Pericles Sánchez retweeted
(Rewriting Zone of Interest for Netflix)
“Wow geez, I can’t believe I have to go to work again at the Holocaust factory. At least it’s right next door.”
Netflix execs tell screenwriters to have characters “announce what they’re doing so that viewers who have a program on in the background can follow along”
They also have thousands of micro-genres including “casual viewing” which is used for movies/TV that go down best when you’re not paying attention.
(Source: nplusonemag.com/issue-49/ess…)
Pericles Sánchez retweeted
Is it time yet to revisit all the early heralding of the internet's pure democracy, of the idea
of "citizen journalists," of each and every voice being able to be heard being a good thing for our ability to find truth and govern ourselves? Because having spent a previous career in newsrooms, as part of the cold, organized monolith that was our gatekeeping mainstream media, I know that we were often too herd-like and centrist, sometimes misled and sometimes capable of publishing horseshit on incomplete or contradictory data. Sometimes we got it dead wrong. But every day, I remember that the editors read the copy and tried to verify what they could and avoid what they could not. And no one could pay us a fucking dime to say what we didn't think was the story we thought we had. Fact is, I once tried to sneak a piece of celery through some ranch dip at some politician's fundraiser because the guy was late showing up to make a speech and I was starving. Another reporter smacked it out of my hand: "That's Harry McGuirk's celery."
We had an ethic. We believed in our role, however flawed and vulnerable to error our work product might at times be. So fuck the influencers, fuck the pimps who bought them, fuck their rancid whoredom, and fuck a media culture that has bypassed the gatekeepers at least trying to hold to a core ethos. The marginalization and eventual death of old-fashioned journalism and what has ensued is going to be what ends our republic. And everyone who championed some purist vision of a post-mainstream media future is now and forever, officially, a rube.
Pericles Sánchez retweeted
Live steady. Don’t fuck around. Give anything weird a wide berth—including people. It’s not worth it. I learned this the hard way, through brutal overindulgence.
Pericles Sánchez retweeted
Creemos en el poder ciudadano y en nuestra memoria colectiva para hacer justicia. De esa creencia nació el Museo Digital de la Vergüenza Nacional.
⚫️ Visiten nuestro archivo (será actualizado diariamente)
bit.ly/3AoljpW
Pericles Sánchez retweeted
'The Two Faces of General Franco' — Mexican caricature of Francisco Franco (1950) showing him as a murderous Nazi on one side and anti-communist hero on the other. Artist: Miguel Covarrubias.
Pericles Sánchez retweeted
sorry was my reference too niche for you are you not well versed in internet lore
Pericles Sánchez retweeted
Thinking of Anthony Bourdain today on what would have been his birthday. A true gentleman.
#AnthonyBourdain #RalphSteadman #Illustration
Pericles Sánchez retweeted
Marcel Marceau only spoke a single word onscreen in his entire career, and it was 𝙥𝙚𝙧𝙛𝙚𝙘𝙩. (SILENT MOVIE, 1976)
Pericles Sánchez retweeted
Concept art by Ken Anderson for One Hundred and One Dalmatians (1961), dir. Clyde Geronimi, Hamilton Luske and Wolfgang Reitherman, Walt Disney Productions
Pericles Sánchez retweeted
(1/4) I'm writing about the banishment of beauty from everyday life.
Consider these Japanese train tickets...
Pericles Sánchez retweeted
We got the scoop on 'Drawing for Nothing,' a free, constantly updating ebook loaded with never-before-seen artwork, videos, and stories from canceled and troubled animated films.
cartoonbrew.com/books/drawin…
Pericles Sánchez retweeted
We love telling stories, and we love when those stories are deleted for tax purposes and can no longer be told to anyone
Pericles Sánchez retweeted
"well, one of us is going to have to let him go"

ALT a medieval drawing of a man whose lower half is inside the mouth of a giant sea creature sticking its head out of the water. next to them, on land, stands another man who is grabbing onto the arms of the first one as if to pull him out. the pulling man and the sea creature are looking at each other exasperatedly as if to say "what now?"




































