie

Recorded for posterity.

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What movie was #1 at the box office when you were born?

Saturday, March 29th, 2014

What movie was #1 at the box office when you were born?:











mine is ‘The Fly’


Karate Kid 2


Breakin’ – ‘Breakin’: A struggling young jazz dancer (Lucinda Dickey) meets up with two break-dancers. Together they become the sensation of the street crowds. Features ICE-T in his film debut as a club MC.


Star Trek: Generations. Nice!

The Santa Clause

curses being born in december

Back to the Future

Another 48 HRS

Quit your whining, mine is Blazing Saddles.

When the earliest movie on that list was #1 I was already 20 years old. Fortunately Wikipedia has me covered. State Fair, starring Pat Boone and Bobby Darrin, directed by José Ferrer, the sassy lawyer from the court martial sequence in The Caine Mutiny.

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bongsniffer: all these dogs are like “this is the craziest dog…

Saturday, March 29th, 2014


all these dogs are like “this is the craziest dog ive ever seen. this dog is wild. what the hell”

Reblogging for the antler-less moose crowd.

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yulinkuang: rosieramblings: yulinkuang: His mind shifts and…

Saturday, March 29th, 2014




His mind shifts and he’s not Gilbert anymore but James listening to Anne speak and though he remembers his lines and kisses her properly, he knows he’s crossed a very dangerous line. (acting methods)

This is also great! Hey, look rosieramblings! All the things! It’s all great! These tags too!




YEP THERE IT IS AGAIN, feel those feels Rosie because I feel them all the time especially when you guys write brilliant fic and I seriously love this fandom and this fan-canon experiment and everyone like whoa today.

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yulinkuang: lily has a tortured relationship with the camera….

Saturday, March 29th, 2014


lily has a tortured relationship with the camera. (x)

This is GORGEOUS. Also re: emkaysmiles‘ tags, I totally agree – yet another day in which I fall even more deeply in love with the KITR fandom.

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