Ales Kot writes because nothing else makes sense. He's responsible for screenplays, video games, graphic novels and products/experiences which do not even have their names assigned as of yet. His portfolio includes Disney, Warner Brothers, Image Comics, Marvel Entertainment, DC Entertainment, Dark Horse Comics and more.

If you want to contact him, his email is aleskotsays at gmail and his cell phone is 310-259-7803. If you want to talk with his manager, contact Ari Lubet at 3 Arts Entertainment. If you want to talk with his agents, contact Roger Green and Phil d'Amecourt at WME Entertainment. If you want to talk with his lawyer, contact Caitlin DiMotta at Impact Law Group. If you want to talk with his imaginary platypus, you better imagine it.

"A decade ago, I set out to investigate luck. I wanted to examine the impact on people’s lives of chance opportunities, lucky breaks and being in the right place at the right time. After many experiments, I believe that I now understand why some people are luckier than others and that it is possible to become luckier. To launch my study, I placed advertisements in national newspapers and magazines, asking for people who felt consistently lucky or unlucky to contact me. Over the years, 400 extraordinary men and women volunteered for my research from all walks of life: the youngest is an 18-year-old student, the oldest an 84-year-old retired accountant. Jessica, a 42-year-old forensic scientist, is typical of the lucky group. As she explained: "I have my dream job, two wonderful children and a great guy whom I love very much. It’s amazing; when I look back at my life, I realise I have been lucky in just about every area." In contrast, Carolyn, a 34-year-old care assistant, is typical of the unlucky group. She is accident-prone. In one week, she twisted her ankle in a pothole, injured her back in another fall and reversed her car into a tree during a driving lesson. She was also unlucky in love and felt she was always in the wrong place at the wrong time. Over the years, I interviewed these volunteers, asked them to complete diaries, questionnaires and intelligence tests, and invited them to participate in experiments. The findings have revealed that although unlucky people have almost no insight into the real causes of their good and bad luck, their thoughts and behaviour are responsible for much of their fortune."

On being lucky.

On it

On it

karmakarmanyc:

Joe Bradley
Visualize Dolphins, 2014
Etched plastic plaque
10 × 12 inches (25.4 × 30.48 cm)

karmakarmanyc:

Joe Bradley

Visualize Dolphins, 2014

Etched plastic plaque

10 × 12 inches (25.4 × 30.48 cm)

durgapolashi:

nobody writes a “me too” sentence like Vivian Gornick

durgapolashi:

nobody writes a “me too” sentence like Vivian Gornick

julietremblaydrawings:

Julie Tremblay, 2014

julietremblaydrawings:

Julie Tremblay, 2014

Anonymous asked:
u & ur cohort clame 2 b so progressv/lib/etc. but all ur shit is abou skinny white naked bitches - the most capitalist commodity.

Ales Kot
Ales Kot answered:

fifidunks:

hi anon! thx for writing. could you elaborate on “ur cohort” & “ur shit,” like who & what exactly? i agree that skinny naked white women are a highly valuable commodity in our current economy. i’ll also admit i’m late in recognizing this. it wasn’t until moving to nyc from montreal, & starting to work in pop media, that i really understood in a feeling based way (i intellectually-via-education/second-hand “knew” this; not the same) how bodies function as commodities.

"feelings are facts." (yvonne rainer) 

seeing is believing:

this reality is now indisputable to me and it bums me out daily. in the same way as i, since moving to the states (been 2.5 yrs), now can’t go to a museum w/out — to riff on my friend durga — thinking about the lives of the guards, and the violent, exploitative history of Western Art, i now can’t visit a newsstand w/out getting really fucking angry, then sad about the limited forms of bodies celebrated. 

i’ve spent much of the last couple yrs thinking about how desire is cultured, how i can reprogram or hack my gaze, open it up to more love & pleasure, to variety, limitlessness. this morning my skinny Czech dude lover mime sucked my phantom cock & it was really hot. there are so many possibilities! i want to be open to them all. i’m open to criticism like yours — i love it — but i’d appreciate if it came w/ some guidance, if you’re willing. so far my gaze change initiative has largely been a personal one. 

what do you want to see? 

my “progressive” education, archived online, is revealing: naïveté & blind spots exhibited. i would love to see a super social/cultural overhaul, to help partake in not just liberal but radical (to the root) progress (america looks 1950’s conservative rn), but i don’t know how to effect such change, except in educating myself & in working honestly within my little circles.

one definition of progressive is “happening in stages; step by step.” 

on every page of the second print issue of Adult it says “We breathe! We change!” 

hope to hear from you again.

xF

Jane Eyre, dir. Cary Fukunaga, 2011

Jane Eyre, dir. Cary Fukunaga, 2011

Jane Eyre, dir. Cary Fukunaga, 2011

Jane Eyre, dir. Cary Fukunaga, 2011

It is thanks to my evening reading alone that I am still more or less sane.
- W. G. Sebald, Vertigo, trans. Michael Hulse (via proustitute)
proustitute:

Robert Bresson, Four Nights of a Dreamer, 1971

proustitute:

Robert Bresson, Four Nights of a Dreamer, 1971

proustitute:

Michelangelo Antonioni, Il deserto rosso, 1964

proustitute:

Michelangelo Antonioni, Il deserto rosso, 1964

wellnotwisely:

Judge Anderson: Satan, illustrated by Arthur Ranson, written by Alan Grant. One of my favourites.

Fifi, being everything.

Fifi, being everything.