“It doesn’t matter if you’re right or wrong. It doesn’t matter if you rap or sing a song. I’m Liam Neeson. I’m from the streets. I’m going to tell you something. You need to hear it. Pay attention… OR YOU’LL REGRET IT.”—Dan Harmon rapping as Liam Neeson
when male writers create “strong female characters” that show hints of feminism without ever calling it feminism.
when said strong female characters go ahead and slut shame and spray hate all over other women.
I’m still waiting to hear what happens when these crimes are committed by a TV show you’re watching.
I suppose when these transgressions occur, you eventually rise up above the all-consuming horde and …
….post an animated GIF. Of a person on a different TV show rolling their eyes.
It’s a bummer to me that I can broadcast 30 minutes of content through a gauntlet of state and corporate-imposed boundaries and still somehow manage to enrage a real person.
It’s a bummer to me that a real person, without restriction, with nobody policing what they say or how they say it, can sit down to make their voice known, and end up…posting a complaint about a sitcom. A sitcom on a network that predates our grandparents, from a company that makes stereos, games and phones.
Everything’s a bummer to me, but I try to focus on what makes me happy and what I’m able to control. Now imagine a GIF of me shitting on your face and tell your parents I said “you’re welcome.”
We wanted to take a minute to “officially” announce our schedule for the upcoming Harmontown movie premiere at SXSW in Austin, Texas, as well as announce an exciting giveaway for fans. Here are the key details:
Harmontown will be recording a podcast at the Liberty Tavern (@LibertyTavernTx), which is in the Hilton at 500 East 4th Street, Austin. The show begins at 5:00PM, but seating is limited and will be on a first-come, first-serve basis. The doors open at 3:00PM. Please note that this is a change in venues; if you’ve already purchased tickets for the previous venue, please contact us (@Harmontown or @StarburnsInd) so we can work out the details.
The premiere screening of the film will be held at the Vimeo Theater in the Austin Convention Center (across the street from the Liberty Tavern) at 9:30PM. Tickets are required for this event.
VIP PACKAGE GIVEAWAY!
Beginning today, and through 12:00AM EST on March 5th, we’re giving away VIP prize packages through Rafflecopter for anyone who will already be in Austin for SXSW. The grand prize is a Platinum VIP package that includes reserved seating at the podcast, a pair of tickets to the screening of the movie, and a pair of passes to the VIP Premiere Party, which is an invitation-only event.
We’re also giving away five ADDITIONAL pairs of tickets to the screening, and access to the after-party. Entering to win is easy…click here to enter.
While in Austin, be sure to use Uber (@Uber) to get around town. In addition to their amazing service, we’re coordinating a few more premiere giveaways with them. Check your Uber app in Austin for details.
Thanks, and we’ll see you in Austin!
WHY ARE FLIGHTS TO TEXAS SO EXPENSIVE?!
excuse me while i go curl up in a ball and weep because i cant go to this
Want to be a part of the Harmontown movie? Want free stuff? We’re looking for fans in Austin, TX to distribute t-shirts and fliers at SXSW during the weekend of March 7-9. Each participant will receive a Limited Edition SXSW Harmontown T-shirt.
I've recently studied your story circle and by extension Joseph Campbell's Monomyth. I found it interesting that your story circle seems to incorporate Campbell's steps perfectly until you hit steps 6 (Take) and 7 (Return). Based on your Channel 101 tutorials, you state that step 7 includes both Campbell's "Rescue from Without" and "the Magic Flight" and occur after the return threshold. This seems out of sync with Campbell's stages, which occur before the return threshold. Thoughts?
By my interpretation, which could be flawed, I didn’t think Campbell was implying that every story includes a “magic flight” and a “rescue from without” followed by a crossing of the return threshold. I think he was suggesting that stories, in general, follow a path of descent and return, and that along that circular path, which [when complete] includes a return, the phenomena we see recurring from culture to culture include heroes being chased, being whisked away, etc. I assume he described those phenomena before describing the return threshold in depth because the return threshold is the more fundamental concept. As if to say, “be it by magic flight, which we see in these examples, or rescue from without, which we see in these examples, one way or another, the hero tends to return, so let’s discuss the examples and significance of returning.” I’m sure I was only trying to make the same point in my tutorials and if I confused you at all I’m sorry.
Campbell talked often about the futility of what he characterized as opacity in mythology. To brutally paraphrase him, a functioning religion (or story) is a window to something invisible, something all around us that we fail to “see” before a crafted frame says “look here.” It’s one thing to stain a window’s glass, to help us experience light, but when we paint the glass solid, by standing too much on ceremony, or by interpreting myth too literally, our story or religion will separate us from the unknown and each other rather than connecting us.
The ironic thing, or I guess the least ironic thing ever, is that Campbell’s wisdom makes a pretty great window, and his step-by-step analysis of mythology has come to be used as a “how to write” handbook or a “what all stories have to be” doctrine. But he never intended that, and he certainly wouldn’t have wanted some fat drunk college dropout boiling his monomyth down to a paint by numbers kit on the internet. The people that created and passed down our timeless stories didn’t do that. They followed their instincts, their fears and desires. They opened their flawed souls and let their gods shine through them. In the modern world, where writing is a recourse to revenue, we are pressured to short-cut the shamanism, like an aspirin company synthesizing tree bark. We attempt to bottle and sell simulated stories and religions, myths that may or may not be connections to the unknown but first and foremost make their deadlines and get our readers or viewers through the day. This is not a bad thing, I’d rather live in a world where a story can make me a provider for my family than a world where I’m just the slowest dishwasher.
But in these moments when we’re blocked, or in the moments we are staring at a board full of diagrams, moving characters and motivations around like chess pieces, trying to “solve” a story as if it were math homework, paralyzed by the academia, it helps to remember that any act of creation, whether folding a paper airplane, baking a cake or writing an episode of SVU, is, by definition, a religious act and a subversive one. We reach out with ape-like hands and filthy minds and we mock and challenge all that came before us by making something be there that was not there. We change the history of the world, we change who we are and we change everything that touches what we make, so we may as well also always change the rules by which we make them.
by now you’ve probably realized I’m not really just answering your question but am using it to deal with insomnia. But to try to bring this around to you, now that you’ve studied Campbell, you’ve got what’s important about it. Heroes go Somewhere Else and Heroes Come Back Different. Everything else is yours to interpret.