Category Archives: casting diversity

New “DuoSkin”, artificial epidermic for temporary tattoos, can server as smartphone interface, maybe fodder for sci-fi rituals

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There’s a bizarre new technology, “DuoSkin”, which can be “pasted” onto human skin, and then be used as a smart phone interface, even as a trackball.  It can even glow.

So people will use it as a temporary tattoo, decoratively.  Most of the videos about it show the users as women.  With Caucasian men, other than bikers and swimmers, care would need to be exercised in placing it.

I can imagine adding a ritual to my screenplay “Do Ask, Do Tell: Ephiphany” near the end, where one of the “angel candidate” characters has the skin applied as part of a ritual, to be “survived”.

Microsoft is supporting this product with research; not sure how they find willing subjects.

Here’s an article on the subject on Geekwire.

CNN has a more expansive story on the aesthetics of the technology here.

There are known issues as to whether wrist tattoos  (especially in some men) interfere with “smart-watch” functions, but that’s a different issue.

Related posting earlier on Notes blog.

(Published: Tuesday, Aug. 16, 2016 at 10 AM EDT)

More on the idea of “character diversity”, particularly in love or intimate scenes, for my own fiction

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I wanted to add a note about any potential “casting diversity” or, for that matter, character diversity issues in my own manuscripts (last taken up in January 2016).

It’s true that many of my manuscripts (novels and screenplays) focus on “me” or my avatar as a central driving character, and that my tastes in what is “desirable” (Fort Eustis memories) drive the tension.

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In fact, there is a certain pattern in many of them.  A character like “Bill” meets a charismatic, larger-than-life and tall young white male hero (symbolizing “virtue”)  in the early chapters (rather like Ayn Rand’s fantasy for the young John Galt). Later, he loses his “individual contributor” job and has to face becoming more “sociable”.  He gets contacted to go to some sort of re-regimenting “re-education academy” in the country (in West Texas in a couple scripts, in West Virginia in another, and a simple “intentional community” in DADT III last story). He has to learn to do “real jobs”.  It sounds a little like Maoist re-education (the right and left come together at the other side of the Moon, you know).   At the “academy” he encounters the hero, and builds up to an intimate confrontation.  In the meantime, the outside world has an existential catharsis.

“Bill” is different but he’s not supposed to get off as a “member of a group”.  He has to learn to share the risks that others had to endure.  It’s seen through a moral lens.

But a couple of more recent manuscripts present the narrative primarily through a separate, heterosexually married white male character, with “Bill” inn his backstory, and with some gay interests.  In the novel, the character is a good family man whose marriage will be challenged by a gay college student, as well as “extraterrestrial” events (and a mystery virus to boot).  In another screenplay “Titanium” the protagonist is a white male journalist whose fiancé has been abducted (possibly by aliens) when she “went up”.  But the reporter has another girl friend, who is of opposite race, and helps the girl friend raise a child.  But I’m in the background. It get’s pretty complex.

I grew up in a world where most movies and entertainment catered to conventional white stereotypes of what is desirable from men and women.   People did not think about the idea that other kinds of people should be presented as “attractive” then as they often do today,

(Published: Friday, July 8, 2016 at 11:30 AM ET)  Related post today.

Regarding debating diversity at the Oscars: for my scripts, not all casting can work if race-blind

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There has been some “whining” about the supposed lack of racial diversity in Oscar nominations, as in this Washington Post Style article by Lonnae O’Neal, “Only role reversals will end all-white Oscars lists” — online, it’s “Maybe Hollywood’s not racist; it just has a processing disorder”.

Later MLK Day, in fact, Spike Lee (and maybe others) announced boycotting the Oscars under the “Oscars so White” (#Oscarsowhite) hashtag on twitter.

My own experience at the movies (and with television mini-series) is that I see plenty of black actors in favorable roles — especially as police detectives, politicians (especially presidents), athletes, and physicians.  No one would quarrel with Viola Davis’s effectivness as a  law professor in “How to Get Away with Murder“.  It would have been well to nominate Will Smith for his role in “Concussion“, no argument there. I recall Morgan Freeman’s role in David Fincher’s “Se7en” (1995) alongside Brad Pitt  (remember the “chest shaving” scene before they both wear a wire for the climax).  And, by the way remember the climax, “What’s in the box?” (maybe an inspiration for Richard Kelly’s “The Box”), with Kevin Spacey as the satanic villain.

There is a problem, however, in my own mind, with some scripts.  Suppose I get my novel “Angel’s Brother” published and it gets interest, or I get some traction for my “Do Ask, Do Tell: Epiphany” screenplay.

In both of these, it’s important that some of the leading characters be attractive young white males, for what I have presented as “gay sexual tension” (however stereotyped and potentially prejudicial) to work.  I wonder if films like “Judas Kiss” or “The Dark Place” could have worked with African-American young actors in at least one leading role, for the same reason.

“Epiphany” particularly has some supporting characters in the “ashram” scenes where the characters can be cast in a race-blind way.  And, for example, in “Angel’s Brother”, the leading characters (Randy, about 40 and Sal, about 21) are conceived as white, the CIA chief could very well be cast as African American (Morgan Freeman would be perfect).

Don’t forget, by the way, that Morgan Freeman has been trying to produce “Rendezvous with Rama”.

(Published: Monday, January 18, 2015, 10:45 AM EDT)