Isolation in Early Summer: A Vague Exploration Into Something Dense

Video from YouTube user Alex Post

Originally written on October 25, 2012.  

Part three of a three-part "weekly" series. This was the paper that convinced me to begin this series as it was the first time I remembered that I was enthusiastic throughout the entire process about writing a paper on a movie I didn't expect to love. We were told in our Intro to Film class not to evaluate the movie directly and only make an argumentative assessment as to what the film ultimately means. I can already mention that this will be a difficult film to watch simply because it is not like many of the contemporary films we see nowadays. I can't explain why that is and even after watching the film twice for the paper, I don't think I explained my reaction understandably and why the film had a profound effect on me on how I will approach my projects in the future, much like my masterpiece, Awkward Arley. I will admit that the other reason I'm posting this is because it was the first essay I wrote and turned on time that received an A-. For that achievement alone, I think it is appropriate to post this although it won't make sense to those who have not seen the film, Early Summer. If you have two hours to spare, please watch the movie and give it a chance. It might just surprise you.  

            Early Summer (Yasujiro Ozu, 1951) introduces a different interpretation of the household, distancing it from the saccharine fantasy depicted in many US films and instead presenting something that demands interpretation. The film explores the dynamics of the Mamiya family, all living together in the same house for many years. Although it introduces the family as though they are emotionally close, we begin to understand how there is a disconnect in their understanding of the world and in each other. Not only is there emotional distancing between the different family members but also in the film itself within the visible screen space.
            In the opening sequence [2:31-5:31], a dog runs along the beach just as the waves are rolling in. The waves continue to roll by for a few moments until the film cuts to a bird chirping in a cage. Not long after, the film cuts to birds in two cages, each noticeably distant from the other. Here, we are first introduced to a room of the Mamiya house is devoid of anything except the birdcages and the interior walls. We jump cut to Grandpa making tea in another room and later on to the table where the family is eating breakfast. The film jump cuts to an extreme long shot of the breakfast table, right when Grandpa takes his seat.
            The beach is a constant theme in Early Summer that refers back to isolation. We refer back to the opening scene "[2:31-2:41] where we see the waves approaching the shore where there is a little dog that wanders back and forth along the shoreline until it walks off-screen."  Without any kind of prior knowledge, we are immediately presented with a lone puppy that does not seem to know where it is going. With only the waves rolling by as the only sound we hear, it is an unsettling opening that establishes the tone the rest of the film has with regards to emptying the space and thinking about what is missing. The ocean can also be seen as a meditative device that anchors the viewer into trying to piece together all of the relationships that we are introduced to later on. We get this impression later on when the film shows us "the waves approaching the shore until the film cuts abruptly to a bird in a cage [2:41-2:51]". The ocean becomes an emotional release that simplifies the confusing nature of the film yet also acknowledging how it remains an important element throughout the film. In both ways, the ocean has both observations of isolation: as a potentially dangerous choice or as an occasional necessity. The ocean is represented again "at [1:11:42-1:12:09] when the kids walk along the road, frustrated at their father for not buying their train tracks."  The scene makes us focus on how their thought process isolates them from the adults' and how the kids have knowingly endangered themselves by leaving their home.
            The use of framing in Early Summer is its own unconventional device that further establishes the isolation within the screen space. After the waves, "[3:00-3:08] the film jumps right to the bird cage and has on a match on action shot related to sound as the bird chirping leads to the next shot of the other two bird cages." A striking detail is how one of the cages is shone in the bright light and the other cage is out of focus and covered in darkness. In this brief shot, we notice how the film chooses to keep certain things in and out of focus that at once balances the shot within the frame but also leaves with the impression of a seemingly empty house. The moment is brief but it forces the viewer to look very closely and understand exactly where in the house we currently are. The film repeats this shot only a few moments later when Isamu's brother goes to the hallway to get pickles for Noriko. If it was not for the innocent traditional music that begins playing and establishes the house as a friendly place, this scene would be much more unsettling. As the perspective is shifted at a diagonal perspective and the focus of the frame is on the characters, leaving the defined lines of the entrances and hallways as unusual elements that further distance ourselves from the characters. In the "breakfast scene [4:17-4:30], the camera completely changes direction and opts to have Noriko facing away from the camera", which is a startling moment for a viewer expecting to see both faces. By doing this, we can only imagine what facial expressions Noriko is making even if Noriko's character seems to be a predictably optimistic one from the first sight. What's more unusual is how we do not really know who any of the characters are in the beginning and how we can easily confuse their roles with other characters.
            Unlike contemporary films of this day and age that overuse closeups and extreme closeups to emphasize character interactions, Early Summer challenges the viewer to make our interpretations as to what the family is thinking and doing. Much like the film's opening, we are instantly dropped into the household with few details other than the ones we can assume at first sight.  There's very little camera movement in Early Summer, or at least, very dramatic camera movement such as a tracking shot that follows the characters around. Instead, the film opts for having many cuts of a character entering and leaving rooms but leaving the camera fixed at one point, at a low height and at a straight-on angle. In fact, the camera seems to jump around from room to room and remains fixed in one place although it occasionally moves closer to the characters but only when it seems necessary and does not abuse it as often as contemporary films do nowadays. Likewise, the idea of having separate rooms can be interpreted as individual spaces that further establish the seclusion that is represented in the film. Later on, the camera sits at a low height and begins moving into the room, emphasizing how the film tends to jump around scene to scene once a certain shot has fulfilled its purpose. In each individual shot, we are only given a small glimpse of each room. This further distances us from the characters and we are left only to observe their actions which could be as inconsequential as going from one room to the next to later in the film when Noriko runs up to her room and cries at the thought of leaving her family behind. In a way, the individual shots are secluded thoughts or concepts that the characters seems to jump in and out of them, seeming to casual interact with the space that we pay very close attention to.
            It’s also interesting to acknowledge how many other moments of story space the film decides to not show us. One such example is after we have learned about the family's desires for Noriko to get married; she casually mentions how she will be going to her friend's wedding. In another film, we would've seen Noriko at the wedding and her emotional response to being at the ceremony and comparing to her situation but in Early Summer, the only reference we get of that wedding is the cake Noriko brings back home. Another supposedly important moment is when the kids run away from home after Koichi hits them for misbehaving. Instead of focusing on searching for the kids, instead we see Koichi and Kenkichi playing poker and talking about their lives and later receiving a phone call, keeping the focus only on the characters rather than a potentially unfulfilling moment that distracts the viewer from the overall focus of the plot. The film makes us focus on the many perspectives of all of the characters but never forces us a message on us and never designates which character is right or wrong. The movie is about life. Later on, we see the kids complaining to their father Koishi about bringing home bread when they thought Koichi would get tracks for their train set. The children are focused on having the attention solely on themselves and getting whatever they want. It's understood that the kids could also be a form of comic relief when the film becomes dramatic. As the film goes on, we're presented with the lifestyle and differences in ideology from what we're used to seeing. The emotions of the characters aren't clearly defined or spoken out loud. It might bother us to see the other characters hoping for 28-year old Noriko to suddenly find a person to marry and being aware of the pressure given to her by her family until we remember when the film was created: 1951, 6 years after the end of World War II and the catastrophic damage done to Japan and we can begin to understand where the pressure is coming from. Throughout the film, we get many references to the hardships the family has gone through such as when Noriko and her sister are eating cake and they recognize what the value of cake is compared to something they would actually need.  Another example of the film's unusual way to portray life shortly after the breakfast scene when Noriko waits at the train station and talks with her childhood friend, Kenkichi, who she will end up getting engaged to later on. There is an extreme long shot of the train moving from the right side of the frame to the left with the music from the title sequence playing again.
            Unlike many other films that focus on having an overall conflict that pushes forth the direction of the film, Early Summer isn't as forceful with its own narrative. Early Summer becomes a more complicated film than we give it credit for. In its portrayal of the family dynamic as an isolated space rather than something picturesque, the film includes another depth of meaning to its already complicated ideal. The characters wear different kinds of clothing that confuse us into understanding what time period we are currently in the film but after a while we begin to realize how unimportant that kind of thinking is. If we wanted to explain the plot of the film very succinctly, we would be doing a disservice to the meaning of the film. Early Summer is a mysterious film that forces us to closely examine the characters in a way that is not encouraged in other contemporary films.

Works cited:
Early Summer. Dir. Yasujiro Ozu. Perf. Setsuko Hara, Chishu Ryu, Chikage Awashima, Kuniko Miyake. Shochiku, 1951. DVD. 

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Everybody’s looking at me: The Neurotic Character in Literature

 Originally written on December 7, 2011.

This is the first of a three part weekly series. I've thought about posting this since the day I've finished it but I've held off on the idea for several reasons, the most important one being: NO ONE COULD CARE LESS ABOUT READING AN ACADEMIC PAPER I WROTE. I'm currently majoring in Spanish and one of the things a Spanish major has to know is writing long papers. I made a joke in high school about how long papers would have to be in college. I should slap my past self for being a smug bastard. Despite this, the following academic papers that I will post for the next three Wednesdays are about topics that matter a great deal for me and as such, I tried to make the papers sound very personal, not like the stilted, template-based ones we wrote in high school. This first paper is about something I wanted to investigate ever since I began to appreciate comedy. What are the origins of the neurotic character and why have we begun looking up to it as a modern archetypical hero? So, even though this is technically an academic paper, I still consider it as a kind of creative work since I can rationally argue on the significance of my biggest cultural influences and that has to count for something. Due to certain restrictions (such as only being 5 pages long), I could only pick out several important cultural figures that could be considered as neurotic although a more consise paper would much longer, way too long for this blog, even. Like always, let me know what you think/how the argument could've been improved in the comments.

The neurotic character is the unspoken hero of our modern lives. When at once we looked up to the strongman who could overcome any obstacle, suddenly we revere the character whom does everything wrong. The neurotic character, at one glance, is the living, breathing archetype of everything conceivably wrong with the world, but due to the character’s inexplicable popularity, absolute hatred toward the character isn’t common. The neurotic character is believed to be a modern invention, or a comical contrast to the more serious archetypes, but in fact, the neurotic character has been an integral component of literature for centuries. The neurotic character, within the text, is despised by everyone but beloved by everyone outside of the text.

The neurotic character everyone relates to is George Costanza from Seinfeld. George is a relatable character from a well-established sitcom. George behaves unlike most people, obsessing over pointless trivialities, taking advantage of everyone and everything, and being at the blunt of every moment of misfortune that comes his way. George, for a sitcom character, is very depressing, and constantly ponders the necessity of life, wondering if the mistakes he continues to make are worth minimum wage or even life; his behavior is a definitive trait of the neurotic character who“…suffers from easy fatigability and irritability. He is dissatisfied with everything including himself”(1). The center of his problems is his failed love life. George does not know to keep a relationship together, and constantly makes destructive or impulsive decisions that ruin the relationship. Nothing could be more tragic or hilarious than acknowledging that George’s fiancé died from licking poisonous wedding envelopes he had picked out. George is a character with no realistic prospects; his reason for getting up in the morning is “to get the Daily News”(2). Even after hearing a friend’s harsh argument about George’s laziness and encouraging George to mature, still George questions him with a comic “Why?” as though his friend’s words of wisdom flew right over his head, and George still refuses to accept reality, that there is more to life than getting the local paper.

Larry David, a “fictional” character from Curb Your Enthusiasm, is the apex of the neurotic character in pop culture. Larry is a character who has always been looked upon a weird misanthrope in the eyes of the other characters who simply cannot rationalize his actions. Larry talks of many unspoken rules that others are not aware of, although the rules are morally based at their core, even if they are ridiculous. Larry makes terms of each “rule” in order to get the point of the rules across to the other characters that consider the rules as something shortsighted and pointless. Larry also works under his own understanding of others, even if at times, he can be fairly off, usually, he knows how to manipulate others for his own means, such canceling appointments and using his mother’s death as an excuse. At the very center of Larry’s behavior is an unmistakable core that has a sense of justice. Larry and his wife go to the grand opening of their restaurant; all goes well until the chef, who has Tourette’s, spews out several curses that halt everyone’s conversations and leaves the room in complete silence. Ever the good spirit, Larry recalls seeing high school students who shaved off their heads in support of a fellow classmate who is going through chemotherapy, and does what any good-hearted soul would in that situation: he screams “Scum-sucking motherfucking whore!”(3) Shortly after, his manager curses, and eventually the entire classy restaurateurs invoke in loud profanities. The clip ends with Larry in the middle of the ruckus he causes, arms folded, proud of the moral obligation he made for the chef. It is an unusual solution, one some people would have trouble understanding, but it’s a truly daring act to risk the reputation of your restaurant if only to spare the feelings of a chef suffering with Tourette’s. Though Larry’s behavior is unusual, ultimately it becomes understandable and relatable.

Notes From the Underground, a famous novel from the early 19th century, is an example of the development of the neurotic character. The narrator with no name begins his “novel” by the narrator’s voice “exist[s] in our society, when we consider the circumstances in the midst of which of our society is formed,” an indication that someone with the narrator’s opinions undoubtedly exists within the norm(4). The norm is questioned by the narrator and at times,  may seem even more deluded and mistaken than the narrator’s own conceptions. The narrator’s “intense self-consciousness causes him to be vain at one moment and self-loathing the next,” and seething with bitterness towards the normal man, although his criticisms and observations are undeniably truthful towards the folly of people. The narrator’s observances are very similar to George Costanza’s character in that both of them are very pessimistic towards the outcome of the world, and through their pessimism exists a moment of truth. Also, both characters are aware of their inadequacies and uselessness in the scale of everything in the universe, and both of them question their reason to live. Dostoyevsky’s narrator falls upon the themes made important in modern times, and many literary critics “identify the [narrator] as the archetypal modern antihero,” or the neurotic character(5).

Don Quixote goes back even further back in the early 16th century, with a neurotic character that has become timeless. Don Quixote is a lowly man living in an impoverished village, but due to his love of chivalric literature, believes himself to be one of the characters from his books, a valiant knight. Throughout the novel, Don Quixote causes much mischief in his travels with his squire, Sancho Panza, as he tries to save a beautiful princess who is actually a prostitute, and fight a dragon that is actually a windmill. Kashdan’s analysis remarks on traits neurotic characters embody: becoming “self-absorbed” in their own world, and ultimately being rejected by society, traits worn proudly by both George and Larry(6). In Don Quixote’s case, his behavior is purely chivalric and highly respectable, and with no actual malicious intent. For Don Quixote, being a knight with principles and values is more worthwhile than living the simple life of a villager, and ultimately, it is a reminder that even the world of the normal individual can be distorted by cynicism, repetition, and fear of change. It is remarkable on how much more sense Don Quixote’s actions are compared to the values of normal life. Bringing back Larry’s example, Larry swearing in the restaurant may not be the most appropriate solution to the chef’s unexpected swearing, but it was the right thing to do, despite the circumstances or consequences.

The neurotic character is the embodiment of our unforeseen behavior, and the most truthful voice in our society. When at one point we looked upon the valiant hero or the confident one, now we look at the neurotic character as the antihero; despite their values and customs, ultimately what each character wants is justice for all people, and some kind of rational understanding for the world’s mysteries, including the production of characters like the narrator, and how such characters emerge from a seemingly normal environment. When we are able to recognize our own faults, develop them, and ultimately improve ourselves with this long, ongoing process, we cannot stop but recognize the bumbling characters of Don Quixote and George Costanza for taking that first step.

Works  Cited:

(1)Price, Antoinette. “Understanding the Neurotic.” The American Journal of Nursing, Vol. 37, No. 8 (Aug., 1937), pp. 878-881. JSTOR. Web.

(2)KrsONE305. “Kramer Talks to George About Life.” YouTube. Web. July 13, 2009.

(3) Sujeetwearsvests. “Curb Your Enthusiasm. Season 3, Episode 10: Restaurant Grand Opening.” YouTube. Web. Jun. 23, 2010.

(4) Dostoyevsky, Fyodor.  Notes from the Underground.  Trans. Constance Garnett. Indianapolis: Hackett Publishing, 2009. Print.

(5) Nielson, Keith. “Notes from the underground.” Masterplots, 4th ed; November 2010, p1-4. Literary Reference Center. Web.

(6)Kashdan, Joanne G. "Don Quixote de la Mancha." Masterplots, 4th Ed.; November 2010, p1-5. Literary Reference Center. Web. 

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P106-The Car Accident(Rough Draft)

Harold gets into a car accident and is forced to walk down the 405 while trying to remember how the accident happened, trying to deliver an important package to the closed post office, and trying to deliver a gallon of milk for his wife.

This is something I've promised for a very long time, one of the few Presenter episodes that I thought had such potential that it would be worth writing about, but ultimately, like all of my ambitious ideas, it blew apart the minute I realized I wouldn't be up to the task of writing an entire episode, plus, the creative spark that lead to the episode's inception just hasn't returned in a versatile way. Despite those shortcomings, to satisfy the "audience" I have, I will post the incomplete first draft of the episode. Things to note: this draft only has half of the ideas from the original premise. Things that weren't included is a scene of 3-4 minutes of Harold talking to the milk as though it was his companion, similar to how I talk to myself in a state of paranoia when I'm alone for a period of time; another scene is where Harold is picked by a friendly stranger but kicked out when Harold decides to eat only a third of a candy bar; and even the original premise didn't have an ending. Admittedly, this premise borrows heavily from elements of Curb Your Enthusiasm, only exaggerated to levels even Larry David would never consider. The dialogue isn't as "fresh" as I remembered when I first tried to write this and may seem to be more disturbing than hilarious. Maybe I've become a harsh self-critic but recently, everything I've written hasn't been up to my standards, whatever those may be. Also, Season 3 will be posted very soon, but it will be the last season. I do love the premise of the Presenters, but I think it's time to move on. With that said, don't take this script very seriously as everything written is only for the sake of comedy, even if it's unfunny comedy. Thanks for reading and enjoy (if you do). Comments are always welcome. 

Things (in parenthesis) are alternatives to lines written. They also indicate actions the characters make. A (weird) running joke is that Harold's wife doesn't have a name. This issue is addressed with in a later episode.

(Amateur Version) A blank screen. Unlike previous episodes, it opens with the theme from Curb Your Enthusiasm. The song plays for several seconds until cutting to a flashing siren and a loud wail. We cut to tow officers discussing the wreckage. Another cut shows the 405 still active although there's a noticeable curve of red lights and a patch of red, blue, and white. Another cut shows a car that has been flipped upside down. The camera moves towards the front of the car and the vague representation of fingers curled around the wheel. At this point, the song abruptly stops; a close up reveals Harold, still grabbing tightly onto the wheel, eyes blank and staring straight ahead at the road or sky. He looks quickly to the left and the right and unbuckles his seat belt. His body drops onto the floor, and his head bounces off the surface. In a panic, he searches around his car, and sees a gallon of milk, still strapped in the back seat. He carefully unbuckles it and grabs once it drops. An outside shot shows the side door trembling until a foot pushes it out. Harold carefully crawls out of the car. Once out, he turns back and sees the wreckage just as a fire ignites from the underside.

Harold: Hmm...
Harold sees an officer making a call and walks up to him.
Harold: Scuse me.
Officer #1: Hm?
Harold: Are you busy?
Officer 1: A little. Wait just a second.

Harold waits and checks on the damage of the car. A weird feeling creeps in on Harold and he begins coughing and hacking up loudly. Off camera, he spits out his cell phone.

Officer 1: Sir, what seems to be the problem?
Harold: (cleaning up the spit with his sleeve) Uh, well, I was the person who just had an accident. I, uh, climbed out of my car. I might have damaged my internal organs!
Officer 1: Sir, calm down. You look fine. Please return to your vehicle.
Harold: Is that a joke?!
Officer 1: Yes. Terrible, isn’t it?
Harold: Where are the paramedics? I, I need to get checked out. Something might be out of place!
Officer 1: Straight ahead. And don’t scream in front of an officer. You could be seen as a threat. (walks away)
Harold: (raises his hand) Won’t do that again. Sorry. (under his breath) Asshole.

Harold turns again to see the damage on his vehicle. (He pulls his wallet out and whimpers upon realizing the amount it will be to repair his car, or at least to be sold to a foolish buyer). Harold sees the paramedics.

Harold: Uh, scuse me?
Paramedic 1: What’s the problem, sir?
Harold: well, I just got into an accident and I was wondering if I might have any broken bones, or anything in that criteria.
Paramedic 2: What criteria?
Harold: Well, you know, the physical damage to the body. Look, can you just check me?
Paramedic 1: (shrugging at Paramedic 2) You look fine. Most people probably couldn’t walk up to us if their bones were broken. You did, so…
Harold: Walking is nothing! I might’ve gotten a temporary dose of adrenaline. My stomach might’ve been pierced. My small intestine twisted up! Please, just a quick checkup!
Paramedic 2: Sir!! You’re fine! Now, please, we have to see if everyone else is okay.
Harold: And who could that be?! I have the only upside down car right now!
Paramedic 1: Sir!
Harold: All right. God! (walks away)

Harold feels a rumble in his pants. He checks his phone. A close-up shows 6 missed calls from the Editor.

Harold: Oh, shit. (pushes send) ...helloooo?
The Editor: Harold, what the fuck happened to you? When I call a person, I expect him to fucking answer!
Harold: I know, I know. I’m sorry. I…I just got into an accident and-
The Editor: Harold, (don’t start flinging this shit in my direction). You’re supposed to be the reliable one.
Harold: I know.
The Editor: For God’s sake, I have to constantly hear this hullabaloo from those idiots you call friends and suddenly I get the same fucking routine from you?
Harold: Sir, it’s not a routine. I was driving down the 405 in a hurry, I black out for a second, and suddenly I’m upside down-
The Editor: Harold, you’re full of shit. Listen, I need you to do something for me.
Harold: What is it?
The Editor: There’s a really important package that you need to pick up from the post office.
Harold: Uh, I think it’s-
The Editor: I’ll text you the address. Now hurry. And next time, I will call you only once. If you don’t respond, you’ll be kicked out of my responsible list. Understood?
Harold: Yes, but-
The Editor: See you tomorrow. (hangs up)
Harold: How am I going to get there? (closes his phone) Damn it.

Harold holds his phone tightly and remembers the gallon of milk. He goes back to the car and picks it up. He begins walking away from the wreckage and towards the edge of the freeway when a huge explosion stops him. He turns back and sees his car smoldering and burning.

Harold: Course.

Harold walks away from the worse wreckage and walks into the darkness.

Harold shakes the gallon of milk to make sure it doesn't have any punctures or holes. Harold feels his phone vibrating and answers it.

Harold: Hello?
Wife: Hi, honey!
Harold: Oh, hi, (), how are you?
Wife: Fine, fine. Just been working on my (stuff). It's taking me a goddamn hour to complete it. How are you?
Harold: Uhhh...don't get worried. I'm fine...I kinda got into an accident-
Wife: WHAT?! Oh my god, are you okay?!
Harold: Yeah, I'm fine, I'm fine, I only have a few scratches. 'Cording to the paramedics, I'm perfectly fine if I can take a few steps forward.
Wife: Oh, that's a relief! Did you get the milk?
Harold:  What?
Wife: The milk?
Harold:  Oh, the milk. Yes, it was...my second passenger. In fact, it was the first thing I thought about after I got flipped upside down that the milk was still intact.
Wife: I'm sorry, but you know how important the milk is for the cake. It's a specific brand that's very popular-
Harold:  I know, I know. I'm sorry, honey. Didn't mean to overreact on you.
Wife: It's okay. You have the milk, right?
Harold:  Honey, I'm cradling it in my arms as we speak.
(Wife: Good. Do you want me to pick you up?
Harold: You could...uh, it's gonna be a little tricky, though.
Wife: You can just stay at the edge of the highway and wait for me to pick you up.
Harold: I know, but...there's a lot of rapists in dark places. (You might not want to pick me up when you arrive.)
Wife: Harold, don't be silly. No one's sane enough(going) to rape you.
Harold:  How do you know?!
Wife: Harold.
Harold:  Sorry, sorry.
Wife: Where exactly are you?
Harold: You know that giant hotel that's right at the crossroads of the 405?
Wife: You know...I'm just gonna use the GPS. I'll be over there pretty soon.
Harold:  All right, see you later, then.
Wife: Bye. Don't get raped.)

She hangs up.

Harold: I'll try not to. Harold: Hmm...
.......................
If you want to see a visual interpretation of this scene, go here.

The Presenters (Season 2)

The critically acclaimed animated program makes its unwelcome return to HBO for another season of inexplicable eccentricities. Join your most hated characters Harold, The Editor, Tom, and many others as they learn about themselves, and why that is usually too much information to know. Fridays at 9 only on HBO.

Season 2 was trickier to create episodes for than Season 1, I'll admit. In Season 1, you can take as many liberties as you can with the characters in order to develop them, but in Season 2, you make choices that determine whether or not the characters are behaving like they should be. Also, certain plot points, such as Harold's job as an animator, can go so far as to what kind of problems they bring for him, and with this, you have to think creatively which can be very easy when your life plagues with you with unusual thoughts and situations. Season 2 definitely takes more risks than Season 1, but usually, such risks determine whether or not the show can establish its own identity rather than fall back on past influences. I hope you enjoy Season 2, the most daring season yet.

P201-The Director The worst director in recent history begins filming his sci-fi epic of a city on the verge of being swallowed up by a black hole(a small one, however). After catching one glimpse of Harold and his co-workers in a childish argument about exit signs, he immediately hires them for the movie.

P202-The Dead Best Friend Harold, working on a long shift at Flowers United, suddenly sees his dead friend(buried in Season 1's The Funeral) right in front of him. Harold becomes horrified and tries to curse away the evil spirit, while the best friend tries to convince Harold that seeing him is worthwhile.

P203-Animatorcide Harold's failure leads to a spiraling depression that leads to him making minimalist remarks of perfection. Since every animator at Flowers United knows about the mythic "animatorcide" that killed a famed animator, they keep a close eye on Harold to make sure he doesn't try to use it. 
 
P204-The Writer When the studio realizes that their television program is on the verge of cancellation, they group together all of the writers for a show-changing brainstorm session. One writer isn't amused by the idea, curses everything in existence, and then quits. Harold goes on an impossible journey to replace him.

P205-A Weird One For Sure Hal finally gets his driving permit and drives around Los Angeles for two hours, celebrating. After a while, he drives in an unfamiliar neighborhood, and in a panic, drives in reverse into a homeowner's garage while the homeowner is still at home. The homeowner takes Hal in as a hostage until Hal is able to pay for a new garage door.

P206-The Cameo Spot Harold gets the opportunity to work on another channel to increase his notoriety. Unfortunately, it requires a cameo on a television program he hates with a star he despises. When Harold tries to switch places with Tom and fails, he gets into a childish argument with the star and accidentally exposes the star's homosexuality.

P207-Wellesian Connection Harold meets an ambitious voice actor who notices Harold's stress and suggests he tries some weed. Harold refuses and sees the actor's vocal performance, only to realize he's become attracted to the actor's voice.

P208-A Nightmare Someone Else Had After a long and frustrating day, Harold daydreams about meeting up with famous figures from horror movies(Chucky, Jason Voorhees, Alien(as a joke)) that ruined his childhood. It leads to an therapy session that the figures remorsefully give him.

P209-Wait, Say That Again? Harold, who decides to walk in on the animators working, meets Arlill Rodriguez, a 25-yr old animator brimming with possiblity. When Harold recalls their first meeting, he begins to realize that it might be a reincarnation of him, a theory everyone dismisses. Harold's suspicions are heightened when Arlill refuses to open the door for him.

P210-Flowers United Inc. Harold is woken up by a sudden phone call from The Editor. The Editor blames Harold of not being a team player, so Harold is forced to leave his house early to go to work. Arriving, he's surprised to see that no one is there except the Editor who sits in his disorganized office. Harold works on the filing while the Editor regales him on a tale of just how Flowers United was established.

P211-The Bartender Harold slips out of the office one day, and sneaks into a bar where he meets a bartender who hates people but wants to become a barber. The bartender's existence fascinates Harold and Harold gives him his contact information. After a week of no replies, the bartender begins stalking Harold.

P212-The Awkward Conversation Between Two Boys Harold notices his son Hal is finished with his homework and is now watching TV. Harold uncharacteristically walks up to Hal and begins asking him about every aspect of school, including awkwardly enough, Hal's past romantic experiences which Harold can recite from memory and in consecutive order.

P213-The Sandwich Harold meets up with Sarah, an old friend from high school who wants to break out as a voice actress. As they're having lunch, Sarah suddenly leaves in a hurry. She leaves her sandwich behind, completely untouched, and Harold becomes tempted to eat it. He slowly slides the plate towards his side.  Looking left and right, he takes a bite and has an orgasm. Harold wonders if it was the fact that she made the specific order or the sandwich itself that made his body react so strongly.

What's more surprising than the show getting picked up for a second season is the fact that there is still only one main writer who's come up with 13 more episodes to entertain the lessers with, those who can afford an HBO subscription. In this second season, with most of the characters well-established, the show takes on an unusual turn in order to dissociate itself from its source material(Curb Your Enthusiasm, South Park), and becomes its own program. The situations range from normal experiences heightened to ridiculous levels, to moments of intimacy and consciousness between the characters. The problem with an animated series is that it's expected to be very comical and hilarious all of the time, and a series won't have any space to develop if it's reduced to making rapid-fire jokes. In the spirit of Louie on FX, the show will go in whatever direction it has to for telling a story, whether it requires breaking the laws of physics or the demands of an audience. Understandably, there's very little episodes about Harold's wife since I still don't know who she is or supposed to be, and it would be insulting to her character to include in every episode as a background device. With that, I also admit that the series is becoming much more personal with certain episodes that deal with issues that I constantly think about, such as the possibility of meeting your equal(not in a romantic sense) and having horror film characters apologize for a damaged childhood, as well as reuniting with your ex-love interest. This series is meant to defy expectations, but also take viewers daring enough to watch on an unforgettable journey. If the second or first season of the Presenters has done that for you all, I'm satisfied. Third season? We'll see. 

The Presenters (Season 1)

Originally created in 10th grade.

Let's place ourselves several years in the future where this is a reality. The Presenters is the name of my animated sitcom, releasing in 2034. From the first thought I ever had about this ‘series’, I wanted to create an show designated to be the successor to The Simpsons and South Park while fusing the elements of both shows and Seinfeld/Curb Your Enthusiasm. The series runs every Friday at 9 pm on HBO. The Presenters is a show about an animator named Harold, his lovely wife with no name yet, and his 15-year old son, Hal. They live in Los Angeles, California in a quaint little suburb. Harold's personality is very similar to Larry David's on Curb although he is more confident and less impulsive than Larry is. The wife has been a difficult character to write about since I'm aware of the sitcom mom cliches and even she still feels like an artificial character at the moment. Some of the activities that she and Harold do for fun are fantasies that I occasionally dream or wonder about. Same for his son, Hal. Despite being 15 years old and relatable, I have a tendency to hate teenage characters so that might explain why Hal isn't involved in most of the episodes. Later, I'll feature posts that further elaborate on the episodes mentioned below since the short description is only a sampling of each episode.  For me, this is a major post that, two years ago, I never would’ve imagined myself making but the time seems right. This show is only for adults so some episodes have inappropriate content. Read with caution.

P101-The Goddamn Pilot We are introduced to Harold and his family, a quirky yet relatable bunch.  A chance occurrence at Harold’s job causes Harold to get the opportunity of a lifetime.

P102-The Dinner Party Harold, a week into getting his new job, invites his only friend, Tom Flounderman and his boss known as the Editor, to his house for a dinner party. When neither Tom nor the Editor can show up, he hastily invites three random workers who pretend to be his new friends.

P103-The Double Date When Hal’s double date hits an unexpected delay, Harold and his wife take advantage and go on the double date instead. The date goes well until Hal and his mother get to an unexpected emotional breakthrough and discuss their feelings at an ice cream parlor. Meanwhile, Harold and Hal’s date, Shelley, go to a movie theatre and practice tongue kissing techniques.

P104-Abbey Road Harold gets a new assistant named Abbey Road and is oblivious to Abbey’s undying affection towards him until Abbey kidnaps Harold and locks him in a closet to be a part of a ménage a trois with Abbey and the local chess champion.

P105-The Therapist Harold begins his therapy sessions, discussing his many problems with nail polish and picture frames, until the therapist rudely interrupts him and mentions his failing love life which Harold agrees to try to help out.

P106-The Car Accident Harold gets into a car accident and is forced to walk down the 405 while trying to remember how the accident happened, trying to deliver an important package to the closed post office, and trying to deliver a gallon of milk for his wife.

P107-The Teaching Job Harold’s wife finally gets the teaching job at the local elementary school, and after some ‘advice’ from Harold, she begins her job. After two weeks in her seemingly blissful career, she winds up in the middle of a love triangle with the bisexual 1st grade teacher and the 4th grade teacher who’s been struggling to come out of the closet.

P108-The Book Tour Harold reaches unprecedented levels of success when his first animated short is posted on YouTube and is critically acclaimed by everyone. When the publicity tour is announced by the animation company, Flowers United, he is all but excited when he realizes he will be interviewed by Reader’s Digest. But he first must have an interview with Cosmopolitan which he is all but nervous about.

P109-The Assistant Harold is approached by Hal’s ex-girlfriend, Kiki, for a job during the summer and after being baffled by her ignorance towards animation, gets Kiki a job as his wife’s assistant. The choice unexpectedly ruins Harold’s reputation and his sex life.

P110-The Funeral The family heads out to Michigan for Harold’s best friend’s funeral. Harold decides to change his eulogy into a standup routine that offends nearly everyone at the funeral.

P111-Impact at Mach 5 Harold goes back to his old middle school to visit his art teacher. He listens to the selection of music offered by the class and is appalled. He promises to create a new mix for the class, which he enlists his friend Tom to do. Tom downloads a sound file called Impact at Mach 5 which ends up being an audio clip of a publicized sex tape.

P112-A Trip with Mr. Hanks Harold goes on a bus trip and winds up sitting next to his favorite actor, Tom Hanks and they have a long conversation about their lives.

P113-Pause, Go get the Batteries Harold gets fired from his job due to an intense rivalry with renowned animator Reni Danlau, and Hal suddenly begins failing his classes. All goes well until a good-intended trip to Home Depot leads to a halt in the family’s future plans.           

I remember when I was biking with my neighbors up a hill and a thought came across that advertised the Rugrats video game on the Super Nintendo Entertainment System. There was no such thing but I was excited to tell everyone about it. Same with this show. For every seemingly random thought that came across my mind in high school, this was the first concerted effort that actually had potential in it, and the characters are just such a blast to write about and to explore their limitations and possibilities. I have 'created' other shows such as an adaptation of Sonic Advance 3, and temporarily wrote episodes for Spongebob Squarepants. Anybody can safely say that they've also written episodes for their favorite show but it's never in the same quality as the show itself but that should never be a reason to stop. Even if it's the most ridiculous thing ever conceived, somebody will be able to relate to it. You'd be surprised at how huge your intended audience actually is.