( Stabbity Steve: a Murder Ballad by Eviinsanemonkey )
( After Wolf Mountain: a Filk by Eviinsanemonkey )
( Pay Attention: a Filk by Eviinsanemonkey )
( Krampus: an Eerie Christmas Poem by Eviinsanemonkey )
( Moo! A World o' Stuff advertising jingle by Eviinsanemonkey )
( Bigfoot Stole My Mail: a Musical by Owen Neil )
( Eerie, Indiana fanvids by Roseveare )
( Weird Science (Don't Leave My Arms): an Eerie, Indiana Melanie/Devon/Marshall fanvid by Current Joys )
#134 - Introduction to The Marshall Problem (3683 words) by miss_nettles_wife
Fandom: Eerie Indiana, eerie indiana: the other dimension
Rating: Teen And Up Audiences
Warnings: Creator Chose Not To Use Archive Warnings
Relationships: Marshall Teller/Dash X
Characters: Mitchell Taylor, Dash X, Marshall Teller, Stanley Hope
Additional Tags: Crossover, Guns, Monsters, evidence locker, possible future dash x/mitchell taylor
#134 was the first time Mitchell was forced to take drastic action. It was also the first time he met that weird kid with grey hair, the first time he ever broke his nose, and the first time he ever ran for his life in an abandoned refinery on the edge of town in the middle of the night.
How weird that the UK got a VHS release - partial only, of course, stupid nineties home media - but the US didn't.
Created and written by Paul Bae and Terry Miles and launched in May of 2015, The Black Tapes is a docudrama hosted by Alex Reagan, a public radio journalist for Pacific Northwest Stories, and follows her as she investigates the mysterious Strand Institute and its more mysterious founder, Dr. Richard Strand. Over the course of the first two seasons, things go from creepy to downright apocalyptic.
The podcast quickly went from a spooky serial to igniting a small pod empire, leading to sister podcasts Tanis and Rabbits, both written by Terry Miles. A television version of Tanis has been announced and will be produced by Sam Raimi and Debbie Liebling’s POD 3 along with Dark Horse. Bae has his own solo project launching around Halloween of this year, and the two have other projects together and apart. “We have lots of stories to tell,” Miles says.
Today, the premiere episode was released for the third and final season of The Black Tapes, the podcast that started it all. I talked to the writers and creators about the end of the show -- and the end of the world as we know it.
What is the writing process like?
Paul Bae: It’s a switch-off. We do it half and half. It’s like a feedback loop; we’ll feed it to each other and go off what the other wrote, especially for Alex’s narration.
Because the other shows, Terry, you write those yourself?
Terry Miles: Yeah.
How’s that experience different?
TM: It takes longer. (laughs) I don’t have Paul’s genius to lean upon. I go back and forth with myself.
How much input do the actors have in their characters?
TM: Well, accepting the fact …
Yeah, I kind of wondered if we’d talk about that at all, since you’re both pretty adamant about the show being “real.”
TM: Yeah ... If they were actors -- which they are not -- they would stick to the script.
This is really a reality prison you’ve built yourselves.
TM: Yes. Definitely. But it’s fun.
Well, you guys are so good at the social media aspect, where it does feel like these are all real people. Was that important to you, or did that come organically?
TM: It was important. I didn’t grow up with radio dramas. The affection is there, but not necessarily the enjoyment. If it didn’t have hinged-upon-reality element to it, I probably wouldn’t be that interested.
What were some of the influences -- for the story in general, but also the universe you’ve created around it?
PB: We talked about War of the Worlds quite a bit, about what the impact would have been at the time, and how immersive storytelling is a thing we’re both really into. The world of podcasting is another way in; it’s so intimate. Someone’s in your ear. It feels more direct and intimate than, say, watching something on a screen. That’s what it felt like when we started this, so we thought we should capitalize on that intimacy.
TM: In regards to the shared world of characters [between The Black Tapes and his other shows, Tanis and Rabbits], a big influence on me was Michael Moorcock and Elric and Eternal Champion series of books, because the characters in those books crossed over into the other series and it was just so exciting as a kid. It was like, “Holy shit. No way. This character is in this novel all of the sudden?” It was so thrilling.
Has that been a challenge to figure out how much interaction there would be between the characters and how much crossover there would be? Because there’s no Black Tapes and Rabbits crossover, but Tanis exists in both worlds.
TM: It becomes more complicated when you look at moving the podcast into other media. That’s the short answer. Initially, you think “All things combined!” and it’s going to be one amazing universe, and then it becomes, “Well, Paul and I are doing this podcast, and I’m doing these podcasts, and someone else wants to turn this into this,” and it becomes more challenging.
Getting into the story itself, how much was outlined off the bat? Was Season 1 its own distinct thing, or did you know pretty much how things were going to go over the course of all three seasons?
PB: I think of myself as the psychic there. We saw the end coming. We had to write all of Alex’s intros first, so we had a good idea of where it was headed. That way we could just allow the story to unfold.
TM: And there were definite surprises along the way. We really leave ourselves room to let the characters and events drive our recording of them, so to speak. There are all kinds of large tentpoles that were surprising.
PB: When you kind of allow the characters to do what comes naturally, we were sort of surprised. We surprised ourselves bringing some characters back, like Dabic and Simon.
Did you have Strand’s journey mapped out, like how his childhood would play in?
PB: As producers there’s always things you hoped would happen, but sometimes a character, just the way they are, it takes a direction you didn’t expect, and it’s always a pleasant surprise when that happens.
TM: Strand and his family remain enigmatic to us to some degree. I mean, there’s a limitless podcast there about the Strand family. The Strand Family Radio Hour.
It seems like with podcasts specifically, because since there’s not a canonical look for a character, people feel more empowered to decide what a character looks like or “off-camera” headcanons, the same with books.
PB: I just read that word "headcanon" for the first time about a month ago. I like it. I find it fascinating. I’m kind of honored people would spend their time doing this, spend a chunk of their day expanding our world, this world we’ve immersed ourselves in. I’ve read some of it, and a lot of it’s quite good.
TM: Yeah, it’s quite impressive. It’s hard to go down that path and not spend six hours looking at fan art.
PB: Oh my God, the fan art is amazing.
TM: I feel like I have to set aside a day because you get lost so deeply.
Anything you can tell me about this final season?
PB: It’s gonna satisfy a lot of people in some ways, and it’s gonna piss off a lot of people in some ways.
Is the world going to end? Are we all gonna die?
PB: *laughs* I can’t answer that.
TM: I mean, eventually yes.
Was there any conversation about continuing it, or did you know you were done?
PB: We knew this story would have to close here, right now, at this moment.
Was there a reason for that? Did it feel right narratively, or are you both just so busy?
PB: There are a lot of factors. It’s hard to talk about. When you get to the end, it will become self-explanatory.
TM: It’s not that other projects are taking away from Black Tapes, contrary to what we’ve heard on Twitter.
PB: That’s not the reason.
TM: We could continue, but it feels like this is where the story ends. For now, at least.
Yeah mate, we know you could continue. You could probably squeeze another two seasons just by fucking pausing for hours between each sentence like you do on Tanis. Pfft.
Boiscommun has done a great job connecting the storylines and they’re really interesting to read. To be honest, when I started to read this set I wasn’t really looking for much emotion. I was hoping for some great scary stories and maybe a twist or two. One of the great things you find is that he’s really trying to work some serious topics into the underlying suspense.
You’ve got three stories to read here: "Halloween," "The Book of Jack," and "The Story of Joe." Out of the three, "Halloween" is definitely a favorite. It’s not the spookiest or the best story, but it gave me a bad case of the feels. You start reading and you don’t expect the extent of emotions that will take you over. The visuals are spectacular with this one. The main character is a little girl who’s in her Halloween costume, which becomes a part of her story and really showcases her torment. As you probably expect, there’s a lot of dark and light contrast throughout the book but there’s an amazing amount of detail in even the most basic shadows.
The next story — all in black and white — is "The Story of Joe." I honestly got lost with this one and had to read it a few times to get the idea of what was going on. The first read made me think he was just imagining what was happening — it’s more of a mysterious puzzle than the other two sections. The art worked really well with the story idea, though. It’s a nice change into a darker area.
"The Book of Jack" is a pretty intense read. The premise behind the story is pretty disturbing but allows the imagination to go wild. It’s got a nice Hocus Pocus feel to it
What’s really nice is that you have the same characters from Halloween throughout the other stories, they just branch off and make their own path. Just be aware if you’re looking for intense, gory ghosts and ghouls you won’t find it here. There are some creepy creatures and spooky sections but nothing really over the top.
If anything, some of the stories could be a little better organized. I lost a few key points in some places with a bit of an overstimulated page here and there. I would have liked to see some more definition in some of the characters’ appearances. It looks like they kept the blurry edges to help with the feeling of the stories but it could have been done a bit better.
I absolutely love the meaningful undertones of each story. I would definitely suggest this to the avid spooky reader but be wary that it’s not as scary as one may expect. The stories flow wonderfully together and all three stand alone very well too. This is a great addition to the Humanoids collection of works.
George Clooney hit the ground running as a director with the wonderful Confessions of a Dangerous Mind and the Oscar-nominated Goodnight and Good Luck. But his luck has been down with the interminable Leatherheads and instantly forgettable if commercially successful Monuments Men. Re-jigging an old Coen Brothers script with close collaborator Grant Haslov, Clooney has produced the marginally better Suburbicon. Your ears might prick up once you hear old Coen Brothers script, but that means a script they decided not to make because they thought Ladykillers was worth doing.
Matt Damon plays Gardner Lodge, an accountant with Mad Men slicked hair, a glossy car and the pair of glasses he wore in The Good Shepherd. He lives with his son Nicky (Noah Jupe), his wheelchair bound wife Rose (Julianne Moore) and her twin sister Margaret (also Julianne Moore) in a small house in the picture perfect new town of Suburbicon. An animated sequence at the beginning of the film depicts it as a Norman Rockwell dream, and lauds its diversity: basically a bunch of WASPs from different parts of the country. That is until a black family move in, to provide a subplot that feels so pasted on that you can see where the glue has gone over the edges.
Something - and not only the escalating racial tension - is not well with this place and we are introduced to Gardner as he gets his son out of bed because there are men in the house; two bad guys (Michael D. Cohen and Glenn Flesher) who want to tie up the family and rob them. Gardner is strangely acquiescent and when his wife dies as a result of the chloroform, Nicky suspects something is up.
As with the woefully underappreciated Bob Balaban film Parents, mostly everything is viewed from Nicky's perspective. He slowly befriends the black kid living across the garden fence; tolerates his burly Uncle Mitch's comedy routines and eyes with growing suspicion his aunt and dad's grieving process, part of which involves some rumpy in the rumpus room with a table tennis paddle. Suburbicon is reminiscent of many other films, but none more than Fargo with which it shares a plot. The danger here is that the TV show Fargo is already remaking this twice over.
Clooney only shows flashes of comic moxy, and everything is drowned in a now tiresome fetishizing of the 1950s aesthetic, with gizmos and supermarkets, office furniture and hairdos glossily remade. Damon puts in one of those good sport performances and there are some nices flashes of unsuspected nastiness in the pudgy middle class complacency. But Moore is sadly underused and the film only really comes alive with the arrival of Oscar Isaac's insurance investigator, who, alas, doesn't hang around.
The darkness at the heart of the town grows as the deplorables opposing integration go from cold looks to throwing rocks and building fences - cue the topicality siren. At the same time, the domestic criminals in Nicky's home begin to unravel and the boy finds himself in all sorts of trouble. Violence increasingly takes the place of punch lines - not so much Grand Guignol as Petit-Bourgeois Guignol - and throughout the whole film Alexandre Desplat's score is as ubiquitous as the music in a Tom and Jerry cartoon. In the end, Suburbicon is a town not only that you're glad to leave but that you wish you hadn't bothered picking up the brochure for.
TV shows like Z Nation. The zombie apocalypse's cast and crew once again have taken over Spokane.
Z Nation is just one of the many parts of Washington state’s film industry. The industry is said to bring millions of dollars to the state each year, create jobs and give an economic boost to local businesses.
The recent legislation extended the Motion Picture Competitiveness Program until 2027 and has allowed the industry to continue to grow.
Z Nation creators, cast and crew are in town shooting season four of the hit Syfy channel show. Show creators said they are here for a concise list of reasons.
“We came for the incentive and stayed for the location and the crew,” Executive Producer Karl Schaefer said.
Schaefer is the man behind all the TV magic for Z Nation. He said there is no way the show would be able to film in the Evergreen State without help from the state legislature.
The state's ten year extension for film tax incentives grants film and TV producers financial help from the state if they shoot in Washington and employ its residents.
So, Z Nation creators set out to employ Washington residents. One of them is local state representative from District 3, Marcus Riccelli.
“I'm taking this real seriously. I mean this is a fun opportunity but also I don't want to look like the only person who doesn't know what they’re doing,” Riccelli said.
Riccelli was one of the sponsors of the bill pushing for film tax incentives.
“This means jobs and economic development,” the State representative said.
Producers of the zombie show agree, the state of Washington has a lot to offer in creating their TV show.
“You can play anywhere. It can be urban, it can be rural, it can be industrial,” Jody Binstock, Z Nation Co-Producer, said.
Several places around Spokane have served as the backdrop to Z Nation landscapes. However, filmmakers said it is not just the diverse landscapes that are inviting, it is also the people.
"Part of what makes the show so funny and weird are the people making it funny and weird," Schaefer said.
There are around 90 cast and crew regularly working on Z Nation and a majority of them are from the state of Washington.
"It allows people to be employed for a very very long time, and it not only affects them, it affects their kids, their parents, and their grocery, and their mechanic and the spider web goes very very long,” Binstock said.
In the end it's really about giving people the opportunity to work. Two of the shows characters, Sleezy and Sketchy, are played by actors Doug Dawson and Mark Carr. Dawson is from Spokane and Carr is from Seattle.
"It's great. I am actually from Spokane so when our episode rolls around each season I'm working right from home, I'm staying in my own bed getting professional work so it's fantastic,” Dawson said.
"You know the film incentive is a massive boost for the economy around here and for people who like us who have sort devoted our lives to this art form,” Carr said.
The massive economy boost will continue as filming for season four of Z Nation is set to wrap up at the end of September.
The actress was just six years old when she was cast as the youngest member of The Addams Family, meaning she pretty much grew up as part of the creepiest, kookiest family on TV.
And it was a bond that lasted a lifetime.
“The Addams Family really was like a second family to me,” said Loring, adding she was especially close to John Astin and Carolyn Jones, who played parents Gomez and Morticia on the show. “John has actually been my acting mentor for a very long time.”
Once, back in the early ‘80s, Jones sent for Loring to visit her on the Hollywood set of the short-lived drama Capital.
“She wanted me to come visit, and she had hired a photographer,” Loring recalled. “We were doing soaps at the same time. That was about eight months before she died — she hadn’t told anyone she was sick.”
Loring said she believed her tight bond with Astin and Jones was partly because neither had any daughters of their own.
“John had five boys, and Carolyn never had any children at all,” she explained. “A lot of the real family dynamic we had in the show was because of John. I don’t see him too often these days because he lives in Baltimore . . . but over the years we’ve stayed in touch. He was like having a second father.”
That warmth was just one reason Loring believes The Addams Family really stood out to audiences, even when put in direct competition with The Munsters.
The other was the quality of the comedy.
“One was more witty, with intelligent humour, and one was more slap stick-ish,” she said with a laugh. “Back when I was a teenager, I once said The Addams Family was more like the Marx Brothers, while the Munsters were The Three Stooges.”
It was a sentiment that got a lot of attention back in the day, though no one actually believed Loring had come up with the comparison.
“I absolutely got no credit for that, everyone asked me where I had heard it,” she said. “It got even more strange when John told me our executive producer and head writer Nat Perrin came to Hollywood to write for the Marx Brothers. That’s why it was so witty, and so funny, and so clever.”
These days, Loring continues to meet fans through appearances on the convention circuit — something she’s been a part of since the ‘90s. Her first Canadian appearance, however, will be at London Comic Con, Oct. 13-15.
“It’s all turned into such a big industry, but now there are so many different generations. Sometimes it’s even grandparents bringing their grandchildren,” she said. “I never really know what to expect. I’ve even met little girls named after the character, and all kinds of interesting things have happened that seem very surreal to me because I was so, so young when I did the show. It’s amazing to know it had such a big impact.”
Often, questions range from what was it like to be Wednesday to does she really like spiders that much. But once in a while, Loring maintains fans can still surprise her.
“I’ll never forget the first time a group of teenagers came up to me to ask me if I knew I was the original Goth girl — that was really surreal to me,” she said. “I’m not into the creepy stuff, and I don’t watch horror movies or anything like that. Never had I even thought it of it because, personally, I’m all lace and pearls.”
To add to the pile of awesomeness, Amulet Books has made Lumberjanes into a series of middle-grade novels, by Toronto-born artist and writer Mariko Tamaki (This One Summer, Saving Montgomery Sole). The first instalment, like its comic predecessors, is smart, adventurous, confident, and deeply feminist. It’s doubtful the series will end after the planned four books.
Unicorn Power! is set at Miss Qiunzella Thiskwin Penniquiqul Thistle Crumpet’s Camp for Hardcore Lady Types. We follow the five scouts of the Roanoke cabin – Jo, April, Molly, Mal, and Ripley – over the course of three days. While all the characters get moments to shine, the story is mainly focused on April. She is an overachiever with her sights set on earning the Extraordinary Explorers badge. But April unwittingly leads the troop into imminent danger that involves farting unicorns and surfer-dude cloud people. It’s The Baby-Sitters Club meets Buffy the Vampire Slayer set in Adventure Time’s Land of Ooo.
Lumberjanes’ fans (a.k.a. Lumber Jumbies) will be excited about the deeper character exploration and backstory the novel provides, but a reader doesn’t have to be familiar with the comics to fully appreciate the novel’s greatness. Unicorn Power!’s charms are self-evident, as the book bounces with relentless cheering, dancing, gasping, running, and falling. Endearingly, names of famous women (Ursula K. Le Guin, Yayoi Kusama, Gerlinde Kaltenbrunner) are used as adjectives and interjections. Although the characters are flawed and have their fair share of problems, the tone is always optimistic. In fact, the only depressing thing about Lumberjanes is how unusual it feels – assertive adventure books starring girls are woefully rare.