https://reddit.com/link/1cwzjph/video/l6rzl7tckp1d1/player
I'm a bilingual newbie actress, and lately i've been working more on my english acting rather than my spanish one, which i've worked on most 2022/2023. So far I've only done theater, some minor roles in student short films and the odd commercial, so I'm trying to move a lot into film/TV acting.
All opinions/feedbacks are accepted!!!

A Daily chronicle of AI Innovations May 20th 2024:

🫠 Google's AI panic looks like Google+ fiasco
🎤 OpenAI pauses Scarlett Johansson-like voice for ChatGPT 💸 Snapchat focuses on AI with $1.5 billion yearly investment
🍏 Apple and OpenAI plan major announcement at WWDC
🤖 OpenAI's "superalignment team," focused on the AI risks, is no more
🚫 Sony Music warns over 700 AI companies not to steal its content 🦎 Meta's Chameleon AI sets a new bar in mixed-modal reasoning

Enjoying these daily updates, listen to our AI Unraveled Podcast at https://podcasts.apple.com/ca/podcast/ai-unraveled-latest-ai-news-trends-gpt-gemini-generative/id1684415169

🫠 Google's AI panic looks like Google+ fiasco

Scott Jenson, a former Google employee, criticizes the company's AI projects as poorly motivated and driven by panic, comparing the situation to the Google+ fiasco. According to Jenson, Google aims to create a Jarvis-like assistant to keep users within its ecosystem, driven by fear that competitors might get there first, similar to Apple’s strategy with Siri and OpenAI. Many of Google's AI projects revealed at I/O 2024 are still experimental or limited in availability, with uncertain value, and features like "AI Overviews" in Google Search have received criticism for potential copyright issues and misinformation.
Source: https://the-decoder.com/ex-googler-says-companys-ai-panic-is-like-google-fiasco-all-over-again/

🎤 OpenAI pauses Scarlett Johansson-like voice for ChatGPT

OpenAI is pulling the ChatGPT voice known as Sky, which sounds similar to Scarlett Johansson, due to concerns about mimicking celebrities' voices. The company asserts that Sky's voice is the natural voice of a different professional actress and not an intentional imitation of Johansson. The decision to pause Sky's use follows recent enhancements to ChatGPT's voice mode, part of the new GPT-4o model, which aims to make the assistant more expressive and capable of reading facial expressions and translating spoken language in real-time.
Source: https://www.theverge.com/2024/5/20/24160621/openai-chatgpt-gpt4o-sky-scarlett-johansson-voice-assistant-her

💸 Snapchat focuses on AI with $1.5 billion yearly investment

Snap's CEO, Evan Spiegel, announced a major investment of $1.5 billion annually in AI and machine learning to improve Snapchat's features and competitiveness. After successfully revamping Snapchat's advertising model, the company will now focus on collaborating with tech giants like Amazon and Google for cloud partnerships to enhance AI product innovations. With growing ad revenue and new successful ad campaigns, Snapchat plans to expand content offerings and augmented reality experiences, enhancing user engagement and competing with platforms like TikTok.
Source: https://www.newsbytesapp.com/news/science/snapchat-ceo-announces-shift-toward-ai-investment/story

🍏 Apple and OpenAI plan major announcement at WWDC

Apple and OpenAI plan major announcement at WWDC Apple and OpenAI plan major announcement at WWDC[/caption] Apple and OpenAI are planning a major joint announcement at WWDC, focusing on integrating OpenAI's technology into iOS 18, according to Mark Gurman from Bloomberg. Apple aims to improve its AI capabilities with this integration, including enhancements to Siri and features like automatic summaries of notifications and transcription of voice memos. While Apple acknowledges it is behind in AI and lacks a chatbot like ChatGPT or Google Gemini, the company believes the collaboration with OpenAI is a sufficient, though temporary, solution. Source OpenAI's "superalignment team," focused on the AI risks, is no more
The team's co-leads, Ilya Sutskever and Jan Leike, have resigned from OpenAI. Several other researchers from the team and those working on AI policy and governance have also left the company. Leike cited disagreements with OpenAI's leadership about the company's priorities and resource allocation as reasons for his departure. Source:
The team's work will be absorbed into OpenAI's other research efforts, with John Schulman leading research on risks associated with more powerful models.
Why does this matter?
The "superalignment" team was for ensuring the artificial general intelligence (AGI) that OpenAI claims to be working on doesn't turn on humankind. This dismantling raises questions on the company's commitment to AI safety and ethical standards.
Source: https://the-decoder.com/apple-and-openai-plan-major-announcement-at-wwdc/

Sony Music warns over 700 AI companies not to steal its content

Sony Music, home to superstars like Billy Joel and Doja Cat, sent letters to over 700 AI companies and streaming platforms, warning them against using its content without permission. The label called out the "training, development, or commercialization of AI systems" that use copyrighted material, including music, art, and lyrics.
SMG recognizes AI's potential but stresses the need to respect songwriters' and artists' rights. The letter asks companies to confirm they haven't used SMG content without permission or provide details if they have.
Why does this matter?
The battle over music copyright and AI has intensified across various platforms, from YouTube's strict rules for AI-generated music to the recent standoff between Universal Music Group and TikTok. As AI voice clones and music generation tools become more sophisticated, artists question control, compensation, and actions against copyright infringement.
Source: https://www.nbcnews.com/tech/tech-news/sony-music-group-warns-700-companies-using-content-train-ai-rcna152689

Meta's Chameleon AI sets a new bar in mixed-modal reasoning

Meta AI introduces Chameleon, a family of early-fusion token-based mixed-modal models that understands and generates images and text in any order. Unlike recent foundation models that process text and images separately, Chameleon unified token space allows it to process interleaved image and text sequences.This approach allows seamless reasoning and generation across modalities.
Meta's Chameleon AI sets a new bar in mixed-modal reasoning Meta's Chameleon AI sets a new bar in mixed-modal reasoning[/caption] Meta researchers introduced architectural enhancements and training techniques to tackle the optimization challenges posed by this early fusion approach, including a novel image tokenizer, QK-Norm, dropout, and z-loss regularization. Remarkably, Chameleon achieves competitive or superior performance across various tasks, outperforming larger models like Flamingo-80B and IDEFICS-80B in image captioning and visual question answering despite its smaller model size.
Why does this matter?
Chameleon opens up new possibilities for more natural and intuitive human-machine interactions, similar to how we effortlessly communicate using both modalities in the real world.
Source: https://arxiv.org/pdf/2405.09818

Trending AI Tools May 20th 2024:

✍️ Paperpal - AI writing assistant offering grammar checks, paraphrasing, predictive text, and plagiarism detection. Use code RUN30 for 30% off* https://paperpal.com/
🗣️ ElevenLabs Audio Native - Add human-like narration to your blog or news site https://supertools.therundown.ai/content/eleven-labs
💻 Framer - Generate a responsive website with no code
🚀 Glitter - Turn any process into a step-by-step guide https://supertools.therundown.ai/content/glitter-a
⚡TestSprite Beta - Automate end-to-end software testing with AI https://supertools.therundown.ai/content/testsprite-beta
🤖 Buffup - AI assistant that learns your intent, powered by GPT-4o https://supertools.therundown.ai/content/buffup

New AI Job Opportunities on May 20th 2024:

🧱 Databricks - Director, Field Engineering https://jobs.therundown.ai/jobs/60342628-director-field-engineering
🖥️ Palantir - Web Application Developer https://jobs.therundown.ai/jobs/60275738-web-application-developer-defense
♾️ Meta - GenAI Program Manager https://jobs.therundown.ai/jobs/60281023-genai-program-manager
🏋️ Weights & Biases - Software Engineer, Engineering Productivity https://jobs.therundown.ai/jobs/60198936-software-engineer-engineering-productivity-remote

What Else Is Happening in AI on May 20th 2024❗

🤖 Google launched open-source Model Explore to visualize and debug complex AI models
It uses advanced graphics rendering techniques from the gaming industry to handle massive models. The tool offers a graphical user interface and a Python API for integration into machine learning workflows. Model Explorer lets developers identify and resolve issues quickly, especially for AI deployed on edge devices. (Link: https://venturebeat.com/ai/google-launches-model-explorer-an-open-source-tool-for-seamless-ai-model-visualization-and-debugging )
🇬🇧 The UK's AI Safety Institute is opening an office in San Francisco
The institute aims to be closer to the epicenter of AI development, companies like OpenAI and Google as they are building foundational models. This new office would open this summer, giving the UK access to Silicon Valley's tech talent and strengthening ties with the US. (Link: https://techcrunch.com/2024/05/19/uk-opens-office-in-san-francisco-to-tackle-ai-risk )
📂 The EU demands Microsoft to provide internal documents on Bing's gen AI risks
The Commission suspects Bing may have breached the Digital Services Act (DSA) due to risks like AI "hallucinations," deep fakes, and potential voter manipulation. Microsoft has until May 27 to comply with the legally binding request for information. Failure to do so could result in fines of up to 1% of Microsoft's total annual income or worldwide turnover. (Link: https://ec.europa.eu/commission/presscornedetail/en/mex_24_2681 )
📸 Snapchat CEO Evan Spiegel focuses on AI and ML for better UX and personalization
As its ad revenue increases, Snap plans to expand content offerings, improve recommendation algorithms, and integrate Stories with Spotlight. The company is also investing in augmented reality and sees it as a way to bring people together in shared physical environments. (Link: https://www.bloomberg.com/news/articles/2024-05-19/snap-ceo-evan-spiegel-focused-on-ai-machine-learning-push )
😏 Researchers in the Netherlands have developed an AI sarcasm detector
The AI was trained on text, audio, and emotional content from US sitcoms, including Friends and The Big Bang Theory. The AI could detect sarcasm in unlabeled exchanges nearly 75% of the time. Further improvements could come from adding visual cues to the AI's training data. (Link: https://www.theguardian.com/technology/article/2024/may/16/researchers-build-ai-driven-sarcasm-detector )
Enjoying these updates, check out our Apple Podcast at https://podcasts.apple.com/ca/podcast/ai-unraveled-latest-ai-news-trends-gpt-gemini-generative/id1684415169

Like many of you, I had wanted to be a performer since I was a toddler. While my parents were struggling to support us, TV raised my brother and me. Stories got me through bullying, s*xual abuse, and witnessing my dad’s cancer journey. I went to school for journalism to appease my parents but wanted to major in either film or acting like some of my friends did. I always told myself I’d become an actor later.
It wasn’t until I received an award for one of my short screenplays in college that I thought I was ready. A big producer who was an alumni from my college called me and said he couldn’t put my script down as he was on his way to set. That year I also performed in a stage play. Everything felt like it was falling into place.
I worked corporate but paid for evening acting classes wherever I could. I devoured everything: voice, movement, scene study, techniques, on-camera, improv, etc. from reputable studios and conservatories in NYC. I moved to NYC! I was meeting industry people! I was invigorated! My friends back home were all rooting for me on social media.
Pounding the pavement was one of the hardest things I’ve ever done. Suddenly I understood why my parents told me not to pursue this dream, why people said “if you can see yourself do anything else, do that.”
My focus shifted from acting after I lost one of my corporate jobs. An actor friend told me I should be a server, as he didn’t understand how I could work a 9-5 and call myself an actor.
I worked grueling hours in restaurants and in catering, living for the moments I got to serve celebrities. Unfortunately, I was never a great server and found that line of work wholly unsustainable for me. I eventually worked for a celebrity chef and performed decently enough to get consistent shifts. But I was too exhausted to audition and to be on top of my craft. The auditions I did turn in were rushed and uninspired. I got called in for a reading thanks to a friend who was connected with one of the directors and botched it because I didn’t memorize my lines.
A more insidious thing transpired the longer I pursued this path, though. I became consumed with the idea of “catching up” to my peers. I had to be prettier, skinnier, funnier, more talented. My instagram needed more engagement so casting directors could find me. I compared myself to an old friend who was ten years ahead of me and fell down the rabbit hole of crash dieting and trying to be an influencer just like she did because she found some commercial success. I tried modeling, partaking in risqué photoshoots and semi-pornographic music videos just to get seen. I stopped going to the improv group I was a part of, a place that gave me opportunities to perform live, instead spending my time with scumbags who would promise me opportunities that never came.
As a mixed race Asian actress, I didn’t believe there would be enough opportunities for me. So I became transfixed on “networking” and improving my appearance. That same actor friend who told me to become a server would get invited to exclusive parties with industry folks; I wanted to be one of them. He asked if I’d sleep with him, and I did — also hoping he would connect me with his friends. He didn’t.
I slept with a directoactor who courted me, again promising me screenwriting, directing, and acting opportunities. He wanted to produce one of my scripts! I thought I loved him, but really I just loved what he was offering me. And of course, nothing came of this relationship.
I was living paycheck to paycheck, barely affording rent. The more industry people I met, the more obsessed I became with maintaining a place in this world. If only I made the right partnerships, then I could make up for all the lost time I spent not being an actor. I was spinning my wheels, embroiled in drama, and my relationship with my loved ones was fracturing as I became someone they didn’t even recognize. I lived for my petty little Instagram presence, where I amassed a following and nurtured parasocial relationships. Directors and photographers I wanted to work with would follow me back. As long as they did, I believed this “method” was working. Meanwhile, I barely participated in acting school and was constantly missing class. One of my teachers became so worried about me and my mental health that she’d text me everyday.
I worked a part-time admin job that was actually a great opportunity for me to pickup some skills, yet I was completely ungrateful. I lied to my boss constantly, slacked off, and dropped the ball many times. The work ethic I was once so proud of was nonexistent. I became a glorified party girl parading as an actress. I told myself I lived for a higher purpose, for art, but in truth I lost all scruples and was looking for shortcuts to success.
Things got worse and I’ve already rambled enough. But eventually I moved back home with my parents because my dad’s cancer returned. He underwent a major surgery that resulted in him developing a rare condition, requiring around the clock care from my brother, mom and me. I don’t regret going home to care for him, but leaving the whirlwind of a life I had behind was hard to accept.
Months into caregiving, a friend I had worked with asked me if I’d like to audition as the lead for a short film she was producing. Some actors I recognized would be in it. How exciting! Well, the part was given to someone who had way more experience (and followers) than me. I felt the same intrusive thoughts creep in, “is it because she’s prettier, white, skinnier?” But I put those aside. They asked me to be a part of the ensemble instead and I was happy for that.
I flew to NYC for a week and shooting was magnificent. Getting into hair & makeup and costume was thrilling. I loved working with the other actors. And meeting an actor I had watched since I was a child left me in shock. I couldn’t help but be starstruck.
The director gave great feedback on my performance and I felt proud of myself. But then people started asking me why I left NYC, when I’d come back, what my next moves were. I found myself spiraling in my grandfather’s apartment, because I just could not keep up. I was flying back to California, but it wasn’t LA. At home I would not be near any film industries. And at home my life would not be content worthy. The paper-thin brand I cultivated on social media could not be maintained. My trip was cut short because my dad relapsed and it was back to reality.
In the months that followed, I did some real soul searching and it was one of the most painful chapters I’ve endured. As I began to pick up the pieces of my life, I realized that my relationship with acting was untenable and extremely damaging to me. I was using it as a means to escape feelings of inferiority. What started out as a genuine love and appreciation for the art warped into a vain attempt at fame and recognition, at feeling loved.
Most of my industry connections have since atrophied and I deactivated my Instagram over six months ago as it became too painful to see everyone move on to accomplish things I never could. One friend from NYC, a model and writer, encourages me to keep trying but I don’t believe professional acting is for this lifetime. I’m almost 30 and quite frankly I’m prioritizing my family and my stability. I never expected my wants to change, but they did. But who knows, maybe someday…
I say all this, at the expense of incurring internet scrutiny and judgment, as a cautionary tale. I believe most of you are serious about acting and understand the sacrifices required. But for those of you who suffer from any sort of dysmorphia or unhealed trauma, be sure you have strong support networks in place while you pursue this endeavor. It’s a highly volatile career path and you truly have to be addicted to the process in order to succeed. Upon further reflection, I realized I was not one of those people.
If any of you have left the industry, I’d love to hear from you. It’s been hard reconciling the last 6+ years and a broken dream. But I will always love acting and movies. I read the posts in this thread and am rooting for all of you.

High Context
Expression takes many forms. In this book I have interpreted the word media in a broad sense and treated each form of expression that I have discussed as an independent medium. What, then, is the reason for the existence of multiple media like manga, anime, and film? Are these simply multiple forms for mediating the same reality? Not at all. Multiple media exist in order to support multiple fictions. We clearly perceive the form of a particular expression at the same time as we take in its content. The various media function as a kind of context, or a transparent and continuous totality that attaches meaning to content. In this instance the media themselves attain their own unique contextuality. For example, we are not in the least confused if a heroine who breaks down in tears in a television drama suddenly appears smiling in a commercial during the break. This is because it is very easy for us to shift instantaneously between the context of the drama and the commercial.
In an earlier work I referred to this idea of the unique contextuality of each medium as the “representation context,” in order to use it in a more limited sense. This is because it is possible to use the media form itself as a form of representation. As I explained in chapter 1, my use of the term context is based chiefly on a combination of the ideas of G. Bateson and E. T. Hall, which I Have also explained in greater detail elsewhere. For our purposes here, it is possible to understand the contexts contributing to expression as existing in hierarchical strata. In the case of manga, the first context level is that of the narrative that gives meaning to the characters’ actions. Above that is the genre of the narrative - the expressive context that determines whether it is to be taken seriously or as a gag. The representational context is one level above this. Or, if we order them from top down, the process by which we understand the content of a manga can be understood as a hierarchical series of stages beginning with the work’s representational context (manga), proceeding to its expressive context (genre), on to the narrative context, and finally to the comprehension of the content. Of course, in actual fact we have to admit that this sort of hierarchy is ultimately not valid. It goes without saying that content and context exist in a relationship based on simultaneous and mutual corroboration. Therefore I should emphasize that the notion of representation context serves only for convenience of description and is not in any sense an isolatable object.
It is possible, for example, to think of visual media in the order of their dependence on representational contextuality. Contextuality in this case refers to the degree to which the form of expression itself determines the context expressed. In order of descending contextuality, then, we have anime, manga, television, film, and photographs. The statement “I saw a photograph,” for example, conveys no meaning on its own. But the statement “I saw an anime” evokes a relatively concrete image in the listener’s mind. This is because the anime form restricts the range of content much more than does the photograph. In other words, anime has the highest level of contextuality and photography the lowest. Here I follow Hall in calling this the “high context” nature of anime. In general, we can say that more popular forms of expression tend to be higher context (as in the difference between classical and popular music). In visual media, the less information conveyed on the screen, the higher the context (this being the difference between television and film). Thus “cool” media (with low levels of detail) tend toward higher context.
Let us think more concretely about the high-context nature of anime and manga. We have already established that form and content are intricately connected in both. In the case of these expressive forms, we can easily makes guesses about the content and authorship even of works that we know nothing about. Even a single frame of the work will be enough to tell us the genre, the orientation of the content, and sometimes even the identity of the author. Moreover, the instantaneous switching between the “gag” and “serious” modes that would be unthinkable in film but forms part of the grammar of anime (its so-called yakusoku [conventions]) can be explained only on the basis of this high-context nature.
I think of high context as the sensibility that emerges when there is no sense of distance between the producer and the consumer of a given media form . Once we immerse ourselves in this high-context space, the meaning of all stimuli is grasped instantaneously. Inevitably, emotional codes are more easily transmitted here than verbal ones. This high-density transmissibility enables extremely high levels of concentration and absorption.
Intersubjective Mediation, or Media Theory
Based on what I have said above, we can identify the difference between film and anime or manga first in terms of contextuality.
Is this the place for us to move to a discussion of media theory? Is the desire for the beautiful fighting girls a sign of an internal transformation, an “implosion” and extension brought on by our contemporary media environment? In some senses this may be true, but in others it is certainly not.
The development of the media environment has in fact partly transformed the structure of our society. The development of the mass media industry itself is one manifestation of this transformation. Its influence on the economy and on education has, of course, been enormous. But to what extent does this transformation penetrate our inner worlds?
In clinical terms there has not been the slightest structural transformation. The structure of our neurotic subjectivity remains intact, just as Freud discovered it a century ago. If asked to prove this, most analysts would say that it is not their role to offer general proofs of anything. This, too, has not changed in a hundred years. Analysts can speak about the truth. But, or perhaps therefore, they cannot prove what is true. But, or perhaps therefore, they cannot prove what is true. To say that the structure of the subject is intact is to say that the structure of desire has been maintained. What needs to be emphasized here is that, in order for the structure of desire to be maintained, the object of desire must constantly change. If the object of our desire looks different than it did a hundred years ago, this is only a change in appearance that results from the continual maintenance that we as subjects have performed on the structure of that desire. Yes, the development of media has brought about an outward change, a superficial change in the objects of our desire.
From this we can derive at least two psychoanalytic hypotheses. If we use Lacan’s divisions, the stability of the subject denotes primarily the stability of the relationality between the Symbolic and the Real. Moreover, the internal transformation that Marshall McLuhan referred to as “implosion” can be considered mainly as having emerged as a change on the level of form in the Imaginary. Herein lies one of the thorniest difficulties of media theory. If voice and writing are themselves already forms of media, what exactly have modern media been able to add to the equation? The transformation of the subject in the Imaginary can always make it seem as if nothing has happened. As long as this is the case, the appearance of media theory will remain in the always-awaited future, and its conclusions will only continue to be deferred.
But perhaps there is something to be gained nonetheless by taking a detour here and considering the mutual operations of the media environment and the Imaginary. The development of media is clearly most striking in the visual realm. Already we are able in principle to see any sort of image whatsoever. If we so desire, we can also keep large numbers of images in our possession on a computer hard drive. There is no little significance in the fact that, as is so apparent in the case of the ever-increasing functionality of the personal computer, it has become very easy for us not just to preserve but to reproduce, manipulate, and transmit visual information about all sorts of experiences. Our imaginary has been dramatically expanded and accelerated by the media, or extended through “implosion.”
The diversification of methods of mediation has had a number of effects. One of these is the potential impoverishment of content and form. As was clear in the case of the beautiful fighting girls, the narratives in a diversified media environment are surprisingly similar to each other. As I pointed out in chapter 5, there are hundreds of examples of the beautiful fighting girl genre, but only thirteen story lines. From the 1990s on, no new story lines emerged, and new works were simply rearrangements of old ones. In this case at least, we can say that, while the diversification of media may contribute to the outward diversification of the works, we need to be aware of the possibility that it encourages the involution of the genre as a whole.
The more information is exchanged, the more redundancies there are and the more monotonous it becomes . For example, now that communication by personal computer has become the norm, people read and perhaps write enormous amounts of text every day . As a result, we see developing a common “computer style” of writing that is excellent for transmitting information but extremely limited in its capacity for description and definition. The impoverishment of visual information is most evident in the spread of anime-style images.
So what is this about? Increasing the level of detail or rendering movement more subtly in anime would take exponentially more money and time. But of course these luxuries are not always possible. On the other hand, too much abbreviation reduces the images to mere signs and makes for a very dreary representation (like the Saturday morning cartoons in the United States, where the only facial movements are blinking eyes and opening and closing mouths). The solution to the problem in Japan was, I believe, the introduction of the “big eyes and small mouth” that has become the tradition in Japanese anime.
The only parts of a manga that cannot be drawn by assistants are the face, and particularly the eyes, of the main characters. The author’s style appears in its most concentrated form in the facial expression and the eyes. The shortcut technique that resulted from this was to divide up the drawing of the background among assistants and make the characters like simple signs. This made possible the division of labor. Then, to avoid making the characters too much like mere signs, the facial expression, particularly the eyes, and the hands are drawn with great care. Among all the human organs, these occupy the position closest to the grammatical subject. Drawing the eyes and hands with special care has the same value as inserting text. Or, to put it the other way around, as long as the eyes and hands are carefully drawn, the rest can be abbreviated. Then one can add more facial expressions and make them more complex with manpu. This procedure enables the streamlining of the production process while also effectively communicating a wide variety of subtle emotional codes, making it easy for the viewer to identify emotionally. This is likely the origin of the too-large eyes and tiny mouth that Westerners so often point out in Japanese manga and anime. The anime image is the result of a sophisticated technique that enables a maximum of communication with a minimum of lines.
One noticeable trend in recent years, which may have to do mostly with keeping costs down, is that even as the images are drawn with greater and greater sophistication of design and coloration, they tend to move much less. The appearance of movement is skillfully produced by blurring the image, using flashes of lights, and bank sequences [19*. Bank sequences, or Bankukatto, are sequences of animation that can be used repeatedly, such as when a heroine is transforming or assuming a decisive pose.], but on closer inspection there is actually very little movement. The impact of “anime images” results from drawings so refined that this sort of thing no longer appears unnatural. Moreover, because there is no need for the drawings to be particularly intricate, they can be easily digitized, which makes it possible to transfer them into a computer game without altering them. This style of drawing, which is devoid of texture and consists only of fine lines and surfaces, helps smooth the flow of the so-called media mix as the images are transplanted from comics to anime to film, games, figurines, and toys.
The space of manga and anime has introduced easily shareable code systems into our Imaginary. This shareability, in turn, introduces elements of polymorphous perversion into that space. As a result, in the 1980s we first became aware of a very important fact, namely, that even the objects of our sexuality were shareable through the mediation of manga and anime. This realization led to the explosive growth of sexualized images in this space. Of course, the wholesome notion that manga and anime are basically for children exists even now. But even this constraint was converted into a useful technique. Depicting sex in a context that is for children almost inevitably produces undifferentiated, which to say polymorphously perverse, effects. <also, and a much darker scene between the protagonist Utena and the antagonist Akio in the episode The Prince Who Runs Through the Night, a friend pointed this out to me, in terms of what it’s depicting and how True it is. The disassociation and ambivalence that suffuses a traumatic event…>.
To create an autonomous object of desire within the fictional space of manga and anime: was this not the ultimate dream of the otaku? They sought to create fiction not as a stand-in for the “real” sexual object, but fiction that had no need to be secured by reality. For this to work, not even the most elaborately constructed fictional worlds would suffice. In order for fiction to attain its own autonomous reality, it would have to be desired for its own sake. Only then would reality bow down to fiction.
“Fiction” versus “Reality”
Earlier I referred rather casually to the contrast between “fiction” and “reality.” Of course, I do not accept this contrast naively. In fact, it is my belief that everyday reality is itself nothing more than a fiction (or fantasy) and that it is fundamentally impossible to draw a strict distinction between them. One reason that I raise the distinction nonetheless is in order to think once more about “Japan.” The art critic Sawaragi Noi has argued that Japan functions as what he calls a “bad place” and that any act of expression that attempts to escape from that place can only end up by making it worse and getting caught in a vicious circle. If such a place can be hypothesized, it is entirely possible that it could also subsume the place of manga and anime that I have been discussing here. For now I call that space “Japanese space” and contrast it with another unique representational space, which I call “Western space.”
As I pointed out earlier, in Japanese space the distinction between fiction and reality is not completely in effect. The distinction itself is in fact based on a Western idea . **In his theory of ideals Plato begins with a three-part distinction between the ideal, reality, and art, and places art at the bottom of the hierarchy because it is only an imitation of reality. In Plato’s system there is only a series of copies, with the copy of the ideal being reality and the copy of reality being art. Art must content itself with the lowly position of being a copy of a copy, an imitation of an imitation. Added to this is the influence of Judeo-Christian culture, which rejects idolatry. In “Western space,” even today “reality” is made to conform strictly to this ranking. In this context the notion of the “Reality of fiction” is already attenuated by being subjected to all sorts of constraints.
<"But I say to you that whoever looks at a woman to lust for her has already committed adultery with her in his heart" Matthew 5:28.>
For example, in American popular culture the most privileged fiction form is film. To be made into a film is the ultimate proof of the success of any narrative, whether it originates as a novel or a play. Of course, there are any number of reasons for this, but one is surely the belief that live-action film is the most accurate imitation or reproduction of reality. The impact of live-action film is supported by the belief that what it portrays is a faithful reproduction of reality. In my opinion there is absolutely no difference between the fictionality of live-action film and animated ones; it is just that anime is considered more fictional because it is under the constraint of having to be drawn by someone. For this reason animated films have almost no chance of winning the Academy Award for Best Picture and will always remain a genre inferior to film.
Thinking about censorship practices makes this even clearer. Censors in Japanese space seem for the most part uninterested in the symbolic value of what they are censoring. As long as the genitals are not portrayed explicitly, they will allow even the most depraved images to be shown. In Western space, however, images are censored according to their symbolic value. The censors are not interested in the trivial question of whether or not the genitals are visible, but reserve their strictest scrutiny for obscenity and perverse content. A recent example is the cover for Marilyn Manson’s CD Mechanical Animals. In the composite photograph, Manson appears nude as he glares at the viewer, but with the smooth groin and small breasts of a young girl. This level of perversion does not cause the least problem in Japan. But in the United States it create quite a scandal, with several large music stores refusing the carry the album. One could list any number of similar examples of this difference in the way Japanese and Americans judge an image obscene. Of course, even in Japan this sort of taboo on images still lingers when it comes to the Imperial family, but even that is losing the force it once had. In fact, that taboo has become so weak that it would shock even Okuzaki Kenzo. We are now living in an age when it is possible to publish a manga depicting a bomb thrown at Princess Masako during a parade, and the romance between Princess Kiko and Prince Akishino has been made into an anime. In other words, we still do not have the slightest idea what it is that defines depravity.
One conclusion that we can draw from this comparison is that visual expression in Western space is symbolically castrated, while Japanese space there is only imaginary castration, at most. For example, in Western space any image that symbolizes the penis is censored, while in Japanese space as long as you do not portray the penis itself anything goes. In this ironic sense I would suggest that Japanese media enjoy the great freedom of expression. The problem arises with this freedom itself.
In Japanese space, fiction itself is recognized as having its own autonomous reality. As I mentioned earlier, in Western space reality is always in the superior position, and the fictional space is not allowed to encroach on it. Various prohibitions are introduced to establish and maintain this superiority. It is not permitted for example, to produce images depicting sexual perversion. This is because fiction must not be more real (riaru) than reality. Fiction must be carefully castrated so that it does not become too appealing. This is what I mean by symbolic castration.
It is often remarked that the heroines of Western comics and anime are for the most part not very cute. They often include beautiful women and naked bodies, but rarely do they directly represent characters as sexually attractive. This cannot be explained simply as a result of a discrepancy in technical skill or differing notions of beauty. In the case of an actual Hollywood actress, Japanese and American fans are likely to speak in similar ways about her sexual attractiveness. But the situation is very different when it comes to heroines who appear as drawn images. Betty Boop, for example, may be drawn in a sexy outfit (with a garter belt!), but she is more like a parody of a sexy actress. Her fans are not immediately captivated by Betty’s sexual charms.
To continue with our discussion of Western space, we might remember that 1957 saw the creation of the so-called Comics Code Authority that formulated self-regulatory codes for comics in the United States and effectively spelled the end of the golden age of American comics. At the time juvenile delinquency had become a hot-button issue, and comics were singled out as a contributing factor. Among comic fans the formation of the CCA is referred to as the “Total Disaster.” The list of restrictions is as absurdly detailed as the rules at a Japanese high school. A few items that stand out on the list are

• “Divorce shall not be treated humorously nor represented as desirable.”
• “If crime is depicted it shall be as a sordid and unpleasant activity.”
• “In every instance good shall triumph over evil and the criminal punished [sic] for his misdeeds.”
• “Policemen, judges, government officials and respected institutions shall never be presented in such a way as to create disrespect for established authority.”

Under the category of “Marriage and Sex” the code states that “Nudity in any form is prohibited,” “Females shall be drawn realistically without exaggeration of any physical qualities,” “Illicit sex relations are neither to be hinted at nor portrayed,” “Seduction and rape shall never be shown or suggested,” and “Sex perversion or any inference to same is strictly forbidden.” Japanese manga as harmless as Sazae-san and Doraemon might run afoul of these rules. If regulations this strict were in force in Japan, virtually every manga magazine in print would have to be shut down.
It is thus quite possible to analyze the differences between Japan and the United States from the perspective of regulations. But what I want to stress here is that these rules show all the symptoms of an excessive defense reaction. No matter how popular comics had become by the 1950s, they could hardly compete with film. Nevertheless, they were much more severely regulated, to the point of destroying an entire genre of expression. Would it be too much to see in this an echo of what we might call the West’s iconographic taboo? The highly detailed and concrete restrictions on the depictions of sexuality are particularly remarkable. In these restrictions we can clearly see operating the obsessive idea that images themselves must not be sexually attractive.
Pornography must be considered as part of this discussion of the visual expression of sexuality. Pornography, needless to say, prizes images that are realistic and highly practical. In the decline of roman poruno and the rise of adult video, for example, one can see the pursuit of convenience and practicality. Pornographic images trend toward being more suitable for private consumption, reproduction and distribution gets easier, and pornographic expression gets more and more explicit. But in the Japanese space this leads to another contradiction: namely, the existence of “porno comics.” I want to stress once again that I am speaking of pornography in general here, not of “erotic expression.” It is perhaps only in Japan that pornography has taken the form of comic books and attained a certain popularity in doing so. Of course, there are porno comics that are meant to be used as masturbation aids in the West as well, but on a scale that does not even being to compare with that of Japan.
It seems absurd that such an enormous market would emerge for pornographic comics in a country where “hair nudes” are everywhere and people are somewhat bored even of adult videos. As I pointed out earlier, anime-style drawing has been hugely influential in this genre as well. In terms of their correspondence to everyday reality, there is no less realistic style of drawing. Despite this, however, these kinds of representation have been widely preferred as a medium for pornography. This would be entirely unimaginable in Europe or the United States, and the contrast points to a significant cultural difference.
Of course, there is a historical background to this as well. According to Timon Screech of the University of London’s School of Oriental and African Studies, the so-called shunga that were produced in such huge quantities in the Edo period were used by the masses as masturbation aids.
If that is in fact the case, we should also be able to find the roots of manga and anime in the Edo period, in a culture in which sexual desire was both stimulated and satisfied by drawn images. The issue here, needless to say, has something to do with anything like the symbolic expression of eros. The problem that we have arrived at instead is that of the immediacy of the drawn image.
As I have already pointed out, there are many fans of anime and manga in the West. But they are virtually unanimous in their hatred for so-called tentacle porn. They believe that sexuality does not belong in animation. What do Japanese otaku think about this? If they were shown this sort of pornographic work they would either give a wry smile or launch into a lengthy discussion of the history of adult anime using works like Cream Lemon (Kuriimu remon) and Legend of the Overfiend (Urotsukidoji) as examples. I cannot help but see in this difference another huge contrast between Japanese and Western otaku.
Leaving aside the question of whether it is possible to read in this the traces of taboos and repression, for now let us reiterate the minimal facts of which we can be certain. In the Western space of popular culture, it is exceedingly rare to find drawn iconic images of cute little girls and erotic nudes. In that space there is an unconscious censorship of drawn images, and their reality is kept within certain limits. The type of caricatures so conspicuous in Disney’s animations can even be considered as a technique of exaggeration for the purpose of repression. Constant and meticulous efforts are made in this space to prevent drawn images from attaining their own autonomous reality. In other words, drawn images are always kept in the position of being substitutes for objects that exist in reality.
In Japanese space, on the other hand, it is permissible for all sorts of sites to have their own autonomous reality (riariti). In other words, real (riaru ) fictions do not necessarily require the security of reality (genjitsu). There is absolutely no need in this space for fiction to imitate reality. Fiction is able to clear a space around itself for its own reality (riariti ku kan). The appeal of drawn images of little girls, for example, is a crucial element in the production of this reality (riariti). Here, fiction must establish a logic of sexuality all its own. This is because, in Japanese space, sexuality is the most important factor upholding reality (riariti). Of course, this is not true only of anime. Why else, for example, did the artistic traditions of the past put so much emphasis on the depiction of women? Why do rakugo raconteurs spend so much time extolling the pleasures of womanizing? And why do manga instruction courses always begin with how to draw a boy-girl couple? All of these things, which are particular to Japan, suggest that in this space it is sexuality that upholds the reality of fiction (kyoko no riariti).
So let us accept the autonomy of fiction and put forward the thesis that this autonomy is a necessary precondition for the beautiful fighting girl to emerge. If this is the case, we cannot in any sense see in them the reflection of “everyday reality.” It would not be permissible, for example, to infer from the popularity of beautiful fighting girls that girls are being empowered in the real world. It is the stubborn habit of seeing fiction as an imitation of reality, which is hard even for the Japanese to resist, that is at the root of this misunderstanding. The misunderstanding may be logically consistent, but that same logical consistency is also precisely what renders it invalid.
Getting back to our discussion of the image in Japanese space, I repeat that representations in this space do not undergo symbolic castration. There are some gestures toward imaginary castration with regard to sexual codes, but these are barely functional, and in the end they actually come closer to initiating a drive toward the disavowal of castration. The disavowal of castration is of course the initial condition for sexual perversion, which is why this space exhibits such an affinity for perverted objects. All sorts of images come to occupy various positions within this ecosystem of autonomous reality, and the space begins to overflow with meanings rendered through sexual and other codes. In this place, so highly charged with meaning because of this sheer verbosity of codes, context is privileged over any single disarticulated code. Meaning is transmitted instantaneously here, but its provenance can never be traced back to a single code.
This sort of high-context representational space can sometimes lose some of its reality effect if it is circulated too widely and understood too easily. How might it resist this attenuation of reality? One way is, of course, through sexuality. As I have argued several times already, sex is a necessary component for a narrative to seem real. The various struggles and manipulations surrounding sexuality (i.e., “romance”) are what introduce a core of reality into a narrative.
The widespread transgression of sexual limits in Japanese representational culture can also be interpreted in light of the high-context nature of Japanese space. High-context expressive space is, by nature, incapable of making full use of the effects of structural and formal reality. Instead it is the intensities that emerge at moments of shifting and switching from one context to another that are used to create reality effects. In the highest context spaces of anime and manga, most important are those gestures capable of transcending the context of heterosexual desire. The various characteristics of the beautiful fighting girls, which include hermaphorditism, transformation (i.e., accelerated maturation), and the strange mixture of proactivity (i.e., fighting ability) and passivity (i.e., cuteness), all help facilitate the emergence of this transcendental reality. That all manner of perversions should be evoked in their presence is only natural.
[To be continued... The Phallic Girl as a Form of Hysteria]

Call her an industry plant or whatever, but Alia Bhatt's filmography is unparalleled and unlikely to be replicated in the years to come. While it's true that Karan Johar has significantly contributed to her success by offering her top-notch projects and guidance throughout her career, Alia Bhatt is destined to be hailed as the most successful actress in Indian cinema.
My question to those familiar with the Hollywood box office is: Is there anyone in Hollywood who matches Alia Bhatt's box office stature? Recently, someone on this sub commented that Hollywood does not have bankable female actresses. The highly touted Zendaya, for instance, experienced a flop with her solo female-led film, Challengers. Even the talented Emma Stone hasn't set the box office ablaze since La La Land; her recent film, Poor Things, underperformed with a mere $35 million in the US. Actresses like Saoirse Ronan and Florence Pugh are exceptional character artists, but they lack mainstream commercial appeal.
In contrast, Alia Bhatt boasts a massive ground level following, evident in her successful solo female-led films and her massive social media reach. Her movies typically receive both critical acclaim and audience adoration. Her upcoming solo-led film, Jigra, is also expected to be a huge success. Given that no Hollywood actress has Alia's level of audience loyalty and consistent box office success without an attached IP, is it fair to say that she currently has no female equivalent in Hollywood?

Purina Cat Chow; poor Rina - catch! ow!

First, I want to say I am happy to have found this supportive group. I don’t have anyone to talk to about this specific issue, so please bear with me it is a lengthy post.
I was probably about 7 years old. This was the early 2000s, so me and my sister would steal my dad’s flip phone we thought it was the coolest thing. Then we would find messages with his friends that would say things like “it’s get you a new gf day” along with a nude photo of a woman probably too young. there had been multiple nude photos that we had found. Even one time a video played with a loud pornographic sound. My parents are still married so even back then my sister and I felt badly for my mother. He had also mentioned to my mom in front of us all (me about 13) how he had been to a local specific topless bar a “long time ago” when my sister and I were toddlers. Again, I just felt horrible for my mom as the sinking feeling made itself a home in my gut to this day.
When I was 14 I started dating my first bf we dated for four years. I would feel sick and just worthless because of the movies we would watch. They would have nudity and he would make comments on the actresses. Even comparing me to some. His entire family would. He mentioned this to his mom and she told him I was young and insecure. I was pressured into sending him nudes or else he would watch porn and then blame me for it. I remember the rush of emotions, that sinking feeling when I would find even “innocent” photos of girls at school in his phone or porn in his search history. When we would go to the movies I was always on edge. I would search on those sites that go through the parent’s guide of nudity so I could prepare myself or convince to watch something else.
I dated another guy at 19. When were first together he told me he had never had an orgasm through sex and frequently struggled getting it up. It eventually went away but our sex life wasn’t healthy and we ended things. However, when I was about 20 I started dating a guy let’s call him David. David was the sweetest man. I felt so safe with him. We had an amazing sex life. I never had to worry about anything relating to porn or women around him at all. When I was about 22 I made a new friend let’s call him Jack. Jack and I were good friends nothing more. Until, two years into our friendship I fell “in love” with Jack. This caused me to end things with David. For the first year (we were separated for about 7 months) we never had penetrative sex. During the first couple of months, he told me he didn’t want his ED to negatively affect me. I thought because my ex was having issues and I understood it had nothing to do with me I would be fine. I went through our relationship believing it was ED. which turned out to be half the truth. I also believed his alcohol addiction and unhealthy lifestyle had something to do with it.
The part that sickens me the most is that we were friends first for two years, he told me he loved me and then destroyed me with his addiction. While we were friends shifting into a romantic relationship I would be grossed out by his prior use of strip clubs once spending thousands of dollars. Especially because in our relationship he would complain about spending money on me. He would always check out other women when we were together. It made me feel like I just wasn’t enough. One time on YouTube it was a video of this couple, the woman was doing her thirst trap thing with her butt and he said “We know why he’s with her” “She worked for that… you turn” I was so upset because I had already been insecure about my butt and into fitness for almost a decade, and dealing with body dysmorphia. Another time me, him and his friend were at a grocery store (this is the time of our budding romance) they pointed out how good this girl's butt was and followed her for a couple of isles claiming she wanted it to be seen.
I feel so stupid and ashamed typing this, the thought of getting into a relationship with a guy displaying this behavior WITH ME BY HIS SIDE. fast forward to six months later, 1.5 years into a relationship, 3 years of friendship. I’m now 25, he is 28. Still no sex. He told me he thinks his hormones are balanced and I honestly felt bad for him and encouraged him to talk to his doctor. He started taking the blue pills they kinda worked, but not really. I would talk about how I felt with my male therapist. I also felt very isolated almost because the honeymoon phase was ending he didn’t even want to cuddle.
We lived together at this point. My therapist told me he may have a PA, he may be lying to you about it. I thought no way because I had been looking through his phone frequently from a general lack of trust. I did ask him multiple times he would of course deny it. He would always be looking at thirst trap comments on Snapchat and YouTube. Even commented on one of my friends once “It was a joke”. I would tell him multiple times I did not like our sex life and it can’t continue like this.
I swear your PA may lie, but the algorithm doesn’t. I remember I got this TikTok on my FYP. The guy who in his videos starts by saying “Oh you want to know another disgusting secret about men” he talked about lying PA. I knew at that moment that’s what it was.
On the commercials for my favorite show, WWE commercials would come on. Women with makeup, hair and lingerie and I noticed he would always stare. I thought I was just making this in my head until once he made the comment that “he used to find them attractive when he was younger and that they are hot.” A couple of months ago we went on a trip. He would be sitting next to me just scrolling through YT reels of thirst content thinking I am blind. The first time we had sex he would buy my lingerie and I would go put it and makeup on while he was in the other room I noticed when I came out he had been on his phone. He was ALWAYS on his phone. I knew in my heart it was from watching porn bc he was hard. He claimed it was bc he was thinking of me. This happened a couple of times. I knew the truth but I ignored it because I craved intimacy.
The scrolling on Yt shorts happened again one night, his algorithm was just thirst trap after thirst trap including WWE clips. I was so stressed I knew I was not going to sleep the night. I planned to wake up and go through his phone while he was asleep. When I did, I found him on Reddit pages with porn of WWE women. Emails saying he signed into adult websites the date and times right before we would have sex. Even an article on the best VR sets for porn. I thought wow he’s really thinking of investing this amount of money when he can’t even invest in our relationship. My heart shattered into the glass, glad that continued to cut me. I never felt so disrespected or taken for granted, like I was never good enough before. I cannot believe someone who says they love me more than ever would gaslight me so hard.
The next day we were out at a restaurant he asked what was on my mind since I had been acting differently. Me: “ I’m going to ask you a question I’ve asked you before but this time you’re going to tell me the truth” Jack: immediately “no” I asked him to think again before you answer, why are you lying to me he kept denying it until I said why are you so comfortable lying to me. He said I’m not. Maybe I used it too much before in the past. I said I don’t trust you and I have no mental peace with you this thing between us cannot continue.
…Y’all this is all while he was trying to get me to move across the country with him!! The next morning we talked about it and I told him how he crushed me and how I went through his phone and after I said that, he then started feeling very bad, even shedding tears. Looking back it’s as if he knew that I knew I wasn’t crazy.
It sucks because I feel I will always love him and leaving was the hardest thing I had to do. I still go back and forth about my love for him it’s always love and pure hate. Half of the time I want to call him and tell him exactly how much he destroyed my mental health. I still always scan my surroundings, and the media around me. I still compare myself to every woman because I am used to him checking out everyone. He would say it takes nothing from me but it does. I’m tired of people saying that it’s insecurity if you want your man to only have eyes for you and make excuses.
I know this was not the case when I was with David it was never like this. I felt empowered and loved. Now I have begun to get back together with David but I feel like I am carrying all this baggage from Jack's pa. David is against this type of behavior and even talks about how it is disturbing how porn is so prevalent everywhere ( he doesn’t know about the pa with Jack or my past). I feel like I am soo disgruntled towards men (Dad included) even though David is innocent and probably the best man I’ve ever had in my life. My mental health decline from not trusting my gut is painful.
Thank you for reading and your support. I wish you all love and light.

Transcript of the Official FRB Civilian Debriefing of Sasha Barberi and Tammy Caruso regarding the sighting of an alleged entity in Toronto on the night of May 5th, 2024.
Debrief conducted May 7th, 2024 by Justice Young.
This record is for internal use for the FRB only. Distributing this record to any party outside of authorized FRB personnel without the written consent of Director Robert Marsh constitutes breach of contract and will be punished accordingly.
[Transcript Begins]
Young: Alright, we’re rolling.
Sasha: Oh, so like everything we say from now on is gonna get like, recorded and stuff?
Tammy: Are we gonna be on the X-Files?
Young: Um… no… that’s just a TV show.
Tammy: Wait, so Gillian Anderson isn’t real?
Sasha: Yeah she is, we saw her in that other movie.
Tammy: Wasn’t that her actress?
Sasha: Maybe?
Young: Could we focus on the topic at hand, please?
Tammy: Gillian Anderson?
Young: The sighting.
Tammy: Oh, right. That.
Sasha: Tammy! How did you forget about the sighting!
Young: Wait, I thought you were Tammy…?
Sasha: Oh, no! She’s Tammy! [Laughs] It’s fine, we get confused for sisters like, all the time! But like, I think the difference between us is pretty obvious. I mean, she thinks like the opposite of fire is water and I think the opposite of fire is no fire. Y’know?
Young: *[Pause]\ What…?
Sasha: Cuz like the opposite of fire, is there not being a fire!
Young: [Pause]
Tammy: See, even the interview lady knows you’re wrong!
Sasha: Shut up, Tammy!
Young: The sighting… ladies. Can we discuss the sighting?
Sasha: Yeah, we like, saw a thing the other night. It was pretty fucked up
Tammy: Yeah. Pretty fucked up.
Sasha: Pretty fucked up.
Young: I’m… I’m gonna need more details, if that’s okay.
Tammy: Well, if you want. I mean… we can go into it.
Sasha: We were just having a girls night on the town. Tammy had just broken up with her boyfriend, Jeremy and it was like, Cinco de Drinko so we were getting fucked up!
Tammy: Super fucked up.
Sasha: Yeah. Jeremy was such a fucking loser too. So we were rid of him and we were having a blast and our friend Brittany was there too!
Tammy: Oh, Brittany is so fucking awesome!
Sasha: She’s so fucking awesome!
Young: Uh huh…
Tammy: Yeah. So we were having a fucking awesome night out… right up until the bar kicked us out.
Young: Why did they kick you out?
Sasha: Okay, so this totally isn’t my fault… but like, when we were in the bathroom together for a little pick me up, I might have accidentally broken the toilet seat off one of the toilets… and like… okay, it was just like a hula hoop!
Tammy: Yeah, she had it around her neck and was swinging it around and everything!
Young: [Pause] I’m sorry… you were doing what with the toilet seat?
Sasha: It was just like, as a prank! It was funny!
Tammy: Right up until you knocked the yayo off the counter…
Sasha: Tammy! She’s a cop, we can’t talk about that!
Young: I’m actually not a cop…
Sasha: Oh. Yeah, nevermind. We were doing some lines! [Laughing]
Tammy: Getting pretty and fucked up! Until she knocked it over…
Sasha: I knocked it over.
Young: [Sigh] So you were both high on cocaine at the time of the sighting?
Tammy: Oh yeah, super fucking high.
Sasha: Super fucking high.
Tammy: But like, we still saw something! It wasn’t like, the drugs or anything!
Sasha: Yeah! We still saw something!
Young: Right… just… walk me through that.
Sasha: Well like, after we got kicked out of the bar, Tammy, Brittany and I were just sorta wandering around. I don’t really know where we went. Brittany started saying she was hungry, so we ended up in this grocery store to buy some food.
Tammy: Yeah, they had like, some fucking fantastic cakes in there. I was pressed right up on the glass, they looked so yummy!
Sasha: They didn’t let me in because I was still wearing the toilet seat.
Young: You were still… wearing the toilet seat…?
Sasha: Yeah, as like a joke.
Tammy: They had this little vintage mechanical pony out front… only this one wasn’t a pony, it was a leaping frog. It was so cute! Anyway, Sasha was making out with it.
Sasha: He had his tongue out, he wanted a kiss! You were the one who got kicked out for eating one of the cakes!
Tammy: It was a good cake!
Sasha: Tammy you gotta pay for things!
Tammy: I know how capitalism works, Sasha! I just didn’t have my purse on me so I gave the guy at the checkout some pickles!
Sasha: Tammy they were already from the store you were in!
Tammy: Oh. I knew that…
Sasha: Sorry about her… she’s a lot less out of it when she’s sober!
Young: Is she… is she not currently sober?
Tammy: [Laughing]
Young: Look… the sighting, can we please focus on that?
Sasha: Yeah, yeah! We’re getting to it! So, anyway, after Tammy got kicked out, we kinda had to get outta there. We also sorta left Brittany behind at that point…
Tammy: She climbed into like, a display of frozen pizzas, opened one up, tried to eat it and then fell asleep.
Sasha: Yeah, she gets snacky when she gets high.
Tammy: Very snacky.
Young: Can we please focus?
Sasha: Right… so… like, we ended up walking for a bit. Tammy wanted to go back home, so we cut through this alley that we usually cut through, right?
Young: Right…?
Sasha: And like, we were walking through it for a bit, still a little bit out of it… and that’s about the time we see it. Or like, that it showed up.
Tammy: Yeah, it just like came down out of the sky. I didn’t even hear a sound. But it dropped right onto me.
Young: The creature you saw?
Tammy: Yeah!
Sasha: It was big… lotta feathers. Kinda looked like an Owl. And it just sorta grabbed her, like… you can still see the claw marks on her! Oh, Tammy, show her the claw marks!
[There is a sound of movement]
Young: No, no, you really don’t need to undre- oh wow… those are…
Sasha: I know, right!
Tammy: It didn’t even hurt!
Sasha: That was probably the cocaine.
Tammy: I fucking love cocaine!
Young: Did… did you not go to the hospital about these injuries? There’s not even a bandage…?
Tammy: No? Should I have?
Young: I… how are you not in agony right now?
Tammy: I dunno! Self medication?
Sasha: Yeah, we’ve been going for a while now!
Young: How are either of you still alive…?
Sasha: Oh, well Tammy is still alive cuz once that thing jumped her, I started hitting it with the only thing I had on me… which was actually the toilet seat we stole from the bar.
Tammy: Yeah, you just started screaming at it and everything and you were just like - WHACK, WHACK, WHACK, WHACK, WHACK!
Sasha: Yeah, well you were like covered in blood and stuff and screaming!
Tammy: Was I?
Sasha: Yeah! Anyway that, Owl thing just sorta looked at me… least, it sorta looked like a really big Owl, only it had some human features? Like… an Owl Person, or something. And I just sorta cracked it across the head with the toilet seat, before putting the seat part of the seat around its neck and trying to hit it. It flew off real quick after that.
Tammy: I don’t remember that part.
Sasha: You’d passed out.
Tammy: Yeah, probably.
Sasha: Anyway, it flew off and it took my fucking toilet seat with it. But it did leave, which was still good, I guess.
Young: Right… did you see what direction it flew off into?
Sasha: Up?
Young: [Pause] Naturally…
Sasha: Yeah, we didn’t really see it again after that. But like, this whole thing was super fucked up, right? I mean, it’s gotta be at least ten times more fucked up than the things you guys usually see!
Tammy: It’s probably the scariest thing you’ve ever seen!
Young: [Pause] Sure… was there anything else you saw that night, or…?
Tammy: I saw Sasha do a really neat handstand. Sasha, show her the handstand!
Young: You really don’t need to -
[There is the sound of movement again]
Young: Oh, okay… you’re just gonna… okay.
Sasha: S-see…? S-super easy…
Tammy: You’re all red in the face!
Young: I… think we’re done here…
[Transcript Ends]
Notes: I feel like one thing nobody ever acknowledges is that everyone is now completely and totally insane.
Were Sasha Barberi and Tammy Caruso the only two people to have reported sighting a Harpy in Toronto, I would’ve dismissed their claim as little more than a drug induced hallucination. But, considering Caruso’s wounds, and other eyewitnesses claiming they spotted something that resembled a Harpy in the area that evening, it’s highly likely that their encounter was genuine.
I’ve asked security to bring Caruso to a nearby hospital to get her claw wounds treated before they get even more infected than they already were. I did photograph and document said injuries for later examination, but made a point not to study them for too long. I’d also like to recommend both women for rehab, but I’m not sure how much gravity that recommendation might have to them. Neither of them seemed to view their excessive substance abuse as a problem and both of them were clearly high on some sort of substance… likely cocaine, during the interview.
Still - despite the absurdity of this specific encounter, I do find the presence of a Harpy in the Toronto area to be a bit concerning. Harpies are a rare and dying species, whose nomadic lifestyles and preference for solitude make it difficult for them to grow organized as so many other Fae have. A small handful of Harpies have found themselves on the fringes of the Imperium, but those are few and far between. The bulk of them still live wild and can be highly unpredictable. One nesting in Toronto could prove very dangerous, especially if they’re preying on civilians. I hate the idea of issuing a Kill Order on a Harpy without good reason, but it may be necessary here, since we may not know about any specific victims until after it’s been dealt with.
-Justice

Moby has always been a mainstay in house music and electronica in general. And on May 17th, 1999, he released his fifth studio album Play to critical and commercial success, becoming a rare phenomenon in the dance world.

…..but not in the way you would expect. You see, not even Moby thought he would make an impact, and originally intended to retire after that. So what makes his success story so unique? And how did this album become the best selling electronica album of all time? Let’s take a deep dive!

A quick recap into his early career

Throughout the 80s, Moby was involved in multiple underground punk rock bands. At the tail end of the decade, he shifted his interests towards the then-burgeoning electronic music scene, moving to New York City and taking up producing, remixing and DJ-ing as a result. By 1991, his single “Go” became an instant success and propelled him into stardom. For the next few years, he scored multiple dance hits (including a remix of the James Bond theme).

It was in 1996 when he released his album Animal Rights where everything went wrong. His sudden shift to punk and metal inspired music alienated much of his fan base and proved to be a critical and commercial failure, leaving him in a bit of a disarray. By this point, much of his audience began to cast doubts as to who Moby was as an artist, and while he asserted that the stylistic change was only temporary, it didn’t stop them from leaving his side. His own touring was disastrous, and him opening for alt-rock band Soundgarden was met with boos and jeers, prompting him on leaving music altogether. But thanks to artists like Bono, Axl Rose and Terence Trent D'Arby giving positive reactions to his Animal Rights album, he decided to stay a little while longer.

Background

Play's musical direction began around the time Moby's friend, Gregor Ehrlich loaned him a 1993 box set titled "Sounds of the South: A Musical Journey from the Georgia Sea Islands to the Mississippi Delta." by Alan Lomax. In it, a wide collection of folk music recorded throughout the 20th century.
Moby began to work on Play in August 1997, but touring obligations as well as unsatisfactory mixing sessions caused multiple delays. According to Moby's manager, Eric Härle had stated their original goal was to sell 250,000 copies, which was what Everything Is Wrong (1995), Moby's biggest-selling album at the time, had sold. Moby had doubts in achieving that, and many of the labels seemed to agree. Moby lost his outlet to released Play in the US following his removal from Elektra's roster of artists, leaving UK-based Mute Records as his sole label. Looking for US records to distribute was a struggle, with major label records like Warner Bros., Sony and RCA rejecting him. Even after V2 picked up the offer, most of the journalists passed on listening to the album. By March of 1999, two months before release, Moby began contemplating on his future and felt that maybe it's best to just throw in the towel and retire.

Play debuted at number 33 on the UK Albums Chart, but fell off shortly after. In addition, the radio and network airplay the songs received was very minimal. At this point, the goal was to simply get people to listen to the music; for that to happen, Moby and his management had to get really creative. While brainstorming, the team noticed a few agencies flocking to them for permission to use the music as soundbeds. That marked the moment a huge lightbulb went off on everybody's head; there's great potential in using licensing.
Licenses weren’t exactly lucrative but it was an alternate way of exposing listeners to the music rather than just radio. Management team was very diligent in looking for licenses, nevertheless, they took painstaking care of which requests were more appropriate for certain songs. Eventually they succeeded in getting every track on the album licensed, with "7" being the last track to do so.

Singles

Play's rollout consisted of eight singles. I've listed the samples used as well as where the songs are heard. While I listed as many licenses as I could, I tried to keep it within a 5 year timeframe. Forgive me as I know I missed a few but it's tough to find older, obscure commercials.

Honey
After discovering an a cappella song from Lomax's box set, Moby wrote this song in about 10 minutes. The song had minimal radio airplay but still managed to chart in several places including the UK Singles Chart (#33) and Billboard's Dance/Electronic Singles Sales (#95). A remix was later released featuring American R&B artist, Kelis.
Licensed: Permanent Midnight (1998), The 13th Warrior (1999), Maxwell Coffee (1999), Holes (2003),
Samples: Bessie Jones - Sometimes (1960)

Run On
This was one the first Play tracks Moby made. Due to the amount of samples, putting this song together proved to be a major challenge. Sampling the original folk song "God's Gonna Cut You Down" by Bill Landford and the Landfordaires, Moby didn’t know about the song's popularity until after recording it. It’s been covered by many artists including Elvis, Bobbie Gentry and Johnny Cash.
Licensed: Renault Kangoo (199x), Harsh Realm (1999), Mercy Streets (2000), Osmosis Jones (2001),
Samples: Bill Landford and The Landfordaires - Run On For A Long Time (1949), Melvin Bliss - Synthetic Substitution (1973)

Bodyrock
Fun fact: Both of Moby's managers tried to convince him not to include the song on the album, as they thought it sounded too similar to a Fatboy Slim track, but he insisted on keeping it as he liked the song for its sample.
Licensed: Dawson's Creek (1998), Rolling Rock Beer (2000), Hype (2000), FIFA 2001 (2000), Buffy The Vampire Slayer (2001), Veronica's Closet theme (2003)
Samples: Spoonie Gee and The Treacherous Three - Love Rap (1980), Gang of Four - What We All Want (1981), Afrika Bambaataa and Soulsonic Force - Looking for the Perfect Beat (1983)

Why Does My Heart Feel So Bad
Moby originally wrote this back in 1992 as a techno song. Unsatisfied with the result, he never released it. Years later, he revisited the song, reproducing it with slower and more sorrowful tone, Eric Härle encouraged him to include it on the album. Kelis also provided vocals on a remix of this track.
Licensed: The Next Best Thing (2000), Millennium Mambo (2001), Lovely Rita (2001), Black Hawk Down trailer (2001), Associaçao Desportiva de Deficientes (2004)
Samples: The Banks Brothers and The Greater Harvest Back Home Choir - He'll Roll Your Burdens Away (1966), Delegate vs. Emo-Trance - Return to Tasmania (1998)

Natural Blues
Music video features Christina Ricci (famous for her Wednesday Addams role)
Licensed: Shadow Hours (2000), Freddy Got Fingered (2001), Joan Of Arcadia (2003), Basic (2003)
Samples: Vera Hall - Trouble So Hard (1937), Coke Escovedo - I Wouldn't Change a Thing (1976), The Banks Brothers and The Greater Harvest Back Home Choir - All the Way (1966)

Porcelain
A standout of the album, it's one of the only songs on the album that Moby sings on.
Licensed: The Beach (2000), Nordstrom 'Doorway' (2000), VW Polo 'Lunchtime' (2000), Bailey's Irish Cream (200x)
Samples: Ernest Gold - Fight for Survival (1961), Electra - Destiny (The Remix)(1989)

South Side
Initially recorded with No Doubt frontwoman Gwen Stefani, production problems forced Moby to leave Stefani's vocals off the mix of the song included on the album; her vocals were later restored for the song's single release.
Licensed: I cant find any :(
Samples: The Counts - What's Up Front That Counts (1971)
Find My Baby
The final single (obviously)
Licensed: Any Given Sunday (1999), Charmed (2000), Nissan Almera II (2000), American Express 'Tiger Woods Plays Manhattan' (2000)
Samples: Boy Blue - Joe Lee's Rock (1960), Louis Bellson, Shelly Manne, Willie Bobo & Paul Humphrey - Super Mellow (1975)

As for the deep cuts (once again, I couldn’t find them all).

Rushing
Licensed: Weather Channel (2000s-2010s)
Samples: n/a

Machete
Licensed: Play It To The Bone (1999), Mission Hill 'Andy Joins The PTA.' (2002)
Samples: Tom Jones - Looking Out My Window (1968), Incredible Bongo Band - Apache (1973)

7
Licensed: unknown
Samples: n/a

Down Slow
Licensed: unknown
Samples: n/a

If Things Were Perfect
Licensed: unknown
Samples: Willie Hutch - Hospital Prelude of Love Theme (1974)

Everloving
Licensed: Requeum For a Dream trailer (2000), Thortons Chocolates ad (200x)
Samples: n/a

Inside
Licensed: Riding Giants (2004)
Samples: n/a

Guitar Flute & String
Licensed: unknown
Samples: n/a

The Sky Is Broken
Licensed: The X-Files 'All Things' (2000) (fun fact: Gillian Anderson hand-picked this song!)
Samples: Creedence Clearwater Revival - Long as I Can See the Light (1970), SMPTE Timecode - Audio Sample (1967)


My Weakness
Licensed: The X-Files 'Closure' (2000), Any Given Sunday (1999), Behind Enemy Lines (2001), The Salton Sea (2002)
Samples: Kanak - Danse Nyinewaco De Tiga (1990)

Conclusion

Play was the breakthrough album Moby needed to break into the mainstream, landing DJ gigs across the world before he even knew it. It was the first album to have all of its tracks licensed. The licensing approach was a resounding success that helped increase the album's visibility along with radio and MTV. In fact, it was so lucrative that the album was already considered a financial success before it even reached multi-platinum sales! Overall, Play's journey to being a cultural phenomenon was a slow but gradual one, with the album re-entering the top 100 charts and have many of its songs hit the charts across multiple countries. Before you knew it, the whole blues-meets-electronica was everywhere (even Adele cited this album as an influence on 25).

Using popular songs for commercial purposes is nothing new but with Play, many viewed this album as redefining the concept of "commercial". Not everybody was on board with this, many techno purists scoffed at his approach for success, seeing Moby as an ultimate sell-out, and his music being devalued as a result. Despite this, Moby remained steadfast in his decisions. Now, 25 years on, with a staggering 12 million sold worldwide, Play still remains the best selling electronica album of all time.

Questions

What was your experience with this album? Did you enjoy it?
Do you feel the push for licensing really changed the game? For better or for worse?
Do you feel this album has any cultural relevance beyond its commercial ubiquity? Why or why not?

Edit; I didn’t mean for 200 comments to happen I was just sharing my thoughts because I was up late and wanted to talk to someone but most of the “advice” just annoys me, no I am not staying alive for a possible future husband and kids. I am 24 and have never been on a date lmfao. The thought of having kids makes me wanna die more
So I’m 24F, just turned 24 a few weeks ago. I’m seriously considering ending my life this summer but it’s not completely in a depression type of way. I don’t know how to explain but I genuinely just feel like it’s time for my life to end, there’s nothing left for me
First of all, I won’t be hurting anyone. My family will get over it pretty quickly (not going into details but you’ll just have to trust it)
I have no close friends, no boyfriend, no pets. Truly only leaving being a crappy bachelor apartment that I rent, and my crappy car that I own lol.
I have completed my bucket list, and there’s nothing else within reason that I want.
My dream growing up was too be an actress, last year I shot a movie, a commercial and a tv show. All lower budget productions, but enough I got the experience of being an actress. The next level would be booking something bigger, but I’ve accepted that that will more then likely not happen so I’m taking what I can get. Regardless I can check being on set off the bucket list.
Then I had Beverly Hills and Hollywood. I saw Hollywood and Beverly Hills. Loved it
I wanted to have my first kiss, had it last summer shooting a horror movie. I watched myself on the big screen at a film festival.
I have nothing at all left that I need to do or see. Although I had a few more things on the list like being in a big movie I know that it won’t happen now sadly (I’ve been working on this career since I was 12)
My mom passed when I was 14, all I really want to do is go be with her. No more anxiety, no more being sad, no more obsessing over my career, no more money stress. Just my mom and peace.
And the two family members I leave behind benefit greatly from me being gone. I already have a plan, and I can not think of a single reason to stay alive to be honest. I’ve tried to find reasons to stick around and there truly isn’t one, so as of right now I’m genuinely planning on ending it in June. Unless a miracle happens lol, which I highly doubt.

https://preview.redd.it/2aotx2n9mw0d1.png?width=1000&format=png&auto=webp&s=f1dfefd38a54d765a08fa20f7efdc1f3076d3021

(An animation shows black and white clouds parting)
Charles: (Off-screen) Once upon a time, there was a glowing city protected by golden gates known as Heaven. It was ruled by beings of pure light. Angels that worshipped good and shielded all from evil. Lucy was one of these angels. She was a dreamer with fantastical ideas for all of creation. But she was seen as a troublemaker by the elders of Heaven. For they felt her way of thinking was dangerous to the perder of their world. So she watched as the angels began to expand the universe in their ways. From the dust of Earth, they created Eve (I couldn't think of a female name that looked like Adam) and Lilian. Equals as the first of mankind, but despite this, Eve demanded control and Lilian refused to submit to her will. He fled the garden. Drawn in by his fierce independence, Lucy found him and the two rebellious dreamers fell deeply in love. Together, they wished to share the magic of free will with humanity, offering the fruit of knowledge to Eve's new groom, Adam, who gladly accepted. But this gift came with a curse. For the single act of disobedience, evil finally found its way into Earth. With it, a new realm of darkness and sin. And the order Heaven had worked to maintain was shattered. As punishment for their reckless act, Heaven cast Lucy and her love into the dark pit she had created, never allowing her to see the good that came from humanity, only the cruel and the wicked. Ashamed, Lucy lost her will to dream. But Lilian thrived, empowering demon-kind with his voice and his songs. And as the numbers of Hell grew, so did its power. Threatened by this, Heaven made a truly heartless decision. That every year, they would send down an army, an extermination to ensure Hell and its sinners could never rise against them. But Lilian's hope remained. And his dream was passed down to their precious son, the Prince of Hell. (The prince shuts the "Story Of Hell" book) (On-screen) Don't worry, Dad. I'll make you proud. (He holds a key)
Vagner: Charles?
Charles: Augh! (The key turns into a cat) Oh, shit. Did you hear all that?
Vagner: Uh... Yeah, I was right there.
Charles: Sorry. I get worked up after an extermination happens. This story helps.
Vagner: (chuckles) I know. Don't worry. I enjoy your theatrics. Are you okay?
Charles: I'm fine, just...Thinking, ya know, family stuff.
Vagner: Did you hear from your dad yet?
(Charles shakes his head saying no)
Vagner: Oof. How long has it been now?
Charles: Not that long, only...Seven...Years...Off something important, I'm sure. But this kingdom was something he really cared about. Something I care about.
Vagner: Well, at least you aren't alone.
Charles: I just hope what I'm trying to do here will work.
Vagner: It will. I have faith in you.
(The cat hopes on Charles)
Vagner: All right. Come on. Alice says she has something to show us.
(Vagner heads to the door and Charles look out of the window and see Hell on fire and goes)
(A commercial plays)
Alice: Well, hello there you wayward sinner. Do you like blood, violence and depravity of a sexual nature? Of course you do. That's why you're in Hell! But what would you say there was a place to stay that had none of that? Welcome to the Hazbin Hotel, a misguided path to redemption! Founded five days ago by Lucy's delusional son Charleson Morningstar! Come place your fate in his inexperienced hands as he tries to work through his mommy issues by fixing you! Here, we offer fun thing! Such as somewhat functional staff! And 24 hour Pest Control! Custom rooms, and just look at this tacky parlor! Enjoy riveting conversation with our singular resident. Wow! All this and more at the Hazbin Hotel! You last desperate attempt at salvation starts here.
(The tv suits off)
Alice: So, what'd ya' think?
Vagner: I'm sorry, what the fuck was that?!
Charles: Uh, yeah, one note...Alice, I mean...First off, thank you so much for making this, seriously, amazing, but um...Maybe the tone is a bit...Off? We want people to want to come here, this makes it look...Ummm...
Vagner: Bad. The word you're looking for is "bad".
Alice: Funny, I was going for hilarious!
Vagner: It didn't explain anything about how we're trying to save demons from extermination, which is the whole fucking point.
Charles: Vagner is right, Alice. The commercial was to let sinners know we are trying to help them.
Alice: Well, my dear, I haven't been active in Hell for some time, and everyone remembers me from my radio show! The proper medium to express oneself! But YOU insisted on this noisy picture box adversiment! So I had a little fun with it.
Vagner: Oh, fun? You had a little fun with it? (Stand on the sofa) Well, this is not what we want to represent us. When you showed up here a week ago, you told us you would help run the hotel! Instead, you're mocking us. Nobody's going to want to come to a place that a powerful overlord like you thinks is a waste of time!
(A demon on a sofa raises her hand)
Vagner: What?
Angela: If'n ya filmin' a commercial, can I suggest you take better advantage of the talented celebrity you have right here?
Vagner: Angela, you're a porn star.
Angela: A famous porn star. I'll have the horniest sinners knockin' these walls down to get in.
Vagner: We are not filming a porn as a commercial.
Angela: Why not? Sex sells, don't it? I swear if you film me goin' at it with mistress fancy-talk-creepy-voice here, you'd rollin' in participants willin' to stay at this tacky hotel.
Alice: Haha! Never going to happen!
Charles: Angela, I appreciate you wanting to use you special skills to, um, attract folks to the hotel, but...I really don't want to exploit you, in that way!
Angela: Oh, please, baby. This body was made to be exploited. I got the arms, I got the stamina, I got the legs. I got the lung capacity-- Oh-oh I got the legs! The gag reflex, the holes...
(Charles laughs uncomfortably and his phone rings with his mom calling)
Angela: The small tits that make everyone think I'm a man...
Charles: Uhhh, hold that thought. I'll be right back! (Walks away)
Angela: I could keep goin' all night, baby.
(Charles breathes and answers the phone)
Charles: Hello? Mom?
Angela: Hey, I have a question. If freaky face over there is so powerful, then why can't she just make people stay here?
Alice: Oh, trust me, (ominously) I can!
Hisky: Why the hell do you think I'm here?
(The camera goes to Hisky at the bar)
Hisky: You actually think I'd be cleaning bottles and listening to you fuck's bitches moan all the time if she wasn't forcin' me?
Niffter: I like being forced!
Hisky: Keep that to yourself, Niff.
Angela: What, you don't like being here with me, Whiskers?
Hisky: Call me "Whiskers" again and I'll that bottle down your throat.
Angela: Kinky. But I like pussies. But keep talkin' dirty.
Vagner: Ugh, Angela, let Hisky do her job. And no, we can't force sinners to stay here. They need to choose to.
Angela: I'm choosing to be here, and I think is all stupid. We're in Hell, toots. It's kind of the end of the road, ain't it?
Vagner: Well, maybe it doesn't have to be. Just because nobody has made it before doesn't mean is not possible. (Angela pust her arm in his shoulder)
Angela: Hey, whatever means I can keep crashin' here rent free. Crack is expensive.
Charles: (excitedly) Yeah, I can! Totally. Yeah, I'll head over there right away...Okay. (Turns off the phone) Hah! YES! YES!! Hahahaha!! Vagner! Holy shit!
Vagner: Ahh! What?!
Charles: (through closed mouth) Get over here!
(Vagner sighs and goes to where Charles is)
Vagner: What's going on?
Charles: (Inhales) My mom just called. She said that the leader of the Angel Army wants to meet. She asked if I could go instead. (Breathes deeply)
Vagner: But... But...But the extermination just happened. What would they want this soon after...
Charles: (Singing) I can do this. Somehow, I know it I'll get Heaven behind my plan!
Vagner: Charles, hold on.
Charles: There's just no way I could blow it. Not this once a lifetime change!
Vagner: It's just a meeting.
Charles: To change their minds. And touch their hearts. Or whatever angels have.
Vagner: This could be bad.
Charles: Cheer up, Vagner. This could be swell. Something tells that today will be a happy day in Hell!
Vagner: Okay, but just don't... sing to them.
Angela: That motherfucker is halfway down the street.
Vagner: Is he...
Angela: Oh, he's dancin'.
Vagner: Ugh, no.
Charles: There's a warm fuzzy feeling that wafts through the air! Every street so revealing it's hard not to stare. It's a realm so appealing it beats anywhere! If you don't mind the smell! It's a happy day in Hell! Hi, miss!
Demon: Go fuck yourself!
Dead Sinner #1: There's a endless trash fire that's burnig my soul!
Charles: Hello!
Imp: There's a lot of barbed wire to shove in her holes!
Charles: Uh, excuse me...
Executioner: Doing what is required we all have a role!
Dead Sinner #2: I'm not doing well!
Ensemble: Another shitty day in Hell!
Charles: If I can show them the dream I've dreamed, that any soul can change!
Vagner: Those angels minds are hard to change!
Charles: Then they know that everyone can be redeemed from the evil to the strange!
Vagner: They're bloodthirsty and deranged!
Charles: I can hear all their stories, the lost and the displaced! And I know that they're of an acquired taste! But if I open the door and give them a place at my Hazbin Hotel it'll be a happy day in Hell! (Jumps in the back of a truck) From the porn studio where the cinephiles go to watch award winning demon bukkake shows to the Cannibal Town where they don't wear a frown 'cause...Holy shit, ew, my gosh, why?! And I don't give a crow that her brains got in my eye! Cause I know I can spare them from Heaven's genocide! I can do this...
Dead Sinner #1: There's an endless trash fire...
Charles: I just know it! Dead Sinner #1: That's burning my soul!
Chorus: Ahhhhhhhhhh!
Charles: I'll get Heaven behind my plans! There's just no way I could blow it!
Demon Sinner #3: I kinda like the barbed wire that's shoved in my hole!
Charles: Not this once in a lifetime chance! To change their minds!
Trenchcoat Demon: And touch my parts!
Charles: Oh...No, thank you. I'm just gonna...Fullfill my destiny!
Trenchcoat Demon: Your loss fucker!
Charles: I can already tell! Today is gonna be a fucking happy day in Heeeeeeeeeeeeeeeeeeeeeeell! (Charles enters at the lobby) Hello? (echoes) Hello? Creepy...(He goes to the reception, rings the bell in the table and a paper and a feather pen appear in front of him) Oh, okay! Also creepy. (Signs the paper)
(Elevator doors open, Charles goes to them and enters in a dark room)
Charles: Hello? Is anyone here?
(The lights turn on)
Eve: 'Sup?
Charles: Holy shit! (Falls in the floor and gets up) Hi, I'm Charles. My mom asked if I could meet you.
Eve: Yeah, I know.
Charles: Okay, well, it's nice to meet you. (Stands his hand)
Eve: Totally. Nice to meet you, too. (Stands her hand)
(Charles hand passes through Eve's hand)
Charles: Ahh!
Eve: Ha! I fucking got you! Did you fuckin' see that?
(Luther shaves his head in yes)
Eve: Good shit!
Charles: Uh, so wait, you aren't here?
Eve: No, you think I'd come down there? (Laughs) No. I mean, I love the vibe, totally, I love your tunes. Pretty fuckin' hardcore, don't get me wrong. But, it's such a bummer, man. Everything down there's just so "eugh" ya know? (Chuckles) Ew.
Charles: Right. So I'm happy we got this opportunity to meet. There's a project I've been working on that I really want to talk to you about...(Eve puts her finger in his mouth)
Eve: Hey, hey, hey, slow down. We got time. How about we get to know each other, mm? How about some lunch? You hungry? I got you! (Shows a plate with ribs) Here's my personal favourite. You'll love it.
Charles: Uh, thanks! (His arms passes through the plate of ribs)
Eve: (Laughing) I got you again, fucker! Haha fuckin' hilarious! Haha!
(Back at the Hazbin Hotel, everyone is at the lobby)
Vagner: Okay, so Charles is dealing with something very important, so while he's gone, we are making a new commercial. One that representants his vision and what we're doing here. So we need a camera. Alice?
(Alice snaps her fingers and an old camera appears in Vagner's hand)
Vagner: A video camera.
Alice: Hmmm. (Snaps her fingers)
(A video camera appears in Vagner's hand)
Vagner: All right, let's do this!
(Vagner films Angela sitting at the bar)
Vagner: And...Action!
Hisky: "Welcome to the Hazbin Hotel, can I help you with anything?"
Angela: "I've been a bad girl. And I need a big strong mommy to put me in my place...On the path to redemption!"
Hisky: Ugh! "Well, you come..."
Angela: "Oh yes!"
Hisky: (boredly) "To the right place!"
Vagner: Cut! Okay, Angela, I need you to be less horny, if possible. And Hisky, can you maybe not have a script in front of your face?
Hisky: (Angrily) I ain't no actress, I can't memorize this shit!
Angela: Well, we could improve this shit, baby cakes! (Purrs seductively and Hisky push her out of the counter) Ahh!
Hisky: Whoops. (Drink a bottle)
Vagner: Hisky, come on!
(Meanwhile, Charles is bored)
Eve: So I was playing this gig, and for some fucking reason this virtue boy was digging on the drummer, and it's like, do you know who I am? I'm fucking Eve. I'm the original pussy! All pussies descend from me. You think you like a drummer pussy? No way, I'm the Pussy-fucking master! (Eats sloppily) So anyway, then we fucked, and it was awesome. What'd you do this weekend?
Charles: Wait, your name is Eve? Like the first woman? That means you...Ohhh...(Enlightened) That explains so much.
Eve: I know. I fucking rock.
Charles: Well, Eve, ma'am. Mrs. Eve, ma'am.
Eve: Call me Pussymaster.
Charles: Eve, you seem like a smart...well, stand up girl.
Eve: (With the finger in her teeth) Uh-huh.
Charles: And I know you are the leader of the angels. And you are a bigger revolutionary, a...A genius!
Eve: I maen, your words, babe.
Charles: Who would really her name on something.
Eve: Fucking love putting my name on shit! Shit's the best!
Charles: It's a solution to our biggest problem!
Eve: Oh, herpes. Yeah, that's a bitch.
Charles: No! Our other biggest problem.
Eve: Oh, uh...Ugly people? (Looks at the camera) Math? Global warming? Nah, wait that's Earth's problem. Umm...
(At the hotel, a bug walks in the floor and a needle tries to stab it saverel times)
Niffter: Hehehe. Stab. Stab. Stab.
Vagner: Alright Niffter. Niffter? Niffter! (Stops him) Your line is "We have the cleanest rooms". Okay?
Niffter: Got it. I'm ready.
Vagner: (Turns on the camera) Action!
(Niffter looks at the camera with his pupil constricted and Angela and Vagner look at him confused and he keeps staring weirdly)
Vagner: Uhh...Cut. (Turns off the camera)
(Niffter smiles again)
Niffter: (Giggles) How was that?
Vagner: Well, Niffter, you actually have to say the line. So let's roll again.
Niffter: Okay!
Vagner: Action. (Turns on the camera)
(Niffter stares deeply at the camera)
Angela: You're doing great, Vagina!
Vagner: Cut! Alright, um, maybe wr can try to fix it in the post.
Angela: Do you even know what that means?
Vagner: (Angrily) I'll figure it out!
(In the lobby, Vagner is watching the video with the camera connected to the tv)
Hisky: (On TV) Welcome to the Hazbin Hotel.
(Vagner groans, covers his eyes and Alice appears in his side)
Alice: Seems like you're having a bit of trouble there, hm?
Vagner: Ugh, esta pendeja...Why are you even here?
Alice: For the entertainment! I came here because I love seeing wasteful souls struggle to accomplish something meaningful and fail spectacularly. Like you are doing now! Good job!
Vagner: (Turns on the camera) And here is Alice, the egocentric piece of shit that...
(Alice gets static on the camera and it starts to spark and Vagner screams and knocks the camera down)
Alice: I wouldn't try that, my darling. (Sinisterly) This face was made for radio.
Vagner: (Gets angry) That's it! I don't care who or what you are! If you are staying here you are going to make this work! Beause it won't be so "entertaining" to watch an empty hotel will it, shit ass?! (Turns around and walks away)
Alice: Fair enough. I'll tell you what. Let's make a deal.
Vagner: Pft! You think I'm that stupid? Making a deal with a demon like you.
Alice: Not for your soul, just a simple deal. I do this for you, and you never ask me to engage with this frivolous television technology ever again. Or...Charles can come back to absolutely nothing! Your choice.
Vagner: (Sighs) Fine. (Gets the video camera and raises in Alice's hand and green ghosted skulls fly around it)
Alice: Now then! (Makes the camera disappear and snaps her fingers)
(Angela, Hisky and Niffter, a lot of filming materials and a ghost recording team appear in the lobby and everyone gets tailor clothes)
Vagner: Alright, everyone! Let's make a fucking commercial.
(Meanwhile)
Eve:...When you take him out for the fifth time and he still expects you to pay the check, but you're like, (In deep voice) "Hey I thought you wanted equality"!
Charles: (Frustrated) No! Our shared problem of overpopulation in Hell!
Eve: (Normal) Oh! Well, that's not a problem! We got that covered! Luther, how many demons did you kill this year?
Luther: Got a good 275 this year, ma'am.
Eve: 275? Whoa, badass! Awesome job, danger dick! Pound it. (Punch fists with Luther)
Charles: Uh, no, not awesome. Those are my people, you know that, right?
Eve: Ohhh, yeah...That must suck for you. Pft...Hahahaha! Charles: But these are souls. Human souls, just the same as the ones you have in Heaven.
Luther: They're not the same. They had their chance and they earned damnation.
Charles: You're wrong. Sinners made mistakes, sure, but everyone makes mistakes.
Luther: Angels don't make mistakes.
Charles: You really think that?
Luther: I know that.
Eve: Yeah, I've never made a mistake in my fucking life.
Luther: The only reason you're still here is because Mommy gave you and your Hellborn-kind a pardon from an exorcist blade. How does that feel? To know how little you matter.
(Charles shrinks back)
Eve: Oops, almost out of time. Guess we should get into it...
Charles: Oh! Fuck!...(Get up from the chair) Okay. I've a lot to get through and not a lot of time and I feel like you weren't really hearing before, so here goes. (Clears throat) (Singing) I know Hell's population is out of control. It's a bad situation, it's taking a toll. If we rehabe these sinners and cleanse all their souls at my Hazbin Hotel! (Normal) Wait I'm getting ahead of myself! Right! Extermination! (Singing) I know you guys fly down just to kill once a year. And it must be annoying to schlep all the way here. If they join you in Heaven that trip disappears! You can wave that chore farewell! (Deep breath) It'll be a happy day in...
Eve: (Singing) Let me stop you right there, save us all precious time!
Charles: (Normal) Okay?
Eve: If what you're suggesting is letting them climb! Up the ladder. Oh they rather cross the Pearly Gates? Sorry, sweetie, but there's no defying in their fates! 'Cause Hell is forever wheter you like it or not! Had their chance to behave better now they boil in a pot! 'Cause the rules are black and white there's no use in trying to fight it! They're burning for their lives until we kill them again!
Charles: Okay, but...
Eve: Just try to chillax, babe, you're wasting your breath!
Charles: (Nervously) Hehe...
Eve: Did I hear you imply that they deserve death? Are they winners? Are they sinners? 'Cause it's cut and dry!
Charles: Actually, if you take a look...
Eve: Fair is fair, an eye for an eye! And when all's said and done! (Said and done) There's the question of fun! (Fun) And for those of us with divine ordainment, extermination is entertainment! (Imitates guitar) Guitar solo, fuck yeah! (Imitates guitar) Hell is forever whether you like or not! Had their chance to behave better now they boil in a pot!
Charles: Where all these people come from?
Eve: 'Cause the rules are black and white, there's no use in trying to fight it! They're burning for their lives until we kill them again! (materializes a guitar and play it) Fucking Hell is forever and it's meant to suck a lot! So give up your dumb endeavor 'cause you don't have a shot!
(Charles groans, his paper gets on fire and his hair moves in the air and horns appear in his head)
Eve: Long as I've got your attention, I guess In should probably mention that we made a determination (Shows a contract) To move up the next extermination!
Charles: What?!
Eve: Can't wait a whole year to slaughter those little cunts! (Holds Charles' wrist) I know is just been a week, but we'll be back in six months! (Spins Charles out of the room and plays her guitar)
Charles: Um, wait, didn't you...(Goes at the door, but it closes) Awh, shit! (Punches the door)
(Charles returns sad to the Hazbin Hotel)
Vagner: Charles! (Hugs him) How did it go? Did they listen?
Charles: Oh, uh...They sure did...hear it! But, um...
Vagner: Oh! Come here. We have something exciting to show you! (Holds Charles to the living room) Alice pulled some strings, and it's about to air.
Alice: I pulled a few limbs too! Hahaha!
Charles: Wait? The commercial? You all made a new one?
Angela: Yeah, one of my better performances, if I do can say so myself.
Charles: That's...That's amazing.
Angela: Shh! It's starting!
Vagner: (On TV) Welcome to the Hazbin Hot...
(The TV changes to the 666 News channel and everyone complains)
Kallie: (On TV) Breaking news in Hell today! We have just received word from the Heaven Embassy that the next extermination is happening sooner than ever before! Do you know what that means, Tomita?
Tomita: No. What does that means, Kallie?
Kallie: It means we are all royally fucked!
(The clock in an hourglass changes to 176 with everyone screaming)
Angela: Wait...What? Why?!
(A drone laser scans a headless body of an angel laying in Hell and Eve and Luther see then from the ship)
Luther: We found the body, ma'am. They've never managed to kill one of us before. We should just go down there now and destroy them!
Eve: No, no. We can't risk them catching on. But don't worry, when we come back, there won't be a demon left to pull a stunt like this again. (Breaks the projector and her eyes and mouth glow in the dark)
(The end credits start playing)

Episode 8 - The Peppino Puppet Troupe
^{Episode aired February 22nd, 1976}
◄ Previous Episode Index Next Episode ►
MAL ANN AniDB Anilist AnimePlanet IMDB
Note to all participants
Although I don't believe it necessitates stating, please conduct yourself appropriately and be courteous to your fellow participants.
Note to all Rewatchers
Rewatchers, please be mindful of your fellow first-timers and tag your spoilers appropriately using the anime spoiler tag if your comment holds even the slightest of indicators as to future spoilers. Feel free to discuss future plot points behind the safe veil of a spoiler tag, or coyly and discreetly ‘Laugh in Rewatcher’ at our first-timers' temporary ignorance, but please ensure our first-timers are no more privy or suspicious than they were the moment they opened the day’s thread.
—
Staff Highlight
Noriko Tobe (Noriko Ohara) - voice of Conchetta

An actress and voice actress best known for being the voice of Nobita Nobi in the Doraemon franchise and the lead female villains in the Time Bokan franchise —most notably Doronjo in Time Bokan Yatterman. Tobe was a child actress from a young age, having joined a children's theater company, and after graduating high school became a noted TV Drama actress in the early days of commercial broadcasting. Her first voice role was in 1965’s W3 and her first named role was in 1966’s Harris no Kaze. Tobe became a voice actress exclusively after marrying, as it allowed her a less demanding schedule for the purpose of raising children. Her son is noted Sunrise animator Atsuo Tobe. Some of her most notable roles include Conan in Future Boy Conan, Marine in Under The Sea Boy Marine, Oyuki in the Urusei Yatsura franchise, Hiyoshi Gou in Super Electromagnetic Machine Voltes V, Princess Mirenjo in Time Bokan Series: Yattodetaman, Wansa in Wansa-kun, Claudia La Salle in Super Dimension Fortress Macross and Do You Remember Love?, Peter in Heidi, Girl of The Alps, Serge in Kaze to Ki no Uta, Yanyan in Time Bokan Series: Itadakiman, Ryūzu in Galaxy Express 999, Dolphin Prince in Dolphin Prince, and Miime in Captain Harlock: Mystery of the Arcadia.

Daily Trivia

In the original work, no reason is given as to why Marco’s mother needs to go to Argentina, and the rest of his family situation is not elaborated at all.

Screenshot of the day

• ‘I am a man.’

Questions of the Day:
1) What do you think of Peppino and his offer to Marco?
2) What do you make of Marco and Pietro’s argument?
Your job ruined our life.

In this edition of “Odd Titanica”, we are going to dive into the sleazy, opportunistic world of show business. A world that comedian Fred Allen said of, “you can take all the sincerity in Hollywood, place it in the navel of a fruit fly, and still have room for three caraway seeds and a producer’s heart”. Hyperbolic? Let’s take a look at Hollywood’s response to the Titanic disaster to see that there really is no business like show business.
Dorothy Gibson and the lost, first, film are well worn trivia by now. The traumatized actress rushed into production, her inability to process her trauma causing her mental breakdown, collapse, and retirement from acting immediately after the film was finished - it’s a perfect story to demonstrate the callousness of the film industry. But there is more to the story, and digging deeper shows us that “Saved” may have been the least sleazy project undertaken by the studios.
Dorothy’s account of the sinking and the suffering she endured filming “Saved from the Titanic” are predominantly found in two sources - The New York Dramatic Mirror and Moving Picture World. These were trade magazines, published weekly, and consisting solely of material related to the stage and screen business. These would be announcements of upcoming features, casting news, celebrity gossip, technical news - anything the movie star to the man sweeping the floor at the cinema needed to know. And they included ads … lots and lots of ads.
Immediately realizing that Titanic was not only a horrible tragedy but an incredible business opportunity, Moving Picture World got to work. As people stormed White Star Line offices, and raided newspaper carts for any drop of news regarding the sinking, Moving Picture World provided the latest in Titanic news; or perhaps we should say “Titanic” news.
The headlines of the April 27th issue may have screamed TITANIC, but as the public grabbed their copy and hurriedly flipped through the pages, they found that what they were actually given was ads. Those eye grabbing headlines were followed by much smaller print-
TITANIC EFFORTS... are being exerted by Champion to put before the exhibitors that will make them regular Champ Patrons! Get the following latest [releases] and you’ll be convinced!.
UNSINKABLE … is the reputation of Rep productions, but these two releases will sink into the minds of everyone who sees them and will remain there as worthy object lessons.
THE CRY OF THE CHILDREN …suggested by the poem of Elizabeth Barret Browning in 2 reels this Tuesday!
THE GREATEST MOTION PICTURE OF NATIONAL INTEREST - THE SINKING OF…. the big battleship. Remember the Maine!
THE DEATH SHIP...a sensational two reel drama of the sea containing one of the most thrilling dynamite explosions imaginable!
For all the slimy marketing tricks, flipping through the pages still has plenty of legitimate ads for real Titanic newsreels, movies, and a specific type of presentation known a Myriorama involving painting, music, and recitation. But, show business would strike again - the ads were legitimate, but what they were advertising was not. History has sort of forgotten the huge demand for Titanic media in the wake of the sinking, something that didn’t really exist. When cinema owners would order these “only surviving genuine negatives of the disaster” complete with lobby display package, they instead received-

our astonishment to find the Lusitania and Olympic, and one or two scratch films of ancient days posing as pictures of Titanic.

But they didn’t stop. Animated Weekly advertised that they were “the first to reach the wreck… chartered a tug from Cape Breton and rushed to the scene while the survivors were still in the water”. Cinemas began to promote footage of the sinking. Audiences wrote their disgust to Moving Picture World-

These representations are to the point of criminality … Take, for instance, the picture showing the Titanic with about a sixth of her forward length stuck into the iceberg. Everybody knows the collision did not occur in that manner!

They pointed to the following ad as an example - FIRST PICTURES OF THE TITANIC OCEAN DISASTER. The cinema owners responded by noting that they had misread, crammed in tiny letters were the words “sunk in” so that ad actually read FIRST PICTURES OF THE TITANIC sunk in OCEAN DISASTER. It was the customer's fault, they said, to be stupid enough to think anyone could have actually filmed the sinking.
Once this ruse was discovered, the studios shifted gears. The next step was to advertise film along with presentations by “A Lecturer who was on board”. When the audience realized the lecturer was not on Titanic and demanded a refund - the response from the managers was

Those signs didn’t say he was a survivor.

… and any attempt to charge him with the crime of fraud was absurd because, in his own words-

Of course I didn’t give him his money back. The sign didn’t misrepresent anything. West was on the Titanic, the sign didn’t say when he was.

…which was true. The lecturer, Eugene West, had visited Titanic while she was under construction at Belfast.
As for the movies themselves?

We said we had pictures. If people were foolish enough to think we meant moving pictures, that was their fault.

This particular cheated audience member was told if he wanted his money back, to go on the street and sing for it. Whether it was this, or something else, eventually the public snapped and began hauling out cinema managers and beating them in the streets. By May, the mayors of Boston and Memphis had banned the showing of any Titanic pictures - moving or still- within the city.
But, where was Dorothy in all this? Tucked in the very back of the magazine, after another newsreel ad,, we get to the celebrity sighting and gossip section. Ed Lux of the Rex Film Exchange was in town, Dan Markowitz of Fox Pictures was as well, Arthur Schmidt of the Victor Film Company was seen having a lovely spa at a Turkish Bath, Sam Gobel of the St Louis Motion Picture Company has been walking up and down 42nd street, we don’t know if Southern film maker Henry Wasserman is still here but he might be, Dorothy Gibson survived the sinking of the Titanic, and the Director of Selig Pictures took some actresses to Santa Catalina for a swim and a photoshoot and they had a great time.
By the following edition, on May 2nd, Moving Picture World was also able to provide its readers with the first stills from “Saved from the Titanic” and a feature on Dorothy. Along with this, tucked in the editorials, the magazine finally published a piece of truthful news about the Titanic disaster-

Senator William Alden Smith … declined to grant permission to have the cinematopgraph make a record of the sessions of the committee. “The sessions” he is quoted as saying…”are solemn affairs and must not be hippodromed or commercialized”. He is, however, falling into a serious error in judgement-

…they sniffed.

As a matter of right, the camera man ought to have been permitted. The day of the enfranchisement of the motion picture will surely come .. which will give equal rights to the cinematographer and the newspaper man.

Then, among the illegal false advertising and reports of public brawls at the cinema, they ended with-

The lesson of the Titanic disaster and all its incidents can be made far more impressive by pictures that move than by mere words in cold letters.

In this edition of “Odd Titanica”, we are going to dive into the sleazy, opportunistic world of show business. A world that comedian Fred Allen said of, “you can take all the sincerity in Hollywood, place it in the navel of a fruit fly, and still have room for three caraway seeds and a producer’s heart”. Hyperbolic? Let’s take a look at Hollywood’s response to the Titanic disaster to see that there really is no business like show business.
Dorothy Gibson and the lost, first, film are well worn trivia by now. The traumatized actress rushed into production, her inability to process her trauma causing her mental breakdown, collapse, and retirement from acting immediately after the film was finished - it’s a perfect story to demonstrate the callousness of the film industry. But there is more to the story, and digging deeper shows us that “Saved” may have been the least sleazy project undertaken by the studios.
Dorothy’s account of the sinking and the suffering she endured filming “Saved from the Titanic” are predominantly found in two sources - The New York Dramatic Mirror and Moving Picture World. These were trade magazines, published weekly, and consisting solely of material related to the stage and screen business. These would be announcements of upcoming features, casting news, celebrity gossip, technical news - anything the movie star to the man sweeping the floor at the cinema needed to know. And they included ads … lots and lots of ads.
Immediately realizing that Titanic was not only a horrible tragedy but an incredible business opportunity, Moving Picture World got to work. As people stormed White Star Line offices, and raided newspaper carts for any drop of news regarding the sinking, Moving Picture World provided the latest in Titanic news; or perhaps we should say “Titanic” news.
The headlines of the April 27th issue may have screamed TITANIC, but as the public grabbed their copy and hurriedly flipped through the pages, they found that what they were actually given was ads. Those eye grabbing headlines were followed by much smaller print-
TITANIC EFFORTS are being exerted by Champion to put before the exhibitors that will make them regular Champ Patrons! Get the following latest [releases] and you’ll be convinced!.
UNSINKABLE … is the reputation of Rep productions, but these two releases will sink into the minds of everyone who sees them and will remain there as worthy object lessons.
THE CRY OF THE CHILDREN …suggested by the poem of Elizabeth Barret Browning in 2 reels this Tuesday!
** THE GREATEST MOTION PICTURE OF NATIONAL INTEREST - THE SINKING OF**…. the big battleship. Remember the Maine!
THE DEATH SHIP...a sensational two reel drama of the sea containing one of the most thrilling dynamite explosions imaginable!
For all the slimy marketing tricks, flipping through the pages still has plenty of legitimate ads for real Titanic newsreels, movies, and a specific type of presentation known a Myriorama involving painting, music, and recitation. But, show business would strike again - the ads were legitimate, but what they were advertising was not.
History has sort of forgotten the huge demand for Titanic media in the wake of the sinking, something that didn’t really exist. When cinema owners would order these “only surviving genuine negatives of the disaster” complete with lobby display package, they instead received-

our astonishment to find the Lusitania and Olympic, and one or two scratch films of ancient days posing as pictures of Titanic.

But they didn’t stop. Animated Weekly advertised that they were “the first to reach the wreck… chartered a tug from Cape Breton and rushed to the scene while the survivors were still in the water”. Cinemas began to promote footage of the sinking. Audiences wrote their disgust to Moving Picture World-

These representations are to the point of criminality … Take, for instance, the picture showing the Titanic with about a sixth of her forward length stuck into the iceberg. Everybody knows the collision did not occur in that manner!

They pointed to the following ad as an example - FIRST PICTURES OF THE TITANIC OCEAN DISASTER. The cinema owners responded by noting that they had misread, crammed in tiny letters were the words “sunk in” so that ad actually read FIRST PICTURES OF THE TITANIC sunk in OCEAN DISASTER. It was the customers fault, they said, to be stupid enough to think anyone could have actually filmed the sinking.
Once this ruse was discovered, the studios shifted gears. The next step was to advertise film along with presentations by “A Lecturer who was on board”. When the audience realized the lecturer was not on Titanic and demanded a refund - the response from the managers was

Those signs didn’t say he was a survivor.

… and any attempt to charge him with the crime of fraud was absurd because, in his own words-

Of course I didn’t give him his money back. The sign didn’t misrepresent anything. West was on the Titanic, the sign didn’t say when he was.

…which was true. The lecturer, Eugene West, had visited Titanic while she was under construction at Belfast.
As for the movies themselves?

We said we had pictures. If people were foolish enough to think we meant moving pictures, that was their fault.

This particular cheated audience member was told if he wanted his money back, to go on the street and sing for it. Whether it was this, or something else, eventually the public snapped and began hauling out cinema managers and beating them in the streets. By May, the mayors of Boston and Memphis had banned the showing of any Titanic pictures - moving or still- within the city.
But, where was Dorothy in all this? Tucked in the very back of the magazine, after another newsreel ad,, we get to the celebrity sighting and gossip section. Ed Lux of the Rex Film Exchange was in town, Dan Markowitz of Fox Pictures was as well, Arthur Schmidt of the Victor Film Company was seen having a lovely spa at a Turkish Bath, Sam Gobel of the St Louis Motion Picture Company has been walking up and down 42nd street, we don’t know if Southern film maker Henry Wasserman is still here but he might be, Dorothy Gibson survived the sinking of the Titanic, and the Director of Selig Pictures took some actresses to Santa Catalina for a swim and a photoshoot and they had a great time.
By the following edition, on May 2nd, Moving Picture World was also able to provide its readers with the first stills from “Saved from the Titanic” and a feature on Dorothy. Along with this, tucked in the editorials, the magazine finally published a piece of truthful news about the Titanic disaster-

Senator William Alden Smith … declined to grant permission to have the cinematopgraph make a record of the sessions of the committee. “The sessions” he is quoted as saying…”are solemn affairs and must not be hippodromed or commercialized”. He is, however, falling into a serious error in judgement-

…they sniffed.

As a matter of right, the camera man ought to have been permitted. The day of the enfranchisement of the motion picture will surely come .. which will give equal rights to the cinematographer and the newspaper man.

Then, among the illegal false advertising and reports of public brawls at the cinema, they ended with-

The lesson of the Titanic disaster and all its incidents can be made far more impressive by pictures that move than by mere words in cold letters.