UPDATING OCCASIONALLY (FOR NOW)

9 thoughts on “558 – Cotton Clad Calamity”

  1. Raznaak

    Yup, he’s a bastard XD

  2. Dr. Norman (not a real doctor)

    Are those pajamas available in XXXL in the gift shop?

  3. Otaku

    It’s been a while, so let me ask: Did we get a reason for him to WANT Susie dead? Not to backseat, but if we didn’t, I’m worried were about to move into “Stupid Evil” territory. Now, stupid happens, don’t get me wrong. It’s not bad storytelling for that to be the case here.

    You’ve just done a good job NOT having that be a driving factor, so the “Kill off the stars of my successful reality TV show.” seems shortsighted, otherwise. Oh, I guess I could be mistaken about the in-story reality TV show’s success. Like, if the company behind them is losing money, or they think a change in management at the ranch would make the whole thing more popular/profitable, then I can see the above scenario happening as well.

    I REALLY think I’m just forgetting something important, but that I don’t have time to deep dive to remind me of, hence the comment. >_<

    1. Deoxy

      It certainly has been stretched out over quite a while, but there have definitely been hints from quite near the beginning that whoever is running the reality TV show definitely wants her dead.

      But I certainly don’t recall any reason why.

      1. Clint

        Yeah it’s fair to not remember since it’s been a hot minute (many, many minutes) but if you feel like a refresher the most relevant bits would be the beginning of Episode 8 and the end of Episode 15. We haven’t explicitly spelled out exactly what The Exec means by his “side hustle” or who was on the other end of that phone call, though.

        I’m hoping that when the whole thing is eventually available it will make sense, or at least enough sense to have hung this narrative on.

        1. Otaku

          Thanks for the replies, Deoxy and Clint. Yeah, I’d totally forgotten about those things. Good to know!

  4. Evervigilant

    Seems about time for the two people who aren’t there to make a surprise entrance as the ace Susie didn’t even know she had.

  5. Scarsdale

    There’s still 3-5 people on her side that might be planning something. This guy is a megalomaniac with a god complex, so letting him think he’s the sharpest tool in the shed sets him up for a fall. Everything depends on those cameras, and I suspect their little stop over by the charging coffins had something to do with her actual plan, not the one the a-hole thinks it is.

  6. lyra

    Really enjoyed the opening of Zombie Ranch. I like the combination of the western setting with the zombie concept, it gives the story a really distinctive atmosphere. I’m a freelance illustrator and animator, and I’d be interested in seeing how some of these scenes could translate into motion, especially as a short animated teaser or character scene.

    If you’re ever interested in something like that, you can reach me here:

    IG: eve_verse_
    Email: [contact.lilaclines@gmail.com](mailto:contact.lilaclines@gmail.com)
    Discord: Lyralilac_

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558 – Cotton Clad Calamity
Posted on August 26, 2026 by Dawn

What would you call this? Armchair assassination? Merk-from-home?

Well, Suzie ain't dead (or undead) quite yet, so we'll just have to see if his gloating is justifiable.

Stories in song…

Posted on February 16, 2022 by Clint

Dawn and I got around to watching Disney’s Encanto this past weekend and it’s been on my mind. A slow burn, honestly, but now I’m as obsessed as anyone else with “We Don’t Talk About Bruno” (and it’s safe to say a lot of folk are obsessed since it recently reached #1 on the Billboard Top 100 in the U.S., a feat not even “Let It Go” accomplished).

I haven’t really had any stock in the Academy Awards in many years but I have friends in the movie industry or industry-adjacent and so it’s not something I can entirely ignore. One of my friends expressed amusement that Disney’s backing for Best Original Song went to a different tune than the one currently ear worming its way through America. Apparently the story there is that Encanto’s premiere came after the deadline for submissions for Oscar consideration, so Disney just had to make a wild guess ahead of time on which one of the compositions would be The One and… well, they guessed wrong. To be fair(?) “We Don’t Talk About Bruno” is not the kind of song that focus groups and conventional wisdom would see as an Oscar contender or even a chart topper. It’s not a belting solo or a romantic duet, it’s a quirky ensemble piece that’s heavy on the storytelling to the point you arguably need to have watched the movie to understand it.

So I suppose one take away would be — a lot of people have watched the movie. But another thought that’s interesting is just the factor that should be its weakness, which is the heavy storytelling element. I personally am quite partial to songs that “move” narratively-speaking, especially if they’re bangers (as the kids say), but I have learned over the decades how little my personal tastes matter in the larger picture.

This song works, and there’s a lot of analysis that can be done on why it gels together in such an effective way, including a climactic group repeat of individual stanzas that’s up there with “One Day More” from Les Miserables even though the subject matter is basically family gossip rather than revolution.

But one thing that comes to mind is that I’ve been listening to the audiobook of Maria Konnikova’s The Confidence Game which is all about con artistry and why people keep being susceptible to its wiles throughout the centuries, and one thing she brings up is the power of storytelling. Facts, she explains, can be argued and refuted. Stories are slippier things to deny and tend to take root much more easily in our psyches, which is likely why ancient parents first made up something out in the woods that would eat you if you wandered off, just like poor little Og got eaten — rather than just rattling off what big fangs a sabretooth cat has.

Stories can have immense power for good and ill, which is a heady thing to contemplate as a storyteller. But in the meantime, it makes it less surprising to me that a mysterious tale spun about a lost relative could resonate with a mass audience, especially if it’s got a beat you can dance to.