In case it's not clear, they're not actually concerned about Critical Race Theory. They know they don't have any actual ideas and this is a solid "scary brown people" culture war scare for fundraising and sound-bytes because actual governance is difficult.
Engaging them is playing into it. They don't want to talk about not having any good reason to fight infrastructure bills and they REALLY don't want to talk about making it harder to vote.
So yeah, "scary brown people corrupting your kids."
When you see them, remember...
Trump got his booty kicked. They know that. They're looking for ANYTHING that can rally their base...and usually they rally it around being angry at some cultural boogeyman. Uncle and Auntie Facebook, Jimmy 4-Chan, Johnny-Reddit. They all buy in.
It's noise.
Where energy needs to be spent is looking at your local voting laws, making sure you're putting pressure where you can, watchdogging the hundreds of pieces of legislation around the country trying to take us back to Jim Crow.
They're trying to change the conversation.
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I don't mean to be politically divisive, but more philosophical...
The right wing preaches about American exceptionalism, its enduring power and providence over all other nations. They also treat America as a nation so fragile, ANY criticism will destroy it.
Can't have both.
What this says to me, is this isn't a defense of the nation, but rather a defense of its NOSTALGIC MYTHOLOGY (which IS fragile), and the self-esteem many receive from their perceived (and generationally perceived?) role in that mythology.
That, to me, is why anything like CRT or accurate, revisionist history is immediately met with emotional outbursts and personal slander.
The destruction of your personal mythology feels like a personal attack...only because you've made it one. That's the key. It's self-injury.
Here's a funny #DavidLynch story, since I was posting LOST HIGHWAY.
So I'm in film school, like sophomore year, I think. NYU. We're shooting a project on the street, forgot what it was. Silly, film student stuff. Working with something like a krasnogorsk-3 super 16, but 8mm...
...so my friends and I were setting up a shot and I see -- who I THINK is -- David Lynch walking with a group of folks, taking photos. Like he was scouting something.
I'm like "if he looks at our camera, then that's probably Lynch." So we walks closer, across the street and...
...he sees our OLD camera and stops in his tracks. He points at us. Then he quickly jaywalks across the street, with a smile on his face.
At this point we all know it's ACTUALLY DAVID LYNCH.
And he's coming over to us, smiling, and we're FROZEN. So...
If you can find Tony Gilroy’s script for this, it’s amazing. It’s one of the scripts I always read before starting on an assignment. There are three scripts I re-read before every feature gig. MICHAEL CLAYTON by Tony Gilroy…
I’m finishing up a screenplay assignment this week, and here’s a workflow technique that I use for genre stuff...might be helpful.
I tend to write scripts that balance action/set pieces and dialogue scenes, with the hybrid scenes in there, obviously. My approach to action —
— is to not write it all out in my first draft.
What I’ll do is write it in paragraph form, within the body of the script and highlight certain things I know I want but most importantly I’ll have a sentence that tracks the CHARACTER GROWTH across the action scene —
— so I know how the character is growing. Then, when the draft is done I’ll make an action playlist and fill in the action.
I tend to move faster that way, writing out the meaty dramatic scenes and coming back to detail the action, like different parts of my brain.
It's #Oscars day and whenever I think about The Oscars I think about 70's era films, 70's influenced films for some reason. I guess when I was growing up those were the "Oscar movies" so the ceremony always puts me in the mood to watch films either of or in that era. Today...
...before I leap into this screenplay I'm finishing, I'm going to watch, for the first time, SUMMER OF SAM. It's the Spike Lee I haven't watched yet, and I'm not sure why. Maybe because when I want to visit Lee, I miss this because it feels like DePalma to me...
...and I like DePalma's work, but not when I'm in the mood for Spike Lee. If that makes any sense. I'm in awe of movies like this, these lurid, sweaty, furious films. I've never written anything like that, something this sanguine.
Campbell is a version of structure. Aristotle is a version of structure. I don’t believe form is the inherent antithesis of quality, and once you get through a draft or even just a concept you have something you can rework into what’s unique for you.
The more you study the forms of stories, the more you see the parallels between them. Understanding those parallels and seeing those forms is very helpful.
What you do with that understanding makes the art.