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Kim Voynar

By Kim Voynar Voynar@moviecitynews.com

Social Satire, Dolls and a Magic Vibrator? I’m In.

Okay, people, I know I’ve been busy with weddings and whatnot, but why is it that up until now, NO ONE TOLD ME ABOUT THE WEB SERIES ABOUT THE BARBIE DOLLS AND THE MAGIC VIBRATOR? You had to know I would be all over this. Social satire, dolls and vibrators are totally my thing. And if you toss magic spells and power objects into the mix, that’s even better.

In case your friends, like mine, were keeping all the magical vibrators to themselves, here’s the scoop: There’s this web series called The Power Object, in which three custom-designed dolls/Berkeley grads in their early 30s whose lives are not going quite the way they planned stumble upon a spell that turns a vibrator into a power object that makes wishes come true. And of course, like in any good wish fulfillment story, things don’t quite work out the way our girls planned, because they never do in wish fulfillment stories.

This is pretty good social satire, touching on things like brains versus beauty and how even a Berkeley Phi Beta Kappa can’t get ahead in television without a magic vibrator makeover; there are ticking reproductive clocks, troll babies, and an object lesson on the perils of getting what you wish for in a man. I wouldn’t quite call it the level of satiric brilliance of, say, Todd Haynes’ Superstar, but this is still good stuff and worth checking out.

The series was created by Claire-Dee Lim, co-story by Mike Werb and Michael Colleary (the trio were also responsible for Firehouse Dog, but since they went on to make THIS we can sweep that under the rug and let bygones be bygones). There are some interesting interviews with Lim on the site, where you can learn about things like how people in Hollywood are maybe interested in your story … until they hear the word “vibrator” and freak out (but if you substituted, say, transforming robots that destroy major American cities with gratuitous violence and slaughter of innocent lives, hey, that’s cool).

More to the point, you can learn about how the project came about, why they made the decision to use customized dolls to tell the story, and pretty much the answers to whatever other burning questions you might have. P.S. I don’t think Lim knows an actual spell that will turn your own beloved vibrator into a power object, although I bet she gets asked that a lot at parties these days.

Here’s the first episode — excuse me, webisode — for your viewing pleasure. All the episodes up to number eight are on the site, with one more due up next week. Enjoy, and happy summer weekend to you.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon