Tag Archive for video

Watchmen IV (Banned Books Week)

It took me a long time to realize that Alan Moore and Dave Gibbons’ graphic novel Watchmen is one of my favorite books. It was a slow realization born of careful analysis and frequent returns to the material.

watchmen Watchmen IV (Banned Books Week)For the uninitiated, Watchmen is a superhero murder mystery. In an alternate version of America, the country won the Vietnam War. President Nixon successfully rallied the nation to pass an amendment removing term limits from the presidency, allowing him to be elected again and again. He also outlaws the once-popular costumed vigilantes, aka superheroes, that helped end the Vietnam War and maintained order during violent protests following the assassination of JFK.

Rorschach, one of the last surviving superheroes, believes there is a conspiracy to eliminate the last of the costumed crime fighters. The novel opens with the brutal murder of The Comedian. From there, the surviving Watchmen face unexpected attacks from unknown assailants. Is it coincidence or conspiracy? And does it matter at all when Cold War tensions seem poised to destroy the world?

Watchmen faces an obvious hurdle as a constantly challenged piece of literature: it’s a superhero story. It doesn’t matter that it’s a deep and nuanced text questioning the moral authority of politics and law in the 1980s. People in America still think comics (like cartoons) are for children. A text this mature–violence, nudity, and drug use abound–was never meant for children to read. Yet, time and again, parents assume that comics are for kids and get riled up that their child could be exposed to such adult material.

It’s this dark and thoughtful content that has grown on me over the years. I can’t say if Watchmen is my favorite novel of all time, but I can say it contains my favorite chapter in any novel.

Chapter IV is the first illustrated origin story in Watchmen. Dr. Manhattan is a large and imposing superhero. His appearance is shocking: bright blue skin, minimal (if any) clothing, a visual representation of a Hydrogen atom emblazoned on his forehead, and a seeming inability to connect with humanity.

He gained the ability to see through all time and break matter apart at a subatomic level in a terrible accident. The superhero known as Dr. Manhattan was a brilliant scientist named Dr. Jonathan Osterman. By fate, he wound up locked inside an experimental nuclear testing facility. His colleagues watched in horror as he was annihilated in the reactor.

However, Osterman was not destroyed. He somehow gained the ability to piece himself back together, molecule by molecule. The accident meant that he could control everything and nothing in the world.

This power gives writer Alan Moore the ability to craft a stunning existential crisis in Chapter IV. Dr. Manhattan’s origin takes a backseat to his personal issues. This is a man who can no longer relate to his own humanity. He knows when everyone he’s ever met will leave him, become ill, and die. He sees the creation of stars and the destruction of all life on earth at all times. There is no space and time for him; it all happens at once.

Chapter IV of Watchmen can bring me to tears if I don’t brace myself for the experience. The first page alone forces you to take your time. The short, almost clinical statements of Dr. Manhattan fight against the random flow of his thoughts. There is no time and place. It’s all happening simultaneously and Dr. Manhattan has given up trying to piece them together in a logical way. It’s free association without the comfort of style and nuance that mark the greatest Modernist thinkers.

Favorite moments in Watchmen? Share them below. Love to hear from you.

Follow: Vaginal Fantasy Book Club

When I learned that Felicia Day was running a romance fiction book club called Vaginal Fantasy Book Club, I didn’t pay much attention. I’m not exactly the target demographic for romance fiction. What I know about it–the paperbacks with dreamy, scantily-clad models on the cover–doesn’t appeal to me. Give me some Modernism or a thick tome of genre fiction and I’m happy.

Vaginal Fantasy Book Club has developed into a large community of hybrid romance fans over at the GookReads with close to 6000 members. Each month, they read two titles that straddle the line between romance and fantasy/horror/sci-fi.

The hybrid fiction element is what got me to start watching the Vaginal Fantasy Hangout videos on YouTube. Technically, they’re live interactive broadcasts on Google+/YouTube, but they start at 8PM Pacific. That’s 11PM here and the last thing I need is another reason to not sleep at night. You can follow along live on Twitter, Google+, or the GoodReads forum and interact with the hosts during the broadcast. It becomes a live, global book club led by four people who actually care about the quality of what they’re reading.

vaginalfantasybookclublogo Follow: Vaginal Fantasy Book ClubFelicia Day, Bonnie Burton, Veronica Belmont, and Kiala Kazebee are having the kinds of conversation about modern genre fiction that I have with my own friends. They’re really getting into the text and debating the merits of the books. They talk style, character development, plot, themes, and genre elements in an intelligent but approachable way. They’re joking around and still leading a real discussion about books.

The latest episode just got uploaded to YouTube and it’s their strongest yet. The main book for September was The Cthulhurotica Anthology from Dagan Books. It’s what you think it is: a collection of short stories combining erotic/romantic fiction with the work of H.P. Lovecraft.

Any of the trepidation from the first few videos is gone. They’re respectful of the authors, but they’re not afraid of being too critical anymore. They go off on natural tangents to explore what helped shape their opinion of the book they’re discussing.

In the latest video, the conversation really kicks off after Veronica Belmont asks a series of questions to the group:

“Does all sexuality have to be love-based? Like, does it all have to be romantic? Or can something still be hot but not romantic? Can it be scary and hot? Is that ok? Or does it have to be romance-based?”

Veronica and Bonnie Burton really liked Cthulhurotica Anthology, partly because the story authors were so free with their use of sexuality. Felicia Day and Kiala Kazebee were more disturbed by the content but open to the reading experience.

Yet, as they begin to discuss their favorite moments, you find out they all responded similarly to the stories. It became not a matter of content but preference. The horror book fans were more open to strange content because they were used to it. They were aware that the stories were disturbing but were better equipped to respond to the insanity of Lovecraft fans injecting relations into the Cthulhu Mythos.

Then they started talking about an intentionally (?) bad romance novel about shapeshifting dinosaurs and proceeded to laugh at each other for forty minutes.

One of my favorite things in the world is seeing people get excited about books. That happens all the time in the Vaginal Fantasy Hangout videos. You can obviously join a real life book club for the face to face experience. The vastness of the Internet combined with so many interactive elements allows for much more specialized groups to form. I don’t think you can get more specific than romance books for genre fiction fans (or vice versa).

If you want to follow a program/community that has a lot of fun with books, you should join up with the Vaginal Fantasy Book Club crowd. The Hangouts are all archived on the Geek & Sundry YouTube Channel. They also have a dedicated homepage and Google+ page, but most of the activity is at the GoodReads forum.

Here’s the latest hangout video. It’s worth a try. Do like I do and watch the first few minutes for the introductions/thematic decorations and then treat it like a podcast.

Thoughts? Share them below. Love to hear from you. Me? I have to find a copy of Masters of Crow so I can really start engaging with this group of book fans.

Watch: Cookie Monster and Grover: The Musical

This season on Sesame Street, the popular “Elmo’s World” segment is being replaced by “Elmo: The Musical.” Cookie Monster and Grover visited Entertainment Weekly to promote the show and their own musical prowess.

The result is very sweet and funny. Cookie Monster and Grover tackle The Hunger Games, The Avengers, and even Aaron Sorkin’s Newsroom in song. The best part is how sharp the satire is. What starts as nonsense–Cookie Monster, with a Katniss-styled braid, hunts for the cookie cornucopia–quickly turns into great parodies of the properties. Their version of Newsroom is almost as funny as the more absurd moments on that show. I don’t often guffaw at a web video. The big punchline got me good.

You can watch the full video over at PopWatch. It’s worth the off-site trip.

Watch: The Slender Games

I tweeted about it yesterday, but I might as well come clean: I love the idea of Slender Man. I love that people have created a new piece of folklore on the Internet. The indie game and the mainstream media hoax images are especially entertaining.

Slender Man is tall and mysterious figure obsessed with children. Decked out in a black suit and possessing no face, Slender Man can stretch his arms at will and manipulate the world around him. He causes insanity, photo/video distortion, and even uncontrollable coughing fits. If you stare at Slender Man, you lose your mind and your life. He’s most often found in the background of photos.

How It Should Have Ended is a really funny web series that re-imagines the endings of popular films. They’ve created a Slender Man/The Hunger Games mash-up that really works.

Peeta, Glimmer, Clove, and Cato are hunting through the woods when Marvel runs to them with a strange note. The players are warned, “Don’t Look…or it takes you.” The Game Makers have decided things are going a little too slow in the arena of the 74th Annual Hunger Games. Do they set the forest on fire or release a new mutt? Of course not. They send out Slender Man to liven up the combat.

It’s funny and terrifying. That’s a double win in my book.

What do you think? Sound off below.

Ben Folds Five & Fraggle Rock “Do It Anyway”

I was just a bit too young to catch the original run of Fraggle Rock. I did, however, watch the show on TNT and the Disney channel on a regular basis. It was just so much fun.

When I woke up yesterday to a new Fraggle Rock video, I was thrilled. Then I realized it was a Ben Folds Five video. That’s equally as exciting. The Fraggles and Ben Folds Five both reuniting in the same music video after long absences? What’s not to love?

It doesn’t hurt that Chris Hardwick, Anna Kendrick, and Rob Corddry have their own stories going on while Ben Folds Five rocks out with the Fraggles.

“Do It Anyway” has a nice throwback feel to it. The rockabilly rhythms are a nice canvas for the video concept. There’s a good bounce to the track, which lends itself nicely to the Fraggles dancing their cares away. The lyrics match the characters, as well, with a message of just going for things even if you’re scared of what might happen.

Could this video be a way of working out the kinks for the long gestating Fraggle Rock film? Did the success of The Muppets make that project more appealing? Or is this The Nerdist channel flexing their muscles to make awesome original content? Finally, is there anything cuter than the sight of the main Fraggles getting their groove on?

Sound off with your thoughts below.

Watch: Game of Thrones by Lindsey Stirling and Peter Hollens

It appears I may have posted my Lindsey Stirling tribute a day too soon. Yesterday, a new video emerged from the ether of the Internet that kind of proved my argument. Lindsey Stirling is a violin player working off of the pop culture idiom.

The new video is the Game of Thrones theme. It reconnects Stirling with her Skyrim theme partner Peter Hollens for another One Voice, One Violin video. The arrangement is fantastic and the layering of tracks comes across as powerful and believable.

This is what playing with music should be like, people. Team up with people who have a similar vision, pick a concept, make it as tight as can be, and release it for the world to enjoy.

Having access to beautiful shooting locations and a top notch film crew doesn’t hurt.

Thoughts on the video? Share them below.

Lindsey Stirling: The Pop Culture Violinist

Lindsey Stirling has come a long way since stepping into mainstream media consciousness on America’s Got Talent. There, with only 90 seconds to perform at a time, she was viewed as a novelty act (Lindsey Stirling, the “hip hop violinist”) and nothing more. The judges did not like her quarterfinals performance, with Piers Morgan giving her an X and no positive reviews from the other judges.

Amazing what a difference not having a slow monkey on the sound board makes for live instrumental performances to backing tracks. This is what that performance could have sounded like.

And they say that America’s Got Talent favors music acts.

Lindsey Stirling is now a YouTube sensation. Her videos typically get over 1,000,000 views very quickly. She creates beautiful arrangements and matches them up with interesting video concepts. Her most popular video is “Crystallize,” an original dubstep composition that puts everything Lindsey was trying to show off on America’s Got Talent into focus.

It’s a beautiful composition that blends well with all the arrhythmic calling cards of dubstep. Stirling clearly understands how music is put together. She’s also part of a small but growing group of young violinists all around the world who are not satisfied with standing still in front of an orchestra. In the strictest venues, moving around at all (let alone dancing) would be considered a provocative and controversial act.

Lindsey Stirling’s niche is quickly becoming geek culture. Her Legend of Zelda and Skyrim videos were covered by a number of nerd-friendly blogs and her Zelda Medley was even used in the 2012 Olympic Games.

It’s hard to choose just one video as a favorite, but I’ve been replaying Lindsey Stirling’s excellent reworking of “Phantom of the Opera” a lot. It shows off the full range of what she does. There’s a narrative story woven into a well known song splitting time with live performance footage, dancing and all. It’s the distillation of what Stirling does and it’s enchanting.

Lindsey Stirling will be releasing her debut album on 18 September. It consists of 10 original tracks, including “Crystallize.” This is probably the best way for her to go. She can gain fans on YouTube with the elaborate and pop culture savvy cover videos and then parlay it into album sales of original (see: not mechanically licensed, cheaper to produce and distrbute) music in the same genre. It’s smart, is what it is.

Thoughts on Lindsey Stirling? I think she’s really grown into a unique performer and I look forward to hearing her debut album in two weeks. What about you? Sound off below.

Aimee Mann “Charmer”: Laura Linney’s a Rock Star

Laura Linney is Aimee Mann. That’s all you really need to know about Aimee Mann’s new music video “Charmer.”

Curt? Quite. But that’s all it took for me to watch the video for the first time.

I presume you’ve already hit the replay button on the YouTube embed. I can’t blame you. That song is catchy. Catchy is one of Aimee Mann’s strengths.

I think the most interesting aspect of “Charmer” is the New Wave-styled synth leading into the verses. It has this almost human quality about it that is quite fetching. It’s just off enough to stand out from the vocal but works wonders in the context of the video.

The video has a cool concept. I’m prone to fits of sci-fi and robotic doubles are a trope I’m drawn to. Aimee Mann takes it a step further with her own desire to take a break leading to her potential demise.

I haven’t seen too many instances where the human has to train the robot to behave in a certain way. The more typical use of the learn by example concept is cloning, but that’s not this situation. Aimee Mann has ordered a robotic double that is uncannily like herself. After a trying learning cycle, the double begins to assume the identity of the star full time.

If the song were any less bubbly, this could be quite disturbing. “Charmer” actually balances out a surprisingly dark concept for a music video. It’s not that music videos can’t handle mature content (look at the Skrillex video for First of the Year/Equinox for a recent example). It’s that a song this bright doesn’t normally dance with a darker, more satirical narrative.

Leave it to an artist like Aimee Mann to betray expectations with a really catchy song/video combo. I think the key to its success is Laura Linney. Forget that Aimee and Laura really do look alike. Linney is a strong enough actress to sell the transition from mindless robot servant to confident rock star without a single line of dialogue. It’s how she carries herself and barely moves her face in her interactions. The perma-smile is creepy and 100% Laura Linney.

I’m always glad to see an artist, especially an established one like Aimee Mann, take a risk like this with a music video. It might be just a bit too odd to really take off. It’s still a rewarding artistic exercise that compliments the song nicely.

Thoughts? Love to hear from you. Share yours below. I don’t bite. Promise.

This Is Why We Can’t Have Nice Things: 2012 Olympics Edition

I make it no small secret that I love Kate Bush. I think she’s a fabulous musician with an actual perspective on art, life, and music and deserves all the accolades that come her way.

When I heard rumor that she might somehow be involved in the London Olympics Closing Ceremony, I chose not to get my hopes up. After NBC opted to cut out the tribute to the 7/7 victims because they were afraid Americans wouldn’t get it, what chances would the eccentric and lesser known Kate Bush have on their primetime coverage? Couple that with how few appearances Kate Bush makes nowadays and I wasn’t going to work myself up to be disappointed.

My cautious approach paid off. Kate Bush was involved in the ceremony. NBC did cut her performance. And she, herself, did not appear on the broadcast at all.

Kate Bush recorded a new version of “Running Up that Hill” for a beautiful tribute to the struggle of human achievement. The original song is a reflection of the differences between genders and how men and women can never fully understand each other because they can never fully experience how they other half lives. In the context of the closing ceremony, the song becomes a tribute to failure, success, and–above all else–perseverance in the pursuit of excellence at the games.

A group of men and women, clad in white, begin pushing and carrying large blocks to the center of the arena. They are forming a literal hill on which to rise upon. As the dancers recreate Kate Bush’s choreography in between moments of construction, a sharply cut montage of Olympic highlights are shown. You see winners and losers, joy and sorrow, and the hope that if you keep trying, you can learn to accept yourself as a winner.

It’s a brilliant twist on a great song and the staging made it something truly special.

Unfortunately, NBC is really trying to crack down on this video footage. This morning, Rich Juzwiak’s post on Gawker was the only place to see the full performance. Now, it’s been chopped down to just an out of context minute, as pointless as a photo of Bjork standing with the Olympic athletes at the Athens games trapped underneath her billowing ocean of a dress. It’s needlessly confusing and insulting to assume that the viewer needs to be protected from a message that isn’t “We’re #1″ or “Go for the Gold.”

It is such a shame that artistic statements like this are blocked from every reaching a mainstream audience. I don’t care at this point who is responsible for cutting the song from the broadcast. The real outrage is seeing a systematic effort to erase it from existence after the fact.

Thoughts? I’d be able to write more about the new arrangement but the Olympic edition of “Running Up that Hill” isn’t even available for sale in the US. That Kate Bush is a crafty one. What do you think? Sound off below. Love to hear from you.

M.I.A.: An Appreciation

I’ve been big on M.I.A. since she came out the gates with “Galang,” a twisted little play on street slang that is far deeper than its sing-song hook and neon colored video would lead you to believe. Is it a track about the call to emigrate to a wealthier area that isn’t necessarily safer? A remembrance of the violence during the Sri Lankan Civil War that began shortly after her family moved there? A song detailing everything you need to do to survive on the streets of London? A combination of all three and more? I’m leaning toward that last interpretation.

M.I.A. has been involved in a few surprise crossover hits in America, but you cannot accuse her of dumbing down her thoughts and subject matter for more appeal. She is an artist defined by her life experience and how she chooses to explore it. Her first album, Arular, was filled with catchy beats and rhymes about her experience related to her father (a rebel leader who adopted the name Arular in the conflict leading up to the Sri Lankan Civil War).

Her second album, Kala, was inspired by her mother (named Kala) and the unfortunate situation regarding her international travels. A bunch of top US producers wanted to work on her follow up album, but she was denied a US Visa due to her family connections to the Tamil Tigers. Instead, the tracks were recorded all over the world. It shows in the best way possible. Regional musical influences flow together as the story of a displaced person searching for a real home.

This is the album that led to her biggest single to date, “Paper Planes.” The song was used in the advertising campaign for Pineapple Express, bringing M.I.A. into the mainstream for the first time. That trailer was ubiquitous. You could not escape it. Sales and radio play followed quickly. The exposure led to a number of great things, including a Grammy nomination for Record of the Year in 2009. She was also sampled on another huge breakout song, “Swagger Like Us” featuring Kanye West, T.I., Jay-Z, and Lil’ Wayne.

The catchy hook belies the crossover appeal of the track. “All I wanna do is [shotgun blasts] and [shotgun reloaded, cash register transaction] and take your money.” Yet this is the part of the song that people recognize. It’s undeniably catchy. It just points to a much darker song than unintentionally relevant fluff for a stoner comedy.

In M.I.A.’s own words,

So in the song I say “All I wanna do is [sound of gun shooting and reloading, cash register opening] and take your money.” I did it in sound effects. It’s up to you how you want to interpret. America is so obsessed with money, I’m sure they’ll get it.

Which is all well and good. M.I.A. has a reputation for not tolerating poorly planned questions very well. She’ll throw out a dig that usually goes right past the interview and sticks in your head. When asked properly about the song, she hints at one very cool interpretation.

You can either apply it on a street level and go, oh, you’re talking about somebody robbing you and saying I’m going to take your money. But, really, it could be a much bigger idea: someone’s selling you guns and making money. Selling weapons and the companies that manufacture guns – that’s probably the biggest moneymaker in the world.

Which brings us to 2012. M.I.A. is due for another big press cycle because she is a surprise nominee for Video of the Year at the VMAs. It’s not a surprise to me. Here’s what I wrote about the insane video for “Bad Girls” back on 3 February, “Finally, M.I.A.s new single “Bad Girls” is out. It’s great.”

The surprise is how little the video plays into the awards discussion. It’s only nominated twice, getting in for Best Direction and Video of the Year. Somehow, a female rapper with a video/song combo inspired by the Arab Spring (and, specifically, how a Saudi women began driving in protest because the laws ban women from driving) did not get nominated for Female Video, Hip-Hop Video, or Video with a Message. Likewise, a video filled with insane car stunts, memorable choreography, and gorgeous filmmaking was not nominated for Cinematography, Art Direction, Choreography, Editing, or Visual Effects.

Just take a gander at this video and try to see figure out how that happened.

My best guess is that the producers/nominators fear handing out a sack of awards to a music video they barely played on MTV (if at all). As such, prestige videos are now relegated to one or two nominations in favor of more attention grabbing guests and nominees. If they invite M.I.A. to perform, I’ll be shocked. Not when they can have Rihanna act out the video where she lifts the veil on her abusive relationship with Chris Brown (again) or when they can have Nicki Minaj in a bikini dancing like a maniac.

Worse still is the decision to put all non-”Professional Categories” up for a public vote. So Romain Garvis actually has a chance at winning for the direction of “Bad Girls,” but M.I.A. has to give up victory to Katy Perry, Rihanna, Drake AND Rihanna, or Gotye. It’s not that the other nominees are obviously worse. It’s just disappointing that such a daring video from an artist who deserves more recognition will be shoved off to the side to appeal to the Top 40 market at the only awards show for this medium.

But will this get M.I.A. down at all? Probably not. She’s probably somewhere laughing about being nominated at all. Remember her Superbowl halftime performance with Madonna? Sure you do. She performed live for one of the largest TV audiences of the year and threw up the bird at the camera just for fun. How about when she performed on her due date, against the advisement of her doctors, at the 2009 Grammy Awards?

M.I.A. takes her music seriously but is willing to have fun at the same time. That’s a rare balance that will only grow stronger as she experiments with future releases. I know I’m looking forward to it.

What about you? Thoughts on M.I.A.? I’ve been playing that “Bad Girls” video a few times a week since February just to wrap my head around everything happening. Car stunts! Slow dancing in the streets! Revolution! Sound off with your own thoughts below. Love to hear from you.

Watch: Martha Mears: The Busiest Dubber in Hollywood

Getting just the right look for the leading lady didn’t stop Old Hollywood from casting non-singers as leads in big budget musicals. That’s where dubbers come in. They’re still used today to mask less than great singers on the silver screen. Before vocals were mixed to sweeten a singer, they were swapped out entirely in post production.

One of the most prolific dubbers was Martha Mears. She filled in lead vocals for Lucille Ball (The Big Street), Marjorie Reynolds (Holiday Inn), and Hedy Lamarr (My Favorite Spy). More impressive is how varied her vocal range and type can be.

Lost Vocals on YouTube put together a 13 minute video of Martha Mears’ dubbing work in Hollywood. She performed over 50 voice over roles in 12 years. It’s overwhelming in the best way possible.

Watch: Side by Side by Susan Blackwell: 2012 Tony Winners

Susan Blackwell has really grown to be a great interviewer. For her to take on the monumental task of interviewing all the winners backstage at the Tony Awards is one thing. To do it while maintaining her trademark wit is quite another.

It always feels like Susan is best friends forever with whoever sits next to her. Capturing non-performers right after receiving the highest award in theater is a great way to make them drop their guard. Sure, you find out that Susan actually does know Christian Borle. We already know she’s spent time with Audra McDonald.

But what about getting food for Jeff Croiter or helping Paloma Young dish about high school disappointments? Susan Blackwell’s ability to put seemingly anyone at ease and make them laugh with her is admirable. This video is a must watch montage of super happy people laughing at the absurdity of awards season while being cheered on by a big theater supporter.

And when I said “seemingly anyone,” I meant anyone but Sutton Foster. Not a fan of being licked on the cheek, that one.

Favorite moments from the video? I never thought I’d see Judy Kaye call herself a blithering idiot when she wasn’t in character. Sound off below with your thoughts.

Watch: The Sound of Prometheus

My Prometheus review is going up tomorrow. I’m carefully constructing my argument and just need to let it rest overnight to make sure my angle makes sense. I will say I enjoyed the film a lot. I’m just struggling to clearly explain why.

One of the more baffling arguments against Prometheus, to me, is the intrusive sound claim. The music is too invasive. The sound is overblown. Too much is happening for space.

Have we been so spoiled by Alien‘s tagline, “in space, no one can hear you scream,” that we’ve forgotten how integral sound was to that movie? Lack of score does not mean lack of sound. So many of the major moments were set up by a brief moment of absolute quiet before a big explosion of events onscreen. Otherwise, everything made noise: doors, computers, controls, people, footsteps, and the cat, just to name a few.

The same applies to Prometheus, just slightly off. If the music stops playing, you have problems. Even the naysayers have to acknowledge that this is a beautifully mixed movie. The sound is possibly more immersive than the 3D visuals.

SoundWorks Collection is an excellent series of videos that deals with the how and the why of sound design in big movies. Their newest video is all about the wealth of sound in Prometheus. The sound team argues that the atmospheric scoring is the silence of this movie. It’s an intentional choice, not a random musing or mistake.

So what do you think? Did you like the sound design in Prometheus. I’ve heard arguments both ways and some are rather compelling against it. Sound off below with your thoughts.

Watch: The Fall of Pinterest

I’ll admit that I didn’t get Pinterest at first. It felt like a really random mix of Facebook and Twitter. All you do is pin content to a board that anyone can see. The pins link back to the source site and other people repin your pins.

Then I got an account and understood. It’s very take it or leave it in its attitude. I might like a news story about a new Broadway musical, so I’ll pin it. At the end of the day, I get an e-mail digest telling me who else liked the story enough to repin it. I then check out there board and start going through their pins. It’s the nerdy trading circle at your elementary school, only you don’t have to worry about your never returned paperback box set of The Chronicles of Narnia.

College Humor picked up on the trend in a different way. They suggest that Pinterest is the social network for women because it’s more positive and filled with crafting, art, and fashion design. Their video “The Fall of Pinterest” is a hilarious tribute to the social network and features references to a whole bunch of pop culture war scenes, like Braveheart and Lord of the Rings.

Funny, right? Now what happens if a man like me pins the Pinterest video about the invasion of men on Pinterest to Pinterest? Does the Internet collapse on itself? Let’s find out.

Thoughts? Love to hear them. Sound off below.