My Top Ten Episodes of 2002-2003

Here are my top ten episodes of the 2002-2003 season, listed in no particular order.  This was one of the tougher lists to put together because I wasn't watching a lot of television at this point in time, and there are some pretty noticeable omissions.  I'll get to "The Shield" one of these days.

The Sopranos, "Whitecaps" - This is my favorite "Sopranos" episode.  Tony and Carmella seem to be in such a good place at the start of this episode, making plans about the future and enjoying the Jersey Shore.  Then the cracks appear, the revelations come, and then decades of marital tensions explode in absolutely spectacular fashion.  James Gandolfini and Edie Falco go to war, and it's a work of art.

The Wire, "Old Cases" - Lots of good choices from this season but I'm picking "Old Cases" because it contains the crime scene investigation sequence where the only spoken dialogue is repeated invocations of the F-word.  It was what really got me to sit up and pay attention to what "The Wire" was doing.  This is also the episode where several members of the unit attempt to move a desk in the worst way possible.

Firefly, "War Stories" - It was a pretty close one between this and "Our Mrs. Reynolds," but "War Stories" remains my favorite "Firefly" episode.  It has backstory, tons of memorable banter, a solid villain, some pyrotechnics, and most importantly it puts Wash and Zoe front and center for once.  These two make up one of my favorite couples in science-fiction, and we don't get nearly enough time with them.  

Futurama, "Jurassic Bark" - "Futurama" started out as a workplace comedy, but quickly started telling other genre stories that took advantage of its unique status as an animated series for grown-ups.  It managed to create some uniquely human heartbreakers set in its oddball science-fiction sitcom universe, like the eons-spanning story of Seymour, one of the best boy-and-his-dog tales in any medium.

The Venture Bros. - The Terrible Secret of Turtle Bay - It's the pilot episode.  There are some differences here from the series proper - get a load of the early designs of The Monarch and Dr. Girlfriend - but the bones of the show are here already, and looking very sturdy.  The DNA of "Jonny Quest" is much more apparent, and the animation is a little rough, but the characters and the humor are very solid.  

West Wing, "20 Hours in America" - I'm going to count the whole two-parter for this entry, because it works better that way.  It's nice to get the characters out of the office, and in the fourth season premiere, Donna, Josh, and Toby end up stranded in the American heartland.  The writing is great, with some monologues and one-liners that are all-timers.  And is that Ron Silver?  And Amy Adams?!

Haibane Renmei, "Cocoon — Dream of Falling from the Sky — Old Home" - This is the introductory episode to one of the most thoughtful, heartfelt fantasy shows I've ever seen.  A girl awakens in an unfamiliar town, with no memory of her past life.  She soon grows a pair of small wings, and then gets a halo too.  It might be purgatory, or maybe a second chance, but to say more would be spoiling things. 

Malcolm in the Middle, "Family Reunion" - I love it when the family bands together to use their powers of chaos in defense of each other, and the climactic golf cart rampage is so richly deserved here.  As much as I appreciate "Malcolm" for its subversiveness, I secretly enjoy the rare wins and moments of solidarity best.  Runner up from this season is the gender swap "what if" episode, "If Boys Were Girls."

Everybody Loves Raymond, "Baggage" - "Raymond" had its own famous suitcase episode, about an undone chore and petty disagreement blowing up until it becomes part of a multi-generational spite match and eventually biological warfare.  This episode has been much discussed by the show's creators over the years, one of these prime examples of how their real life domestic issues influence their writing.

Chapelle's Show, "PopCopy and Clayton Bigsby" - I still can't get over how fully formed the show's biting, wily, race-conscious, sensibility was from the very start.  The Clayton Bigsby segment was in the premiere!  Parts of the episode have not aged well, as is the case with most sketch comedy, but the barbs being aimed at MTV, corporatespeak, and the idiocy of bigots hits as hard as ever. 

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"Spider-Man: Brand New Day" With Spoilers

 Last warning for all the spoilers.

In other circumstances I would be a little annoyed that this was essentially a backdoor pilot to the new reboot of "The X-men," but how can I be mad when the execution was this good?  Easily the character that I was the most impressed  by in "Brand New Day" was Jean Grey.  I've never come across any version of this character that I've liked before, because she's so rarely allowed to exist on her own terms.  Even when she's Phoenix, she's more MacGuffin  than active protagonist.  Her being introduced in the MCU as a secret villain is great, because her powers have some interesting implications to explore, and nobody would ever expect it of this character.  And Sadie Sink is perfect casting, instantly giving Jean a whole lot of personality and passion that makes her a great match in energy for Tom Holland.

All the choices of MCU crossover characters were very good, subtly giving Peter potential role models to compare and contrast himself against.  He could suppress his powers and risk danger when they get out of hand, like Bruce Banner.  He could do the lone wolf routine and stay alone and miserable the way that the Punisher/Frank Castle (Jon Bernthal) does.  He could let trauma and revenge consume him and turn him into a villain, the way that it nearly does to Jean in this movie.   Of course Yelena's just there to remind us that there's a new "Avengers" film around the corner, but I'm never going to say no to more Florence Pugh.  The filmmakers were able to have Spider-man exist in a universe full of other superheroes and still have it feel fairly grounded, because all of those other superheroes are actually here for a reason.

Peter is supposed to be living a solitary life in this movie, but it just means that he's having different interactions than we've seen previously.  The banter with the Punisher is a lot of fun, and their friendship turns out to be more important than it appears at first glance.  All is forgiven for making me sit through that terrible Disney+ "Punisher: One Last Kill" special.  I really like Liza Colon-Zayas serving as Spidey's liaison with the police and regular source of motherly advice.  By the time we get to those important conversations with MJ and Aunt May, it's clear that Peter might be struggling to reconnect and reconcile with parts of his past, but he's fundamentally the selfless hero we all know and love anyway.  The interactions with Tramell Tillman and Damage Control emphasize that he's still that naive do-gooder from "Homecoming" in a lot of ways.  It would be a shame to lose Zendaya and Jacob Batalon, so I'm glad that they left the door open for more Ned and MJ, but this would be a perfectly acceptable exit for both of them too.

Peter having trouble with his powers is a common Spider-man storyline, but I liked all the thematic stuff they did with it, and it was clever to tie it into the upcoming superhuman/mutant stories that we know are coming up soon with the X-men.  What's important, however, is that while Jean Grey had a great introduction in this movie, the movie was always still about Peter.  That's the major mistake that the last Ant-man movie made, which ended up being  a movie mostly about Kang the Conqueror.  "Brand New Day" was so good at being a Spider-man movie.  Spidey and Punisher teamed up to fight the Hulk!  Spidey fought a tank!  And had a very nice showdown with the Hand!  And the mutant spider DNA leveled him up with some new and improved powers!  Jean Grey's telepathy jumping from person to person is also so cool to see in action, and really made great use of the cast.  Jon Bernthal mimicking Sadie Sink's mannerisms is priceless.  

So, all in all I'm very happy with how the MCU is handling Spider-man, and look forward to whatever they have in store next for the character.  This is pretty much their last tentpole superhero left who is an unqualified box office success, so I know we'll be getting plenty more of him.  

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"Spider-Man: Brand New Day" Without Spoilers

This is the spoiler-free review.  The discussion with spoilers will be posted in a few days.

It's strange, considering how long Tom Holland has been playing Spider-man, but this feels like this is his first proper Spidey outing.  The switch in directors from Jon Watts to Destin Daniel Cretton is definitely an upgrade, especially the more grounded visuals and intense action sequences.  There's also the environmental shift, from the prior trilogy's chintzier aesthetics to a New York City that feels more like the actual city, with ordinary people everywhere that Peter Parker regularly interacts with.  Paradoxically, this is a very interconnected MCU movie where I can tell characters and concepts are being set up for future installments.  However, it's all done so well that I doubt anyone will complain.

It's been several years since "Spider-man: No Way Home" and the memory of Peter Parker was erased from the minds of everyone who knew him.  Spider-man is now a well-known and much beloved New York superhero, but Peter lives a lonely, solitary life avoiding human connection.  However, when Peter learns that MJ and Ned have moved back to the city after college, he is forced to contend with a lot of inner turmoil and unresolved feelings that manifest in some unexpected ways.  At the same time, he has to face off against a formidable new mystery villain, who can mentally take over innocent people and puppet them to commit crimes.  Several familiar MCU faces make appearances in this film, and their parts are not small.  Also, newcomers Sadie Sink, Tramell Tillman, and Liza Colon-Zayas appear in roles that I will not spoil until the next post.

I was a little disappointed at first that "Brand New Day" dispensed with so many parts of the original Spider-man story - no Daily Bugle, no J. Jonah Jameson, and not a camera in sight - but I quickly realized that the movie is doing this on purpose.  Cretton and writers Chris McKenna and Eric Sommers are reducing Spider-man to the absolute basics, removing all of his familiar relationships, signifiers, and safety nets.  This allows them to zero in on Peter going through a rough transitional time in his life that many young adults face.  And in the 2020s, what's a more relatable problem for Peter to have than loneliness?  I so appreciate that everything looks like it's going great for Spidey on the surface - the cops and the public love him - but underneath he's as sad and miserable as any of his predecessors have been.  Peter faces a very internal problem that takes a while to dig into, and I don't think it's a coincidence that the recent MCU film that "Brand New Day"  reminds me the most of is "Thunderbolts,*" which also had a big mental health component.

The action in "Brand New Day" is better than "Thunderbolts,*" however.  I don't think I realized how pedestrian some of Tom Holland's previous MCU Spider-man outings looked before now.  Visually, this is a big step up, getting Spider-man swinging from proper New York skyscrapers again, and engaging with more street-level crime.  I know that there's plenty of CGI being used, but due to the nature of the big bad many of Spider-man's foes this time out are regular people in fairly ordinary environments.  When the more fanciful comic book battles do ensue, however, they do not fail to impress.  There are some very entertaining clashes in this film that should make longtime comic book fans very happy. 

It shouldn't be overlooked that the performances remain strong - Tom Holland, Zendaya, and Jacob Batalon have always been very solid in their roles, and continue to generate plenty of screen chemistry together.  The prospect of new Spider-man films was a little iffy after the previous trilogy finished, but I can easily see more adventures with the Tom Holland Spider-man following this one.  The more grounded, more grown-up direction for the characters is exactly what the franchise needed.

The spoiler post will be up in a few days.

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Minding "Mr. Mercedes"

"Mr. Mercedes," a mystery thriller show originally created for Direct TV's Audience Network, is based on a series of Stephen King novels.  I know that the subsequent seasons get into more typical Stephen King territory, but the first season is a pretty grounded crime story, about a detective and a killer.  This is one of the few cases where I actually read the book, Mr. Mercedes, before watching the adaptation, so I had a lot of fun seeing how various elements were translated to the screen.  Brendan Gleeson plays Bill Hodges, a retired detective haunted by an unsolved mass killing, where a masked man drove a stolen Mercedes into a crowd of people.  Harry Treadaway plays the killer, dubbed "Mr. Mercedes."  He's really a young man named Brady Hartsfield, who works in retail hell at a local electronics store, and drives the local ice cream truck in Hodges' neighborhood, with no one the wiser.  The story of the renewed investigation into the Mr. Mercedes case is told from both of their POVs.

This is one of the better adaptations of Stephen King that I've seen, in part because the material is well suited to the series treatment, and in part because the writing is very strong.  David E. Kelley developed the series, and he and crime writer Dennis Lehane scripted most of the episodes.  They do an excellent job of fleshing out the smaller characters and more incidental relationships around our main characters.  Brady in particular feels more like a product of his unhappy circumstances, living an isolated life with an alcoholic mother, Deborah (Kelly Lynch), and constantly being, picked at by a micromanaging boss, Frobisher (Robert Stanton).  Brady's co-worker Lou (Breeda Wool), an endearingly sarcastic lesbian, is a scene-stealer.  Meanwhile, Hodges gets a very forward next door neighbor, Ida (Holland Taylor) to interact with before he collects the usual band of helpful oddball allies, including the teenager he hires to do yard work, Jerome Robinson (Jharrel Jerome), and a neurodivergent relative of one of the victims, Holly Gibney (Justine Lupe), who are both very good with electronics.  Bill's former partner Dixon (Scott Lawrence) and Holly's cousin Janey (Mary Louise Parker) also get involved.

The cast is excellent.  Brendan Gleeson makes no attempt to adjust his Irish accent, despite playing a detective who has been based in Ohio for decades, but he's marvellous at conveying Bill's middle-aged weariness and stubborn determination to see the case through to the end.  The opening sequence is a wonderful mood-setter, showing Bill going about his mundane morning routine, while T Bone Burnett croons reassuringly that "It's not too late."  I don't remember seeing much previously from Harry Treadaway, another UK actor, but he balances just the right amounts of unsettling creepiness and muted charisma.  It helps that Brady is not as repugnant as he was in the King novel, prone to occasionally picturing the horrible murder of his annoying boss, but eschewing the casual racism and sexism that made his sections of the narrative a very unpleasant read.  Finally, I want to give some recognition to Justine Lupe, who is playing Holly Gibney, a role that is such a polar opposite to her character on "Nobody Wants This," that I never would have recognized her.   

I plan to watch the other two seasons of "Mr. Mercedes" without waiting to get ahold of the corresponding books.  I expect that it'll probably be all downhill from here, but I like this cast of characters very much and I like that the universe that has been constructed for them is a bit more interesting than what the source material offered.  Stephen King fans will certainly enjoy the show - "Mr. Mercedes" goes to some very dark and twisted places for detective fiction - but it's more accessible for non-horror fans, and forgoes a lot of the usual associated genre trappings.  Well, at least in the first season.  I expect that we'll have to dig into that further in the next "Mr. Mercedes"  post.  

  

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"Stop! That! Train!" and "Leviticus"

 Here are two very different LGBT films from earlier in the year that you might have missed.

First, I want to highlight the very low budget comedy, "Stop! That! Train!"  It's essentially "Airplane" on a train, starring alumni of "RuPaul's Drag Race," with RuPaul Charles in the prominent role of President Judy Gagwell.  Our heroes are Tess (Ginger Minj) and  DeeDee (Jujubee), best friends and stewardesses employed by the lowly Stank Rail, who manage to sneak their way on to the fabulous Glamazonian Express.  Alas, they have to contend with the bitchy Glamazonian stewardesses, Amber (Brooke Lynn Hytes), Alli (Marcia Marcia Marcia), Ayshleiygh (Symone), train cars full of dramatic celebrities, and the impending doom of a massive "Stormaganza" headed their way.

Directed by Adam Shankman, this movie is a very shoestring affair, reportedly shot in only nineteen days with minimal sets.  Some of the exterior shots of the train and the storm were AI generated, which is unfortunate, but also weirdly fitting for a film where the schlockiness of the visuals is a vital component of the campy, low budget aesthetics.  This feels like a cross between the old "Naked Gun" parody movies, a Youtube fan film, and a "Drag Race" compilation special, and I mean that in a good way.  I admire the ambition on display here, where choreographed musical (Rusical?) numbers, ridiculous sight gags, and cameos galore are all crammed together for 90 minutes of silliness.   

Whether you enjoy the film or not will depend on your enjoyment of drag and spoof humor, and it turns out that "Stop! That! Train!" hits pretty dead on for me.  I'm missing a lot of the more recent references, and don't recognize most of the famous faces, but this is the kind of film where Rachel Bloom and Charo show up, just because, and someone shouts "Give it to me gay!" and then has to specify "Boy gay!"  Because of the gender politics involved, the humor is also extremely mild, even tamer than the content of "The Birdcage," which is thirty years old at this point.  This means it comes off as a toothless throwback at times, but also means it's very accessible to newcomers.  I appreciate this, as I have not been keeping up with "Drag Race."  But maybe I should.

On to "Leviticus," an Australian horror film written and directed by Adrian Chiarella.  This is an allegorical horror film about sexual identity and social ostracism with a lot of interesting little nuances.  A teenage boy named Naim (Joe Bird) and his overprotective mother Arlene (Mia Wasikowska) move to a remote town where some kids are being stalked and attacked by a supernatural force.  One of the victims is a boy named Hunter (Jeremy Blewitt), whose parents put him through some kind of ritual because of his attraction to another boy, Ryan (Stacy Clausen).  As Naim and Ryan grow closer, they become the newest targets of the entity, which seems to become more violent and malevolent as their feelings grow.

 

I've seen a lot of comparisons between "Leviticus" and "It Follows," because of the mechanics of how the supernatural attacks happen.  However, the supernatural threats are a manifestation of the more concrete dangers that come with being LGBT in a hostile environment.  Naim and Ryan being together sparks opposition from those closest to them, even those who you'd expect to be sympathetic to their plight.  There's no reasoning with these well-meaning adversaries and no way to undo the persecution, leaving the boys with few options if they want to survive.  I appreciate that we never get much information as to the specifics of how the supernatural elements work, and the audience has to infer a lot about the adults' motives.  

I also like the portrayal of Naim, Ryan, and Hunter's relationships being very un-Hollywood in the way they develop.  It's clear that none of them really know what they're doing, and their attempts at affection usually involve a great deal of chaotic roughhousing before anything amorous happens.  The depiction of the religious community around them is also fairly restrained.  There are cult-like practices, but nothing so extreme as to be unbelievable.  The harms unleashed on the boys come with a considerable degree of deniability, which make them all the more insidious.  

Like "Stop! That! Train!" "Leviticus" is a small movie, one that doesn't offer anything exceptional in the way of horrific thrills or standout performances, but for its target audience it'll surely resonate.    

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The First Five of "President Curtis"

The "Rick and Morty" spinoff impressed me enough that I want to give it a quick review here.  President Andre Curtis (Keith David) previously appeared in several "Rick and Morty" episodes as a badass, but emotionally immature Commander in Chief, who wasn't afraid to get his hands dirty repelling supernatural and alien invaders.  Frankly, I never took much notice of the character and it wasn't immediately apparent to me why Adult Swim and Dan Harmon would want a new show built around this guy.  However, I can see the logic.  The "Rick and Morty" team had a successful show based on the family sitcom formula.  A workplace comedy was a natural follow-up, and what could be a better workplace in a crazy science-fiction universe for sitcom hijinks than the White House?

As you might expect, the Curtis administration is always in the middle of some kind of crisis.  The President is assisted by a cyborg Chief of Staff, Rho Banks (Stephanie Beatriz), and his regular Secret Service guy, Special Agent O'Doyle (Jim Rash) who is half leprechaun.  Some episodes follow President Curtis on typical presidential outings, like to Camp David, or attending the inauguration of his ex-wife Beverly (Kelsey Scott), who is the Governor of Illinois.  Some episodes involve trips to the secret maximum security prison for supernatural prisoners located in the Bermuda Triangle, or fighting vampires over the receipt for the Louisiana Purchase.  I appreciate that the main characters are pretty recognizable types, but not the ones you'd expect at first glance.  

Curtis began as an Obama stand-in, but one with considerably less ability to keep his temper.  In his own series, he's incredibly competent, but also has a bit of a Gen-X dad-trying-to-be-cool vibe, and is often blinded by his own massive hubris.  His Chief of Staff is a super-smart techie, who is new to the job and eager to prove herself.  Agent O'Doyle has a massive chip on his shoulder about his background, but fortunately has the chance to vent his rage regularly through extreme violence.  The three of them have decent banter together, but it's the early days yet, so there hasn't been much of an opportunity to explore any of them in depth.  I look forward to meeting O'Doyle's notorious mother one of these days.  The humor is very Dan Harmon, replete with grandiose premises, absurd logic, and pop culture references - a sort-of reformed Candyman shows up in the inauguration episode, for what I hope won't just be for a one-off appearance.          

What's nice about the show is that it hits the ground running from the pilot.  There's a confidence to the writing, animation, and performances that is very evident, and it feels like I've been watching "President Curtis" for years.  So far, the individual episode plots have all been solid genre stories, slowly expanding the universe and the regular cast of characters.  However, what I've really enjoyed are all the little things that the showrunners have done to make the series distinctive from "Rick and Morty."  The theme music is a chintzy '80s throwback instrumental similar to the "Cheers" and "Taxi" themes.  Each episode closes with Curtis in the shower, singing a recap of the episode's events, and giving Keith David an excuse to exercise his pipes.  There's also usually a quick after-credits gag to wrap up any lingering loose ends. 

    

So far, the best episode is the Bermuda Triangle one, which is a classic prison escape story that could have easily worked as a "Rick and Morty" episode.  There's a lot of meta-humor about how monsters are dealt with in this universe, and the whole plot hinges on an extended  "Monsters Inc." reference. However, it also gives each of the main characters a chance to show off their skills in the course of all the carnage, and have some good interactions.  "President Curtis" doesn't hit the same chords as its predecessor, having none of the emotional or nihilistic underpinnings of that series to work with, but I don't think it needs to.  It's a different kind of show, and I'm interested in seeing what it's going to evolve into, if it gets the chance.  

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About the Animatics

A new type of fanwork has emerged over the past decade.  My haphazard research is far from comprehensive, but around 2017 we started seeing a lot of fan-made animatics being shared online through video platforms like Youtube, usually for popular musicals like "Hamilton" and "Six," but also for comedy sketches, podcasts, audiobooks, and other audio-centric media.  Animatics are essentially storyboards synced up to match the audio, so they play like extremely rough fan-made animated shorts.  In filmmaking they're used to test out timing and editing choices, before committing to a final version of a sequence.  However, in certain fan communities they've become beloved pieces of media in and of themselves.  

I've regularly stumbled across animatics online before, usually BTS material or examples created for artist portfolios.  And then last year I found some reaction videos for animatics for "Epic: The Musical," Jorge Rivera-Herrans' lengthy, independently produced, sung-through adaptation of Homer's "The Odyssey."  The full project was released over several years, and consists of forty songs, running two and a half hours altogether, and became popular through TikTok starting in 2021.  Starting in early 2023 fan artists started posting animatics for it, and those racked up millions and millions of views on Youtube and other platforms over the next few years.  The creators for the most popular ones have garnered their own fans as a result.  There are now animatics for the entirety of "Epic" musical and additional songs that didn't make the cut.  If you watch them together it plays more or less like a single movie.  And it's one of the better fan-film projects I've ever seen.  A few months ago, it was announced that an animated film version of "Epic: the Musical" was in the works, and Rivera-Herrans is busy on another musical adapting "The Iliad."

Then there are the "Project Hail Mary" animatics.  I've found several set to clips of the audiobook, but many popular ones don't bother with narration or even music.  These illustrate additional scenes the fans wanted to see, like Ryland Grace meeting Rocky's unseen mate Adrian, or music video style tributes, or one-off gags.  Some seem to be extensions of fan comics and fanfiction.  Others exist solely as animatics.  Most are only a few seconds long, but there are dozens of these online, and the bulk of them were created within the few months since the "Project Hail Mary" film was released.  Some are extremely impressive visually, made by artists studying filmmaking and animation, while others amount to collections of notebook doodles.  However, they all  represent significant amounts of time and creativity being wielded by very enthusiastic people who want to share their love of "Project Hail Mary."

So, why is this happening now?  Why this sudden wellspring of amateur storyboarders and editors carving out a place in fandom for animatics?  I can think of a couple of contributing factors.  This is all conjecture of course.  First, it's easier to learn how to create comics and amateur animation than ever before, with free software and tutorials available everywhere.  Indie animation is experiencing a boom again, largely driven by web-based projects.  Second, animatics creation has become a more well-known activity as artists regularly share their portfolios and reels on social media for self-promotion.  They're far less labor intensive than full animation, but still provide chances to show character design, editing, and storytelling skills.  Also, you don't really need much artistic talent to do the most basic forms of it.  Witness Matt Johnson and Jay McCarrol's hilarious pre-production animatics for their feature film, "Blackberry," based on McCarrol's Post-it note sketches.   

We also have to consider how these videos are being shared.  Remember that I first stumbled across this phenomenon through reaction videos for "Epic: the Musical" animatics - a genre of online content notorious for being susceptible to copyright takedowns.  The creators of "Epic" are very friendly toward fanwork and have benefitted from their popularity, but other creators are much more protective of their IP.  Fanmade videos using official footage or artworks are more likely to run into trouble, so using original artwork reduces the risk of being targeted.  It doesn't mean that animatics don't still get challenged and taken down all the time, however, especially when using licensed music.  What happens to all of the animatics when the official "Epic: the Musical" movie is released, is anyone's guess, but Kane Parsons recently went to bat for the "Backrooms" fan community, so there's no reason to feel pessimistic. 

In any case, I expect that fan animatics are here to stay.  I recently discovered that the "Epic: the Musical" is popular with the elementary school set, because the animatics are so accessible on Youtube and other platforms.  I suspect that they might have also quietly contributed to the hype for this year's "The Odyssey" movie - the live action one - because more viewers are now familiar with the story through the musical.  There are several other fandoms where animatics have become more and more prevalent, especially in the gaming and musical spaces.  This trend feels like it's only getting started, and who knows what project is going to blow up next?

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