#i only use my familys netflix account for horror movies

[peachtozier]

every time I go on netflix it recommends it 2017. STOPPP

#i only use my familys netflix account for horror movies #mostly bc im yet to find a pirating site with consistent subtitles #and there are so many horror movies with inaudible whispering disease #but yeah. every time i go to waych a movie it pops up and it TEMPTS ME #i dont need a tenth rewatch of it. i dont need a tenth rewatch of it.

[sept-dix]

first snow (heeseung)

summary: you make a promise to confess to heeseung on the day of the first snowfall warnings: slight slight angst at certain parts (๑ ˊ͈ ᐞ ˋ͈ )ƅ̋ wc: 2.2k a/n: for holiday hearts; this turned out to be a little longer than i intended but i’m not mad about it ʕ·ᴥ·ʔ (belated) merry christmas and an (early) happy new year to everyone! <3

❄️❄️❄️

“on the day of the first snowfall, we confess. okay?”

jake’s eyes are wide open as he looks at you, his hand gripping your arm tightly from where he is sitting beside you on your bedroom floor. he’s serious about this, you can tell, but you can’t help but sigh at his proposition.

“jake, are you sure about this? it could literally snow tomorrow. would you be able to confess tomorrow?”

“yes! i would! and you should too! what’s stopping you?”

well. what’s stopping you is the thought of your best friend hearing your confession and then looking at you like you’re crazy. that’s how it always goes down in your imagination—you confess, heeseung freezes, and then he looks at you like you’re insane before turning you down gently.

you always picture him to have a slight look of pity in his eyes when he hears your confession—a look that says i wish i liked you too, but i don’t. that look from your imagination is what’s stopping you.

one day you’re going to turn around and dropkick the infuriating little voice in your head that always comes up with the worst possible scenarios for you in any given situation.

“it’s okay, y/n. it’ll turn out just fine, trust me.” jake says, as if reading your mind.

and as much as you fear the possibility of rejection, it’s even harder to live everyday wondering what could be if only you were that much braver.

“fine. but only if you confess to her first. text me that you’ve confessed, and then i’ll do it.”

“deal!” jake’s entire face lights up as you give in. “besides, they say if you confess on the day of the first snow, the two of you will stay together for a long, long time.”

❄️❄️❄️

you spend majority of the next week making sure that you’re always in view of a window, eyes anxiously looking out at even the slightest hints of movement outside in case it’s a snowflake falling. you spend the rest of the time with your eyes trained on your phone, afraid that somehow snow had fallen and you hadn’t noticed and jake had texted you that he had confessed to his crush and you would be up next.

luckily for you, neither of those things happen.

in fact, the only notification you get on your phone is a text from heeseung himself.

just stole my brother’s netflix account. wanna come watch smth?

hanging out with heeseung on his couch, his feet on your lap as you give him the stinky eye for having his stinky feet so close to your nose, both of you laughing at the low-budget horror film that’s playing on the tv—none of this feels new to you.

actually, it’s the farthest thing from new. the both of you have been best friends for years now, and you like to think you know almost everything there is to know about him by now. spending time with heeseung feels like the easiest thing to do.

“is there something on my face?” heeseung asks, launching a popcorn at your head. “why are you staring at me like that?”

but of course, nothing is actually easy when your best friend is oblivious and you like him and you don’t know when it’s going to start snowing or what you’re going to say once it does.

“i’m not,” you reply, although you quite obviously are.

you push his feet off of your lap as he aims another popcorn at you. “get your stinky feet off my lap, for god’s sake.”

“hey, hey, don’t bring god into this.” he sits upright and scoots next to you on the couch. the both of you turn your attention back to the film before he speaks again, his eyes not leaving the screen.

“anyway, what are you doing on christmas eve?”

“nothing much. dinner with my family, i think. what about you?”

heeseung takes a moment to answer, his eyes trained on the television so closely that for a second, you think he hasn’t heard your reply and is actually back to watching the film.

in that same second you also wonder if maybe he’ll ask you to spend the evening with him instead, but you stuff that thought back where it came from before you start forming any real hope.

“yeah, i think i’m spending it with my family, too.” he finally answers, and as if on cue, the girl from the horror movie lets out a horrifying scream.

❄️❄️❄️

jake sends you a screenshot of the weather report the next week. it reads: first snow of the season expected to fall today. total snow accumulation predicted to be 2 to 5 inches.

“prepare your confession speech,” he texts you. “we have to do it today.”

somewhere in the back of your mind you wonder why jake is being so dramatic about all of this. if he was so ready to confess, he could just do it now instead of waiting for snowfall. or maybe he just really believed in that “if you confess on the day of the first snow you’ll last longer” theory.

either way, The Confession was fast approaching and you have yet to come up with a concrete plan about how you’re going to confess. you have been actively trying to avoid thinking about it for the sole reason that every time you do, that nasty voice in the back of your head begins pushing you down a spiral of anxiety. but not thinking about it is just making you nervous in its own way.

so naturally, to take your mind off heeseung, you text heeseung.

twenty minutes later he’s on your chair, aimlessly rolling around your room as you lie on your bed.

“what do you wanna do?”

“i don’t know, anything. i’m so bored.”

“me too. my brother changed his netflix password so i can’t use his account anymore.”

you chuckle, turning your head to face him. he looks absolutely breathtaking in his hoodie, the soft pink hue of the fabric a charming contrast against the rich colour of his skin.

“let’s come up with new year’s resolutions for the new year.” you reply. it’s a conversation the two of you have together almost every year-end, and you want to know what is on heeseung’s mind this time.

“hm… okay, the first one for me is to exercise regularly. i’m gonna be swole this time next year.”

you snort. “isn’t that what you said last year?”

heeseung can’t help but laugh at that, but his tone is indignant as he replies. “this time it’s for real!!!”

“fine, fine, what’s your next one?”

“next one… would be to learn how to play the guitar?”

you nod at this-unfortunately you can’t bring yourself to tease a music prodigy about his love for music.

“that’s nice. you’ll have to play for me once you learn.”

you stare up at the ceiling, wondering what your new year’s resolution should be. you wonder vaguely if heeseung will still be by your side to have this same conversation with you next year.

“actually, i have one last one,” heeseung says, rolling over languidly to your table to fiddle with the stationery you have strewn all over the tabletop. “i’m going to confess to my crush next year.”

you freeze. his crush?

“you look like you’ve seen a ghost,” heeseung says, giggling softly at the expression on your face. “what’s so shocking about that?”

“your crush? you never told me you had someone you liked,” you say, unable to keep the tone of surprise and slight betrayal out of your voice.

this changes everything, doesn’t it? if heeseung has someone he likes, you can’t just confess knowing that he definitely does not return your feelings. your mind is going a mile per minute, and all you can do is sit and stare at heeseung, who looks as gorgeous as always as he doodles absentmindedly on your notebook.

“i do,” he replies quietly, a small smile on his face as he looks up at you. wow, he must really like whoever it is if just the mention of them makes him smile like this. “you know this person, too!”

great.

“who…—” but before you can finish your question, heeseung suddenly gasps as his eyes widen almost comically, peering out of the window that is directly above your desk.

“y/n! look!” heeseung says, parting the curtains fully and gesturing you to come over. “it’s snowing!!!”

oh my god. it’s like the snow gods are laughing at you.

you make your way over and watch with your mouth open as the snowflakes twirl and fall, softly piling up upon one another on the concrete pavement. it isn’t heavy, and the snow on the ground is quickly melting, but there’s no denying that it is, in fact, snowing. the one damn time the weather forecast is right and it’s for this.

“it really is snowing,” you mumble, leaning closer out the window to get a better look.

“this is so pretty! do you think we’ll get a white christmas this year?” heeseung presses up against the window right beside you, turning to look at you with an expectant look in his eyes. lee heeseung, whose eyes sparkle at the mere thought of it snowing on the most festive day of the year. your heart squeezes painfully in your chest.

honestly, you think to yourself. just because he likes someone else doesn’t mean you don’t deserve to tell him what you feel, right? you don’t expect anything back from him, you could just follow through on your promise with jake and get it off your chest and continue with life as per normal. heeseung wouldn’t be weird about it-he’s heeseung.

“y/n?” heeseung asks, waving an unsure hand in front of you. “is everything okay?”

there’s a confused smile on his face, and his warm brown eyes look concerned as they search yours.

“heeseung, i think i have something to tell you.”

“suddenly?” his brows furrow in confusion. “you can tell me anything, you know. what is it?”

“i know you just said there’s someone else you like, and i know this seems like it’s out of the blue, but i have someone i really like too.”

heeseung’s eyes widen just a fraction, but he maintains his expression. “what? who is it?”

you take an unsteady breath. there’s no turning back now.

“it’s you, heeseung.”

“…it’s me?”

“you don’t have to say anything. i know you already like someone else, i’m just confessing because i made a pact with jake. we can just forget what i said and move o—”

“a pact with jake???” heeseung looks confused, his mind racing to keep up with your words.

“yeah, we had a promise. it’s nothing big, actually, it was something about the snow and. never mind, i shouldn’t ha—”

you cut yourself off when you suddenly feel heeseung’s hands on either side of your face. his hands are warm, slightly rough because it’s the winter and he never uses hand cream even when you tell him too.

“you don’t get to confess and then just move on like that,” he says, his face a mere few inches away from yours as he turns to face you.

“aren’t you going to ask me who the person i like is?” he asks, and your mind goes blank. what does it matter who he likes now? when you’ve just confessed to him?

he sighs slightly at your silence. “i thought i was being fairly obvious. it’s you, y/n. i was going to confess to you in the new year.” he smiles unsteadily as he says this, eyes sparkling the same way it did at the mention of a white christmas earlier. “now stop looking so upset, i just told you i like you, too.”

he pats your cheek playfully as his smile widens, watching in amusement at the shock on your face.

you had come up with a hundred different ways in which this could have ended, but none of your scenarios ever looked like this. suddenly the heat from his hands on the sides of your face feels a bit too warm.

“really? are you sure?”

“of course i’m sure, y/n! why wouldn’t i be sure?” he asks with a soft chuckle. “i’ve felt this way for the longest time now.”

for the longest time now. your stomach does a funny flip at the words, your heart stuttering as the reality of the situation dawns upon you.

you confessed and lee heeseung confessed right back. lee heeseung likes you and he says he’s sure about it.

everything’s falling into place, just like the soft, white flakes finding a home on the broad, sturdy branches of the oak tree outside.

maybe jake is right-something about the first snow really does feel magical.

(the moment is broken by the violent buzzing of your phone from where it is on your bed.

jake: y/n look out it’s snowing!!!

jake: it’s time!!!

jake: wait actually i’m not sure about this

jake: i don’t even know where she is right now

jake: i’m scared. this is scarier than i thought

jake:

jake: y/n are u there???)

#enhypen #enhypenwriters #holidayhearts #enhypen scenarios #enhypen imagines

[themanicnami]

Willow’s Witchy Wishlist 2020

Hey guys! It’s that time of year again, and I’ve seen a few of these going around. Like usual, I will do my best to participate to because especially after this year we’ve had. 

Now with that being said, we all know many of us are having financial issues (myself included), so I want to stress you DO NOT have to buy me anything. I have plenty other things on my wish list that is free! And I will be doing my best with others that I see on here asking for the same. With that being said - if you do want to get me something that requires shipping please IM me or send me an ask for further details.

Willow’s Wish List

Stickers: I love collecting them, any kind: cheap, scented, fuzzy, shiny, big, small, scrapbooking, etc. I love them all and I use them in spells! So I always am happy to see them as gifts!

Recipes: I am trying really really hard to start cooking though with so limited hours and there for limited income its hard for me to find recipes that don’t call for fifteen or more ingredients. But I am always happy to find recipes for cheap, affordable and/or low ingredient count recipes! I am far from a picky eater with only mild reactions to acidic foods so for the most part any recipe I am happy to receive! Links or typed up or just a photo - never needs to be fancy!

Gel Pens: another of one of the only things that I will mention that costs money other than the stickers is gel pens: I use them for my grimoire, for spells, at work to try to brighten up the few shifts I have, I use them for D&D and for list making to help my anxiety. I adore them so very much, no matter color or even brand.

Witchy Crafts: Like recipes I am trying very hard to expand my little arts and crafts and things to do at home during quarantine and partial unemployment. Anything that is low cost and fun to do I am happy to hear about! Especially if there is a witchy twist to it!

Pet Photos: I love pets, I love looking at pet photos and one of the things that can really help calm me after an anxiety episode which have been more frequent due to everything going on: due to this please send me pet photos! all pets are welcome!

E-book/PDF Recommendations: if anyone has any good folklore, mythology, witchcraft, pagan and/or history ebooks or pdfs that are free to read and are good quality/interesting then please do let me know! These have been really helping me pass time.

Movie Recommendations: Again, this is how I’m passing some time especially after an anxious day. I have Hulu (share with a friend) and Netflix (family account) but other than that I am not able to buy anything else at this time (esp. not expensive ones like disney+ or hbo x-x) But if you know any good movies on those sites or elsewhere (dailymotion, youtube, etc) please let me know! I specifically enjoy: documentaries, crime/mystery, horror, fantasy, animated, musicals and era films. 

I hope this wasn’t asking too much again, I know many of us are struggling! If you are interested, I am still doing commissions but otherwise I just want everyone to have a good safe end to 2020. Happy Yule, Merry Christmas, Happy Hanukah, Happy Kwanzaa, Happy Holidays and everyone please stay safe! Especially my fellow people still struggling here in the states with anti-maskers and every else trying to drag us down more.  

Commissions Post

#2020 wish list #witchy wish list #witchy wishlist

[grigori77]

2020 in Movies - My Top 30 Fave Movies (Part 2)

20.  ONWARD – Disney and Pixar’s best digitally animated family feature of 2020 (beating the admittedly impressive Soul to the punch) clearly has a love of fantasy roleplay games like Dungeons & Dragons, its quirky modern-day AU take populated by fantastical races and creatures seemingly tailor-made for the geek crowd … needless to say, me and many of my friends absolutely loved it.  That doesn’t mean that the classic Disney ideals of love, family and believing in yourself have been side-lined in favour of fan-service – this is as heartfelt, affecting and tearful as their previous standouts, albeit with plenty of literal magic added to the metaphorical kind.  The central premise is a clever one – once upon a time, magic was commonplace, but over the years technology came along to make life easier, so that in the present day the various races (elves, centaurs, fauns, pixies, goblins and trolls among others) get along fine without it. Then timid elf Ian Lightfoot (Tom Holland) receives a wizard’s staff for his sixteenth birthday, a bequeathed gift from his father, who died before he was born, with instructions for a spell that could bring him back to life for one whole day.  Encouraged by his brash, over-confident wannabe adventurer elder brother Barley (Chris Pratt), Ian tries it out, only for the spell to backfire, leaving them with the animated bottom half of their father and just 24 hours to find a means to restore the rest of him before time runs out.  Cue an “epic quest” … needless to say, this is another top-notch offering from the original masters of the craft, a fun, affecting and thoroughly infectious family-friendly romp with a winning sense of humour and inspired, flawless world-building.  Holland and Pratt are both fantastic, their instantly believable, ill-at-ease little/big brother chemistry effortlessly driving the story through its ingenious paces, and the ensuing emotional fireworks are hilarious and heart-breaking in equal measure, while there’s typically excellent support from Julia Louis-Dreyfus (Elaine from Seinfeld) as Ian and Barley’s put-upon but supportive mum, Laurel, Octavia Spencer as once-mighty adventurer-turned-restaurateur “Corey” the Manticore and Mel Rodriguez (Getting On, The Last Man On Earth) as overbearing centaur cop (and Laurel’s new boyfriend) Colt Bronco.  The film marks the sophomore feature gig for Dan Scanlon, who debuted with 2013’s sequel Monsters University, and while that was enjoyable enough I ultimately found it non-essential – no such verdict can be levelled against THIS film, the writer-director delivering magnificently in all categories, while the animation team have outdone themselves in every scene, from the exquisite environments and character/creature designs to some fantastic (and frequently delightfully bonkers) set-pieces, while there’s a veritable riot of brilliant RPG in-jokes to delight geekier viewers (gelatinous cube! XD).  Massive, unadulterated fun, frequently hilarious and absolutely BURSTING with Disney’s trademark heart, this was ALMOST my animated feature of the year.  More on that later …

19.  THE GENTLEMEN – Guy Ritchie’s been having a rough time with his last few movies (The Man From UNCLE didn’t do too bad but it wasn’t exactly a hit and was largely overlooked or simply ignored, while intended franchise-starter King Arthur: Legend of the Sword was largely derided and suffered badly on release, dying a quick death financially – it’s a shame on both counts, because I really liked them), so it’s nice to see him having some proper success with his latest, even if he has basically reverted to type to do it.  Still, when his newest London gangster flick is THIS GOOD it seems churlish to quibble – this really is what he does best, bringing together a collection of colourful geezers and shaking up their status quo, then standing back and letting us enjoy the bloody, expletive-riddled results. This particularly motley crew is another winning selection, led by Matthew McConaughey as ruthlessly successful cannabis baron Mickey Pearson, who’s looking to retire from the game by selling off his massive and highly lucrative enterprise for a most tidy sum (some $400,000,000 to be precise) to up-and-coming fellow American ex-pat Matthew Berger (Succession’s Jeremy Strong, oozing sleazy charm), only for local Chinese triad Dry Eye (Crazy Rich Asians’ Henry Golding, chewing the scenery with enthusiasm) to start throwing spanners into the works with the intention of nabbing the deal for himself for a significant discount.  Needless to say Mickey’s not about to let that happen … McConaughey is ON FIRE here, the best he’s been since Dallas Buyers Club in my opinion, clearly having great fun sinking his teeth into this rich character and Ritchie’s typically sparkling, razor-witted dialogue, and he’s ably supported by a quality ensemble cast, particularly co-star Charlie Hunnam as Mickey’s ice-cold, steel-nerved right-hand-man Raymond Smith, Downton Abbey’s Michelle Dockery as his classy, strong-willed wife Rosalind, Colin Farrell as a wise-cracking, quietly exasperated MMA trainer and small-time hood simply known as the Coach (who gets many of the film’s best lines), and, most notably, Hugh Grant as the film’s nominal narrator, thoroughly morally bankrupt private investigator Fletcher, who consistently steals the film.  This is Guy Ritchie at his very best – a twisty rug-puller of a plot that constantly leaves you guessing, brilliantly observed and richly drawn characters you can’t help loving in spite of the fact there’s not a single hero among them, a deliciously unapologetic, politically incorrect sense of humour and a killer soundtrack.  Getting the cinematic year off to a phenomenal start, it’s EASILY Ritchie’s best film since Sherlock Holmes, and a strong call-back to the heady days of Snatch (STILL my favourite) and Lock, Stock & Two Smoking Barrels.  Here’s hoping he’s on a roll again, eh?

18.  SPONTANEOUS – one of the year’s biggest under-the-radar surprise hits for me was one which I actually might not have caught if things had been a little more normal and ordered.  Thankfully with all the lockdown and cinematic shutdown bollocks going on, this fantastically subversive and deeply satirical indie teen comedy horror came along at the perfect time, and I completely flipped out over it.  Now those who know me know I don’t tend to gravitate towards teen cinema, but like all those other exceptions I’ve loved over the years, this one had a brilliantly compulsive hook I just couldn’t turn down – small-town high-schooler Mara (Knives Out and Netflix’ Cursed’s Katherine Langford) is your typical cool outsider kid, smart, snarky and just putting up with the scene until she can graduate and get as far away as possible … until one day in her senior year one of her classmates just inexplicably explodes. Like her peers, she’s shocked and she mourns, then starts to move on … until it happens again.  As the death toll among the senior class begins to mount, it becomes clear something weird is going on, but Mara has other things on her mind because the crisis has, for her, had an unexpected benefit – without it she wouldn’t have fallen in love with like-minded oddball new kid Dylan (Lean On Pete and Words On Bathroom Walls’ Charlie Plummer). The future’s looking bright, but only if they can both live to see it … this is a wickedly intelligent film, powered by a skilfully executed script and a wonderfully likeable young cast who consistently steer their characters around the potential cliched pitfalls of this kind of cinema, while debuting writer-director Brian Duffield (already a rising star thanks to scripts for Underwater, The Babysitter and blacklist darling Jane Got a Gun among others) show he’s got as much talent and flair for crafting truly inspired cinema as he has for thinking it up in the first place, delivering some impressively offbeat set-pieces and several neat twists you frequently don’t see coming ahead of time.  Langford and Plummer as a sassy, spicy pair who are easy to root for without ever getting cloying or sweet, while there’s glowing support from the likes of Hayley Law (Rioverdale, Altered Carbon, The New Romantic) as Mara’s best friend Tess, Piper Perabo and Transparent’s Rob Huebel as her increasingly concerned parents, and Insecure’s Yvonne Orji as Agent Rosetti, the beleaguered government employee sent to spearhead the investigation into exactly what’s happening to these kids.  Quirky, offbeat and endlessly inventive, this is one of those interesting instances where I’m glad they pushed the horror elements into the background so we could concentrate on the comedy, but more importantly these wonderfully well-realised and vital characters – there are some skilfully executed shocks, but far more deep belly laughs, and there’s bucketloads of heart to eclipse the gore.  Another winning debut from a talent I intend to watch with great interest in the future.

17.  HAMILTON – arriving just as Black Lives Matter reached fever-pitch levels, this feature presentation of the runaway Broadway musical smash-hit could not have been better timed. Shot over three nights during the show’s 2016 run with the original cast and cut together with specially created “setup shots”, it’s an immersive experience that at once puts you right in amongst the audience (at times almost a character themselves, never seen but DEFINITELY heard) but also lets you experience the action up close.  And what action – it’s an incredible show, a thoroughly fascinating piece of work that reads like something very staid and proper on paper (an all-encompassing biographical account of the life and times of American Founding Father Alexander Hamilton) but, in execution, becomes something very different and EXTREMELY vital.  The execution certainly couldn’t be further from the usual period biopic fare this kind of historical subject matter usually gets (although in the face of recent high quality revisionist takes like Marie Antoinette, The Great and Tesla it’s not SO surprising), while the cast is not at all what you’d expect – with very few notable exceptions the cast is almost entirely people of colour, despite the fact that the real life individuals they’re playing were all very white indeed.  Every single one of them is also an absolute revelation – the show’s writer-composer Lin-Manuel Miranda (already riding high on the success of In the Heights) carries the central role of Hamilton with effortless charm and raw star power, Leslie Odom Jr. (Smash, Murder On the Orient Express) is duplicitously complex as his constant nemesis Aaron Burr, Christopher Jackson (In the Heights, Moana, Bull) oozes integrity and nobility as his mentor and friend George Washington, Phillipa Soo is sweet and classy as his wife Eliza while Renée Elise Goldsberry (The Immortal Life of Henrietta Jacks, Altered Carbon) is fiery and statuesque as her sister Angelica Schuyler (the one who got away), and Jonathan Groff (Mindhunter) consistently steals every scene he’s in as fiendish yet childish fan favourite King George III, but the show (and the film) ultimately belongs to veritable powerhouse Daveed Diggs (Blindspotting, The Good Lord Bird) in a spectacular duel role, starting subtly but gaining scene-stealing momentum as French Revolutionary Gilbert du Motier, the Marquis de Lafayette, before EXPLODING onto the stage in the second half as indomitable third American President Thomas Jefferson.  Not having seen the stage show, I was taken completely by surprise by this, revelling in its revisionist genius and offbeat, quirky hip-hop charm, spellbound by the skilful ease with which is takes the sometimes quite dull historical fact and skews it into something consistently entertaining and absorbing, transported by the catchy earworm musical numbers and thoroughly tickled by the delightfully cheeky sense of humour strung throughout (at least when I wasn’t having my heart broken by moments of raw dramatic power). Altogether it’s a pretty unique cinematic experience I wish I could have actually gotten to see on the big screen, and one I’ve consistently recommended to all my friends, even the ones who don’t usually like musicals.  As far as I’m concerned it doesn’t need a proper Les Misérables style screen adaptation – this is about as perfect a presentation as the show could possibly hope for.

16.  SPUTNIK – summer’s horror highlight (despite SERIOUSLY tough competition) was a guaranteed sleeper hit that I almost missed entirely, stumbling across the trailer one day on YouTube and getting bowled over by its potential, prompting me to hunt it down by any means necessary.  The feature debut of Russian director Egor Abramenko, this first contact sci-fi chiller is about as far from E.T. as it’s possible to get, sharing some of the same DNA as Carpenter’s The Thing but proudly carving its own path with consummate skill and definitely signalling great things to come from its brand new helmer and relative unknown screenwriters Oleg Malovichko and Andrei Zolotarev.  Oksana Akinshina (probably best known in the West for her powerful climactic cameo in The Bourne Supremacy) is the beating heart of the film as neurophysiologist Tatyana Yuryevna Klimova, brought in to aid in the investigation in the Russian wilderness circa 1983 after an orbital research mission goes horribly wrong.  One of the cosmonauts dies horribly, while the other, Konstantin (The Duelist’s Pyotr Fyodorov) seems unharmed, but it quickly becomes clear that he’s now the host for something decidedly extraterrestrial and potentially terrifying, and as Tatyana becomes more deeply embroiled in her assignment she comes to realise that her superiors, particularly mysterious Red Army project leader Colonel Semiradov (The PyraMMMid’s Fyodor Bondarchuk), have far more insidious plans for Konstantin and his new “friend” than she could ever imagine. This is about as dark, intense and nightmarish as this particular sub-genre gets, a magnificently icky body horror that slowly builds its tension as we’re gradually exposed to the various truths and the awful gravity of the situation slowly reveals itself, punctuated by skilfully executed shocks and some particularly horrifying moments when the evils inflicted by the humans in charge prove far worse than anything the alien can do, while the ridiculously talented writers have a field day pulling the rug out from under us again and again, never going for the obvious twist and keeping us guessing right to the devastating ending, while the beautifully crafted digital creature effects are nothing short of astonishing and thoroughly creepy.  Akinshina dominates the film with her unbridled grace, vulnerability and integrity, the relationship that develops between Tatyana and Konstantin (Fyodorov delivering a beautifully understated turn belying deep inner turmoil) feeling realistically earned as it goes from tentatively wary to tragically bittersweet, while Bondarchuk invests the Colonel with a nuanced air of tarnished authority and restrained brutality that made him one of my top screen villains for the year.  One of 2020’s great sleeper hits, I can’t speak of this film highly enough – it’s a genuine revelation, an instant classic for whom I’ll sing its praises for years to come, and I wish enormous future success to all the creative talents involved.

15.  THE INVISIBLE MAN – looks like third time’s a charm for Leigh Whannell, writer-director of my ALMOST horror movie of the year (more on that later) – while he’s had immense success as a horror writer over the years (co-creator of both the Saw and Insidious franchises), as a director his first two features haven’t exactly set the world alight, with debut Insidious: Chapter III garnering similar takes to the rest of the series but ultimately turning out to be a bit of a damp squib quality-wise, while his second feature Upgrade was a stone-cold masterpiece that was (rightly) EXTREMELY well received critically, but ultimately snuck in under the radar and has remained a stubbornly hidden gem since. No such problems with his third feature, though – his latest collaboration with producer Jason Blum and the insanely lucrative Blumhouse Pictures has proven a massive hit both financially AND with reviewers, and deservedly so.  Having given up on trying to create a shared cinematic universe inhabited by their classic monsters, Universal resolved to concentrate on standalones to showcase their elite properties, and their first try is a rousing success, Whannell bringing HG Wells’ dark and devious human monster smack into the 21st Century as only he can.  The result is a surprisingly subtle piece of work, much more a lethally precise exercise in cinematic sleight of hand and extraordinary acting than flashy visual effects, strictly adhering to the Blumhouse credo of maximum returns for minimum bucks as the story is stripped down to its bare essentials and allowed to play out without any unnecessary weight.  The Handmaid’s Tale’s Elizabeth Moss once again confirms what a masterful actress she is as she brings all her performing weapons to bear in the role of Cecelia “Cee” Kass, the cloistered wife of affluent but monstrously abusive optics pioneer Aidan Griffin (Netflix’ The Haunting of Hill House’s Oliver Jackson-Cohen), who escapes his clutches in the furiously tense opening sequence and goes to ground with the help of her closest childhood friend, San Francisco cop James Lanier (Leverage’s Aldis Hodge) and his teenage daughter Sydney (A Wrinkle in Time’s Storm Reid).  Two weeks later, Aidan commits suicide, leaving Cee with a fortune to start her life over (with the proviso that she’s never ruled mentally incompetent), but as she tries to find her way in the world again little things start going wrong for her, and she begins to question if there might be something insidious going on.  As her nerves start to unravel, she begins to suspect that Aidan is still alive, still very much in her life, fiendishly toying with her and her friends, but no-one can see him.  Whannell plays her paranoia up for all it’s worth, skilfully teasing out the scares so that, just like her friends, we begin to wonder if it might all be in her head after all, before a spectacular mid-movie reveal throws the switch into high gear and the true threat becomes clear.  The lion’s share of the film’s immense success must of course go to Moss – her performance is BEYOND a revelation, a blistering career best that totally powers the whole enterprise, and it goes without saying that she’s the best thing in this.  Even so, she has sterling support from Hodge and Reid, as well as Love Child’s Harriet Dyer as Cee’s estranged big sister Emily and Wonderland’s Michael Dorman as Adrian’s slimy, spineless lawyer brother Tom, and, while he doesn’t have much actual (ahem) “screen time”, Jackson-Cohen delivers a fantastically icy, subtly malevolent turn which casts a large “shadow” over the film.  This is one of my very favourite Blumhouse films, a pitch-perfect psychological chiller that keeps the tension cranked up unbearably tight and never lets go, Whannell once again displaying uncanny skill with expert jump-scares, knuckle-whitening chills and a truly astounding standout set-piece that easily goes down as one of the top action sequences of 2020. Undoubtedly the best version of Wells’ story to date, this goes a long way in repairing the damage of Universal’s abortive “Dark Universe” efforts, as well as showcasing a filmmaking master at the very height of his talents.

14.  EXTRACTION – the Coronavirus certainly has threw a massive spanner in the works of the year’s cinematic calendar – among many other casualties to the blockbuster shunt, the latest (and most long-awaited) MCU movie, Black Widow, should have opened to further record-breaking box office success at the end of spring, but instead the theatres were all closed and virtually all the heavyweights were pushed back or shelved indefinitely.  Thank God, then, for the streaming services, particularly Hulu, Amazon and Netflix, the latter of which provided a perfect movie for us to see through the key transition into the summer blockbuster season, an explosively flashy big budget action thriller ushered in by MCU alumni the Russo Brothers (who produced and co-wrote this adaptation of Ciudad, a graphic novel that Joe Russo co-created with Ande Parks and Fernando Leon Gonzalez) and barely able to contain the sheer star-power wattage of its lead, Thor himself.  Chris Hemsworth plays Tyler Rake, a former Australian SAS operative who hires out his services to an extraction operation under the command of mercenary Nik Khan (The Patience Stone’s Golshifteh Farahani), brought in to liberate Ovi Mahajan (Rudhraksh Jaiswal in his first major role), the pre-teen son of incarcerated Indian crime lord Ovi Sr. (Pankaj Tripathi), who has been abducted by Bangladeshi rival Amir Asif (Priyanshu Painyuli).  The rescue itself goes perfectly, but when the time comes for the hand-off the team is double-crossed and Tyler is left stranded in the middle of Dhaka with no choice but to keep Ovi alive as every corrupt cop and street gang in the city closes in around them.  This is the feature debut of Sam Hargrave, the latest stuntman to try his hand at directing, so he certainly knows his way around an action set-piece, and the result is a thoroughly breathless adrenaline rush of a film, bursting at the seams with spectacular fights, gun battles and car chases, dominated by a stunning sustained sequence that plays out in one long shot, guaranteed to leave jaws lying on the floor.  Not that there should be any surprise – Hargrave cut his teeth as a stunt coordinator for the Russos on Captain America: Civil War and their Avengers films.  That said, he displays strong talent for the quieter disciplines of filmmaking too, delivering quality character development and drawing out consistently noteworthy performances from his cast.  Of course, Hemsworth can do the action stuff in his sleep, but there’s a lot more to Tyler than just his muscle, the MCU veteran investing him with real wounded vulnerability and a tragic fatalism which colours every scene, while Jaiswal is exceptional throughout, showing plenty of promise for the future, and there’s strong support from Farahani and Painyuli, as well as Stranger Things’ David Harbour as world-weary retired merc Gaspard, and a particularly impressive, muscular turn from Randeep Hooda (Once Upon a Time in Mumbai) as Saju, a former Para and Ovi’s bodyguard, who’s determined to take possession of the boy himself, even if he has to go through Tyler to get him.  This is action cinema that really deserves to be seen on the big screen – I watched it twice in a week and would happily have paid for two trips to the cinema for it if I could have.  As we looked down the barrel of a summer season largely devoid of blockbuster fare, I couldn’t recommend this enough.  Thank the gods for Netflix …

13.  THE TRIAL OF THE CHICAGO 7 – although it’s definitely a film that really benefitted enormously from releasing on Netflix during the various lockdowns, this was one of the blessed few I actually got to see during one of the UK’s frustratingly rare lulls when cinemas were actually OPEN.  Rather perversely it therefore became one of my favourite cinematic experiences of 2020, but then I’m just as much a fan of well-made cerebral films as I am of the big, immersive blockbuster EXPERIENCES, so this probably still would have been a standout in a normal year. Certainly if this was a purely CRITICAL list for the year this probably would have placed high in the Top Ten … Aaron Sorkin is a writer whose work I have ardently admired ever since he went from esteemed playwright to in-demand talent for both the big screen AND the small with A Few Good Men, and TTOTC7 is just another in a long line of consistently impressive, flawlessly written works rife with addictive quickfire dialogue, beautifully observed characters and rewardingly propulsive narrative storytelling (therefore resting comfortably amongst the well-respected likes of The West Wing, Charlie Wilson’s War, Moneyball and The Social Network).  It also marks his second feature as a director (after fascinating and incendiary debut Molly’s Game), and once again he’s gone for true story over fiction, tackling the still controversial subject of the infamous 1968 trial of the “ringleaders” of the infamous riots which marred Chicago’s Diplomatic National Convention five months earlier, in which thousands of hippies and college students protesting the Vietnam War clashed with police.  Spurred on by the newly-instated Presidential Administration of Richard Nixon to make some examples, hungry up-and-coming prosecutor Richard Schultz (Joseph Gordon-Levitt) is confident in his case, while the Seven – who include respected and astute student activist Tom Hayden (Eddie Redmayne) and confrontational counterculture firebrands Abbie Hoffman (Sacha Baron Cohen) and Jerry Rubin (Succession’s Jeremy Strong) – are the clear underdogs.  They’re a divided bunch (particularly Hayden and Hoffman, who never mince their words about what little regard they hold for each other), and they’re up against the combined might of the U.S. Government, while all they have on their side is pro-bono lawyer and civil rights activist William Kunstler (Mark Rylance), who’s sharp, driven and thoroughly committed to the cause but clearly massively outmatched … not to mention the fact that the judge presiding over the case is Julius Hoffman (Frank Langella), a fierce and uncompromising conservative who’s clearly 100% on the Administration’s side, and who might in fact be stark raving mad (he also frequently goes to great lengths to make it clear to all concerned that he is NOT related to Abbie).  Much as we’ve come to expect from Sorkin, this is cinema of grand ideals and strong characters, not big spectacle and hard action, and all the better for it – he’s proved time and again that he’s one of the very best creative minds in Hollywood when it comes to intelligent, thought-provoking and engrossing thinking-man’s entertainment, and this is pure par for the course, keeping us glued to the screen from the skilfully-executed whirlwind introductory montage to the powerfully cathartic climax, and every varied and brilliant scene in-between.  This is heady stuff, focusing on what’s still an extremely thorny issue made all the more urgently relevant and timely given what was (and still is) going on in American politics at the time, and everyone involved here was clearly fully committed to making the film as palpable, powerful and resonant as possible for the viewer, no matter their nationality or political inclination.  Also typical for a Sorkin film, the cast are exceptional, everyone clearly having the wildest time getting their teeth into their finely-drawn characters and that magnificent dialogue – Redmayne and Baron Cohen are compellingly complimentary intellectual antagonists given their radically different approaches and their roles’ polar opposite energies, while Rylance delivers another pitch-perfect, simply ASTOUNDING performance that once again marks him as one of the very best actors of his generation, and there are particularly meaty turns from Strong, Langella, Aquaman’s Yahya Abdul-Mateen II (as besieged Black Panther Bobby Seale) and a potent late appearance from Michael Keaton that sear themselves into the memory long after viewing. Altogether then, this is a phenomenal film which deserves to be seen no matter the format, a thought-provoking and undeniably IMPORTANT masterwork from a master cinematic storyteller that says as much about the world we live in now as the decidedly turbulent times it portrays …

12.  GREYHOUND – when the cinemas closed back in March, the fate of many of the major summer blockbusters we’d been looking forward to was thrown into terrible doubt. Some were pushed back to more amenable dates in the autumn or winter (which even then ultimately proved frustratingly ambitious), others knocked back a whole year to fill summer slots for 2021, but more than a few simply dropped off the radar entirely with the terrible words “postponed until further notice” stamped on them, and I lamented them all, this one in particular.  It hung in there longer than some, stubbornly holding onto its June release slot for as long as possible, but eventually it gave up the ghost too … but thanks to Apple TV+, not for long, ultimately releasing less than a month later than intended.  Thankfully the film itself was worth the fuss, a taut World War II suspense thriller that’s all killer, no filler – set during the infamous Battle of the Atlantic, it portrays the constant life-or-death struggle faced by the Allied warships assigned to escort the transport convoys as they crossed the ocean, defending their charges from German U-boats.  Adapted from C.S. Forester’s famous 1955 novel The Good Shepherd by Tom Hanks and directed by Aaron Schneider (Get Low), the narrative focuses on the crew of the escort leader, American destroyer USS Fletcher, codenamed “Greyhound”, and in particular its captain, Commander Ernest Krause (Hanks), a career sailor serving his first command.  As they cross “the Pit”, the most dangerous middle stretch of the journey where they spend days without air-cover, they find themselves shadowed by “the Wolf Pack”, a particularly cunning group of German submarines that begin to pick away at the convoy’s stragglers.  Faced with daunting odds, a dwindling supply of vital depth-charges and a ruthless, persistent enemy, Krause must make hard choices to bring his ships home safe … jumping into the thick of the action within the first ten minutes and maintaining its tension for the remainder of the trim 90-minute run, this is screen suspense par excellence, a sleek textbook example of how to craft a compelling big screen knuckle-whitener with zero fat and maximum reward, delivering a series of desperate naval scraps packed with hide-and-seek intensity, heart-in-mouth near-misses and fist-in-air cathartic payoffs by the bucket-load.  Hanks is subtly magnificent, the calm centre of the narrative storm as a supposed newcomer to this battle arena who could have been BORN for it, bringing to mind his similarly unflappable in Captain Phillips and certainly not suffering by comparison; by and large he’s the focus point, but other crew members make strong (if sometimes quite brief) impressions, particularly Stephen Graham as Krause’s reliably seasoned XO, Lt. Commander Charlie Cole, The Magnificent Seven’s Manuel Garcia-Rulfo and Just Mercy’s Rob Morgan, while Elisabeth Shue does a lot with a very small part in brief flashbacks as Krause’s fiancée Evelyn. Relentless, exhilarating and thoroughly unforgettable, this was one of the true action highlights of the summer, and one hell of a war flick.  I’m so glad it made the cut for the summer …

11.  PROJECT POWER – with Marvel and DC pushing their tent-pole titles back in the face of COVID, the usual superhero antics we’ve come to expect for the summer were pretty thin on the ground in 2020, leading us to find our geeky fan thrills elsewhere. Unfortunately, pickings were frustratingly slim – Korean comic book actioner Gundala was entertaining but workmanlike, while Thor AU Mortal was underwhelming despite strong direction from Troll Hunter’s André Øvredal, and The New Mutants just got shat on by the studio and its distributors and no mistake – thank the Gods, then, for Netflix, once again riding to the rescue with this enjoyably offbeat super-thriller, which takes an intriguing central premise and really runs with it.  New designer drug Power has hit the streets of New Orleans, able to give anyone who takes it a superpower for five minutes … the only problem is, until you try it, you don’t know what your own unique talent is – for some, it could mean five minutes of invisibility, or insane levels of super-strength, but other powers can be potentially lethal, the really unlucky buggers just blowing up on the spot.  Robin (The Hate U Give’s Dominique Fishback) is a teenage Power-pusher with dreams of becoming a rap star, dealing the pills so she can help her diabetic mum; Frank Shaver (Joseph Gordon-Levitt) is one of her customers, a police detective who uses his power of near invulnerability to even the playing field when supercharged crims cause a disturbance.  Their lives are turned upside down when Art (Jamie Foxx) arrives in town – he’s a seriously badass ex-soldier determined to hunt down the source of Power by any means necessary, and he’s not above tearing the Big Easy apart to do it. This is a fun, gleefully infectious rollercoaster that doesn’t take itself too seriously, revelling in the anarchic potential of its premise and crafting some suitably OTT effects-driven chaos brought to pleasingly visceral fruition by its skilfully inventive director, Ariel Schulman (Catfish, Nerve, Viral), while Mattson Tomlin (the screenwriter of the DCEU’s oft-delayed, incendiary headline act The Batman) takes the story in some very interesting directions and poses fascinating questions about what Power’s TRULY capable of.  Gordon-Levitt and Fishback are both brilliant, the latter particularly impressing in what’s sure to be a major breakthrough role for her, and the friendship their characters share is pretty adorable, while Foxx really is a force to be reckoned with, pretty chill even when he’s in deep shit but fully capable of turning into a bona fide killing machine at the flip of a switch, and there’s strong support from Westworld’s Rodrigo Santoro as Biggie, Power’s delightfully oily kingpin, Courtney B. Vance as Frank’s by-the-book superior, Captain Crane, Amy Landecker as Gardner, the morally bankrupt CIA spook responsible for the drug’s production, and Machine Gun Kelly as Newt, a Power dealer whose pyrotechnic “gift” really isn’t all it’s cracked up to be.  Exciting, inventive, frequently amusing and infectiously likeable, this was some of the most uncomplicated cinematic fun I had all summer.  Not bad for something which I’m sure was originally destined to become one of the season’s B-list features …

#onward #onward movie #The Gentlemen #spontaneous #spontaneous movie #hamilton #hamilton movie #sputnik #sputnik movie #The Invisible Man #Extraction #extraction movie #the trial of the chicago 7 #greyhound #greyhound movie #project power #2020 in movies

[siriusbunbryist]

In defence of Abed x Annie.

Thanks to the magic of Netflix, I’ve rewatched Community at age 24, and still found Abed and Annie to have hit the heartstrings as much as I did when I was in high school watching the show for the first time.

But watching the series in its entirety just reinforces my thought that Abed and Annie had so much potential that was wasted, and it’s a shame that the writers planted all these seeds to only decide that perhaps this direction was not worth it / too risky / unfavoured by the audience. But I mean, Alison Brie herself (and I’m assuming Danny Pudi as well) endorsed them! Find here and here.

This was a pairing that with all the crumbs scattered throughout the show (I think we are all aware of these crumbs I speak of), could’ve easily played the “oh we’ve been secretly dating this whole time” trope during the last episode and it would’ve still made sense.

Naturally I did some scoping, and of course unsurprisingly the J.eff x Annie pairing takes the cake, while not a lot of love for Abed x Annie. So here are common points of contentions I see surrounding Abed and Annie, and my rationale on them.

Before I start, a note - I fully respect the J.eff x Annie ship and I don’t intend on starting a ship w.ar/debate. I understand where their support comes from! I just needed to vent because no one else in my social circle watches this show. No hate please.

1. Abed doesn’t see Annie romantically

I think on the contrary it’s been set up rather long ago that Abed at the very least is attracted to Annie.

Exhibit A: “What are you making” in Beginner Pottery

Exhibit B: “Flat B.utt and the one Abed wants to nail” in The Art of Discourse

This video basically explains it! The summary: Annie is Pierce’s favourite, Pierce constantly insults Britta, therefore Britta is flat b.utt.

Exhibit C: Not even trying to hide it in Accounting for Lawyers

But, a romantic interest has to be further built upon finding someone attractive right? There has to be intrigue to their character, such as

Exhibit D: “I can only connect to people through... movies” in English as a Second Language

It is pretty obvious here that Annie is a rare someone who has successfully broken the impartial screen that Abed filters everything through. Jeff saw it too which is why he said Annie was the ark of the covenant before Abed fell for her disney face. I can only imagine Abed to be quite struck with Annie’s infiltration.

A romantic interest should also share common interests, such as

Exhibit E: “Which makes Annie is my third favourite show” in Paranormal Parentage

I’ve said before that for Abed, a guy who lives life and communicates through comparing it with television and movies, it’s not unthinkable for him to be attracted to someone who genuinely watches his favourite shows and commits to roles during cosplay. And who, besides Troy, would fit this profile? Annie. 

And finally, the biggest indicator of it all, we also see how Abed views the Jeff and Annie pairing in everyone’s favourite episode Remedial Chaos Theory. Keeping in mind that the timelines are rendered by Abed, out of all the timelines, J.eff and Annie only kis.sed when Abed left the room for pizza. As well, as conjured in Abed’s head, Evil Jeff and Evil Annie only existed as a couple in the Darkest Timeline. To me at least, it’s arguable that this alludes to Abed’s omniscient “director” standpoint that he may be the obstacle in the Jeff and Annie relationship - pointing towards him perhaps harbouring feelings for Annie.

2. Annie doesn’t see Abed romantically The general consensus on this point is that Annie is only attracted to Abed when he’s playing a character. I rather think that being attracted to someone, and being attracted to someone during role play, aren’t mutually exclusive. Let’s take a look at the different characters that Abed played.

Don Draper: serious, sophisticated, and smooth.

Han Solo: immature, flirty and a smarta.ss.

Batman: mysterious, complex, and brave.

Three different personas, yet Annie responded to all of them. Since the common denominator to all three is that they are played by Abed, I would like to offer a counterpoint that perhaps the attraction to Abed has always been there, it’s just emphasized when Abed plays a character. Who knows, role playing might even be Annie’s ki.nk. After all, during For a Few Paintballs More, it is shown that Annie is disappointed when Abed dropped the Han Solo persona after the battle ended.

Annie also loves big romantic gestures. Who’s better than doing that than Abed? Since the beginning, Abed has already been doing big romantic gestures of varying degrees for Annie. With this, it’s not ridiculous for Annie to see Abed as a romantic potential.

Exhibit F: Staying in a room for 26 hours in Social Psychology

Annie: You sat in a room for twenty-six straight hours. Didn’t that bother you?  Abed: Yeah I was livid.  Annie: Then why didn’t you leave?  Abed: Because you asked me to stay and you said we were friends.

Exhibit G: Rescuing her from “captivity” and inviting her to move in in Remedial Chaos Theory and Studies in Modern Movement (even Troy was surprised at Abed’s invitation)

Exhibit H: Tearing down the Dreamatorium in Studies in Modern Movement

Annie: What about the Dreamatorium? Abed: Oh it's staying. The Dreamatorium is more important than any of us. But you're more important than our bedroom so we put the bunk bed in the blanket fort.

Bonus: Confirmed by Alison Brie

3. The show was about Jeff and Annie

Dan Harmon said that Community’s approach is that anything and any pairing is possible. We see this is as the series started with the classic “player vs smart snarky girl” trope with setting up Jeff and Britta as the main pairing. We also see Troy and Annie as the potential B couple in the show. The writers also threw Pierce and Shirley, Annie and Britta, Dean and Jeff, and even Chang and Britta in for a laugh.

And then the show subverted this all by introducing Jeff and Annie, and made Troy and Britta a couple, showing us that Community is a show that intends on breaking these classic sitcom stereotypes by experimenting with different pairings. Abed and Annie was no exception to this, as the writers often pair them up in different shenanigans and hint at possible grounds to explore*.

A few examples: Han and Leia in For a Few Paintballs More, Hector the Well Endowed and the Elf Maiden in Advanced Dungeons and Dragons, spy partners in Modern Espionage.

No doubt that the show dabbled in and out of Jeff and Annie throughout the series. However, to say that Jeff and Annie was the primary pairing in the series would mean overlooking Jeff and Britta. Especially when Jeff and Britta have the whole love-hate dynamic, three(?) marriage close-calls, and emotional snippets such as helping Jeff reunite with his father in Cooperative Escapism in Familial Relations.

Anyway, not to discredit Jeff and Annie, but knowing that the show explores the possibility of different pairings**, why write off Abed and Annie?

* Not to mention that the cop pairing in The Science of Illusion was originally written with Abed and Annie in mind! ** We also see a stray Abed and Britta during Horror Fiction in Seven Spooky Steps.

4. Annie is in love with Jeff To keep this short and shipper-goggle free, Annie has said on numerous occasions that she’s in love with the idea of Jeff, not Jeff himself. Specifically this scene in Virtual Systems Analysis:

Abed as Annie: "…We love Jeff…" Annie: "No we don’t, we’re just in love with the idea of being loved. And if we can teach a guy like Jeff to do it, we’ll never be unloved, so we keep running the same scenario over and over hoping for a different result."

And this scene in Conventions of Space and Time:

Annie: All right, I may have been play-acting that we were married, and then the staff thought you were cheating, and I had to save face. Jeff: Do I have to worry about this? Annie: No, I was just daydreaming. I mean, I've married you at least a half a dozen times. And Troy. And Zac Efron.

Not to mention that their conversation in the finale says it all.

Jeff: I don't wanna be fine. I wanna be 25 and heading out into the world. I wanna fall asleep on a beach and be able to walk the next day, or stay up all night on accident. I wanna wear a white t-shirt without looking like I forgot to get dressed.* I want to be terrified of AIDS, I want to have an opinion about those, boring a.ss Marvel movies. And I want those opinions to be of any concern to the people making them. Annie: Well I want to live in the same home for more than a year, order wine without feeling nervous, have a resume full of crazy mistakes instead of crazy lies. I want stories and wisdom, perspective. I wanna have so much behind me I'm not a sl.ave to what's in front of me, especially those flavourless unremarkable Marvel movies.

*Shipper-goggle on: Part of me thinks this is a reference to Abed, whose iconic style almost exclusively comprises T-shirts. What Jeff is saying is that he wishes he is 25 again with his future open before him, someone who compatible with Annie, but here he acknowledges that he isn’t, and lets her go in the end.

5. Abed and Annie wouldn’t work as a couple Another point I see is that Abed and Annie are strictly platonic and are more like brother and sister. On the basis that they have made out a couple times and are attracted to each other, I would disagree with the sibling statement.  

Troy, in contrast to Abed, I think actually resembles a more sibling-like relationship with Annie. Although Troy and Annie have the strong friendship of Abed and Annie, when disregarding the high school crush stage of season 1, their storylines never dwelled further down an attraction path, nor was there any specific episode that was dedicated to a deep dive of vulnerabilities and confrontation between them. As a comparison, Troy and Britta had opportunities to explore these setups (Troy admitted to lying about his b.utt stuff story and Troy helped Britta face Blade) - an indication that Troy and Britta were heading into non-platonic territory. Jeff and Britta too, had several opportunities to confront their feelings (up till the very last season), a clear indication of a non-platonic relationship.

For Abed and Annie, what I think pulls their friendship towards actual love interest potential is best pinpointed to Virtual Systems Analysis. Annie’s participation in the Dreamatorium prompted her to not only fully submerge into the way Abed thinks and comprehends his surroundings, but she also got to understand and address Abed’s stubbornness and flaws in a vulnerable way, confronting some of her own flaws as well.

Abed as Shirley: Your hospital school, young lady, is a simulation being run through a filter of other people's needs. Abed's been filtered out because nobody needs him. Annie: I need him!

And to point out this little tidbit in VCR Maintenance and Educational Publishing,

Annie: That's why Abed is like a brother to me. You guys are so alike. Abed: I can't accept that based on one time machine story.

This whole episode, instead of establishing Abed is like Annie’s brother, I would argue is rather doing the opposite. Abed and Annie’s hyper antics in the episode were basically matched by Anthony and Rachel’s blatant indifference and confusion. For lots of Abed and Annie supporters, this episode was a major setback. But I think it instead highlights how in-sync they are with each other, which is a good thing.

Another point, despite Annie trying to prove otherwise, Abed and Anthony had different vibes, and each shared different dynamics with Annie. And as Anthony pointed out in the end, who were Abed and Annie trying to replace in the apartment? Troy. The person who they are trying to fill is Troy - their roommate, their brother, their best friend. Troy was the brother role that neither Abed and Annie can fill for each other.

In Basic Sandwich, we get this exchange:

Abed: The point is, this show, Annie, it isn't just their show. This is our show, and it's not over. And the sooner we find that treasure, the faster the Jeff-Britta pilot falls apart. Annie: Got it. Thank you, Abed. Abed: You're welcome. I have a girlfriend. Annie: What? Abed: You were about to start a kiss lean. Annie: I was not.

Not only did Abed saw right through Annie’s anxiety and comforted her in his own uniquely Abed way, but he also felt the need to remind her of his girlfriend. The fact that he broke the fourth wall here is likely the writers’ way to be meta, but simply acknowledging the tension and bond there says a lot in between the lines. If tension does not exist, there would be no need for this line.

Besides, instead of thinking that they’re strictly platonic (which of course is also okay), they would rather work great as a couple. In terms of opposites attract, Annie grounds Abed with just the right amount, while Abed clearly encourages Annie to be her true self and be immature. Such as this scene in Foosball and Nocturnal Vigilantism,

Annie: I’m following him.  Troy: You moving in here was supposed to tone us down!

Annie also doesn’t just tolerate Abed’s idiosyncrasies, she actually likes them and fully participates as multiple paintball games and cosplays would tell us. Special shoutout to the missing lovers footage in Wedding Videography, which through Britta, actually shows us that Annie is the only one who would go along with Abed’s projects - while Britta found the project extremely weird and unhealthy, Annie thought it was fun and commits well to her role.

And while others may tiptoe around Abed, Annie isn’t afraid to call Abed out when he’s out of line and makes a point to teach him about empathy in Virtual Systems Analysis. Remember that Britta tried teaching him this but it didn’t work as well.

I am Abed Nadir... And I don't know a lot of things everyone else knows. I wander the universe with my friend, Troy, doing whatever I want. Sometimes accidentally hurting innocent unremarkables. This week, however, Troy went to lunch and I adapted. I now have the ability to enter the minds of others using an elusive new technique known as "empathy".

As well as in the entire episode of Cooperative Polygraphy.

They also know each other best. Abed knew her cushion preferences, was the one who spelled out her true pas.sion for forensics, and after living together, Annie knew how to navigate Abed’s peculiarities and to soothe him whenever he had a nervous breakdown. 

Annie also knows him so well that she can predict his reaction.

They are also each other’s exception. Annie was always the one who manages to pull Abed out of a trance and back to reality, usually with touch.

Abed is also very forgiving with her. An example is when Annie seemingly lost all common sense because she broke Abed’s special edition dvd in Foosball and Nocturnal Vigilantism.

Annie: Well, Batman, on behalf of all of us that aren't perfect, can I just say I'm sorry I broke your DVD? Abed: Apology accepted. But I wouldn't mention it to Abed. That guy's pretty ruthless. And that's coming from Batman.

And in Abed’s Uncontrollable Christmas, Annie was the only claymation doll that didn’t have a weird form (except Troy as toy soldier of course). Annie was a ballerina because Abed sees her as a creature of grace. Abed was also the first one who got her “brighter tomorrow” diorama and responded with enthusiasm.

They are also in the same stage in life. As Dan Harmon explains the choice of Abed and Annie being the ones who leave the group, with Troy gone, Abed and Annie symbolize the many possibilities of the future - a possibility that makes them viable. I like to think Annie transfers to the LA FBI office after her internship and they reunite.

And as the Spice Girls said, “if you wanna be my love.r, you gotta get with my friends”. In Paleyfest, Dan Harmon says this about whoever Troy and Abed ends up dating, “I mean a woman that comes into either of their lives is either going to drive them apart or she's going to have to be really accepting of a very special relationship”.

Britta tolerated their friendship but to a point of asking Annie to distract Abed for alone time with Troy, Troy dumped the librarian as she called Abed weird, Robin disappeared, Rachel we never got to see much of, but was pretty quiet and separated from the group. From this, logically speaking, Annie would actually be the perfect match for Abed, as we all know they’re the ultimate trio within the study group and a transition from friends to more will be natural. 

Oh, and, Abed is wrong. They’re not Chandler and Phoebe with little storylines together, they’re Chandler and Monica. 

Anyway, that’s it for my super long rant/analysis. Community the series is done and over, so there isn’t a need for any ship war. All I want to say is, if #andamovie happens, hopefully, the writers will actually take a leap.

#abed x annie #community #annie x abed #abed nadir #annie edison #sorry if you've seen this already i'm trying to figure out why my tags won't work #mine #thoughts

[yikesharringrove]

ok so i just had a dream about this and i feel the need to tell you because its prime protective Billy shit. So after the whole mind flayed thing Steve and Billy get to be pretty close friends, and almost immediately they both fall for each other HARD, but both of them refuse to believe the other could ever like them, despite Robin screaming at both of them to just ask the other one out already. (pt.)

(pt.2) one day some random dude comes into the video store and starts flirting with steve, who figures he hasn’t gone on a date since Nancy, the guys cute, sure he’s not Billy but he seems nice enough and steve is also just very lonely, so they set up a date for that Friday at 6:00 and Steve is pretty excited. When he gets to his house and tells Billy, who was there for their wednesday horror movie night, billy tried to seem happy for him even though he ready to kill this guy

(pt.3) Billy does a pretty decent job at hiding his feelings about the date, and he doesn’t want to hold Steve back, but when he gets home he calls Robin and bitches for a sold 30 minutes, she just tells him if he’d got his shit together and just asked Steve our this wouldn’t be a problem. So the day of the date rolls around and Billy doesn’t see Steve all day, can’t bring himself to see him so excite to go date someone else. Around 6:15 his phone buzzes with a call from Steve             (pt.4) he answers and when he does Steve sounds awful, he’s been crying for a while. Asks if Billy can come pick him up, and billy speeds his way there. When he shows up and sees steve leaning against the brick wall rubbing away tears he loses it. Asks him what happened and Steve quietly tells him his date was a huge asshole, flirted with the waitress, pointed out the scar on steve’s hairline and told him he’d be a lot cuter without it, but don’t worry you’re still good enough for a fuck

(pt.5) Billy is ready to kill someone, he hugs steve and drags him to his car and tells him to stay put, slams the door and gets inside before steve can argue, find the guys pretty quickly, grabs him by the collar and spits out some pretty harsh words drops him to the floor and leaves. They are both quiet on the drive back but when billy drops steve off at his house he sheepishly asks him to stay, when billy tells him it’s a bad idea steve says okay and kisses him goodnight. Billy almost faints. 

I am SO SORRY this took a thousand years, it got a lil lost in my inbox.This is modern, Billy got possessed but the kids burned it outta him, everything else is canon.

“Who the fuck is that?”

Billy was “helping” Robin re-shelve, which meant he was pulling random movies off their shelves and putting them in different spots until she noticed and yelled at him.

She looked in the direction Billy was glaring, looked to see Steve batting his eyes as that guy, the tall jocky guy that comes in a few days a week to flirt with Steve.

“Oh, that’s Ben. He comes in all the time and flirts with Steve.” Billy’s eyes were dark.

“And does Steve, does he always, flirt back?” Robin rolled her eyes. Billy was so bad at acting nonchalant.

“Yeah, Dingus really has a thing for him. Talks to me nonstop about him.” Of course he talks about Billy way more often, but Robin is over the two of them being so fucking oblivious.

“Oh. Good for him.” Billy was blinking a lot.

Steve was leaning over the counter, was giggling like a schoolgirl.

The bell over the door jingled. Billy was gone.

-

Wednesday nights had become a tradition. Billy and Robin would come over to Steve’s, would take turns picking scarier and scarier movies.

It all started because Robin thought Steve should expand his horizons, and Billy liked the way Steve would get scared, would hide in Billy, would shove his face into his chest, or his arm, or wiggle his way into his lap.

But he was not in the mood for a movie tonight. Not after watching the way Steve had gone all bashful earlier.

But he found himself pushing open the double doors anyway.

“Bill! Guess what!” Steve was jamming around the kitchen in thick socks and little shorts, a faded Hawkins High Swim Team sweatshirt, and his glasses, like he was trying to fucking kill Billy with how adorable he is. “I got a date!” Billy’s heart thumped to a stop.

“You, you what?”

“I got a date! With that cute Benny that comes into Family Video. He asked me out! We’re gonna go to dinner on Friday!” Steve was so fucking excited. Billy couldn’t find it within himself to bring down the mood. “I just, you know how lonely I’ve been, and, I haven’t been on a date since Nancy.”

Steve was rambling, going on and on about this fucking guy. Was talking over the movie, which normally, Billy would think was kinda cute, but it was all, Benny said the SWEETEST thing, or look at this meme Benny sent.

Billy was about four second from tearing his hair out.

He was driving Robin home after movie night needed to vent.

“Look, I’m not saying I want Steve to be unhappy. I want him to be so happy. But I just, I get a bad feeling about that Benjamin guy.” Robin rolled her eyes.

“Well if you had gotten your head outta your ass and just asked Steve out like I fucking told you to, you, Billiam could be going on a date with our sweet Dingus.”

“I just, after everything this summer, I didn’t know if, if he was ready, and he never really seemed the same after the Nancy shit.”

“That’s a lame excuse and you know it.”

It was. And he knew it.

He avoided Steve the next two days. Couldn’t deal with all the excited posts on Steve’s secret Insatgram account, the one just for his friends.

Apparently he had done a face mask, had taken a fucking candlelit bath. He posted outfit options on his story.

Billy spent Friday chain-smoking in bed, yelling at Max whenever he got kicked off Netflix for too many screen in use.

Steve was getting picked up at 6. Had been posting a fucking countdown on his story. Billy wanted to crawl into a hole and fucking die.

When 6 came, Billy was working out, listening to loud, angry music as he lifted weights. He was trying his fucking best to keep his mind off of Steve, that fucking Benjamin.

But his music was interrupted by his phone going off, Steve’s contact picture filling the screen, a silly one Billy loved of Robin shoving marshmallows into his mouth. He could fit 17.

“What’s up?” It was only half past 6. Something must’ve happened. “Stevie, are you okay?” He could hear Steve sniffling.

“Bill, could you come pick me up?”

Billy was already out the door.”

“Drop your location, Pretty Boy. I’m on my way right now. Don’t move. I’ll be there soon.” Billy sped to the diner.

He saw Steve sitting on the curb outside, his face buried into his knees.

He had gone with outfit option number 4 from his Instagram, a thick cardigan, made of soft dark green wool, his nice jeans, the ones that made his ass look great, and a soft t-shirt. His hair was the most done Billy had seen it in a while. It made Billy’s heart break.

He pulled into a spot, dropping to sit next to Steve.

“You wanna talk about it?” His eyes were red-rimmed, glazed over as he loked at Billy.

“He was, he was so different from how he, how he was. He kept ignoring me, and flirting with the waitress, and he kept like, pointing out the scars on my face, like, like the one here,” he poked at his hairline. “And he said, I’d cuter without it, but, but that I’m still okay for a fuck if he took me face down, because, because my ass is the only thing I got goin’ for me-” Billy pulled him into a tight hug.

“I’m so sorry, Baby. You’re so much better than that, than him.” He kissed the mark on Steve’s hairline. “He still in there?”

“Yeah. I asked him to take me home and he said if I was gonna give him blueballs he might as well fuck the waitress. Since she’s hotter than me anyhow.”

“Stay here.” Billy got up, cracking his neck as he walked into the diner. He found the guy right away, was smiling so sleazy at the waitress in question who looked like she’d rather die than go out with him, but needed a good tip. He stared at her ass when she walked away.

Billy sat in the seat across from his.

“So, Benjamin. Figured you and I ought the have a little chat.”

“Who the fuck are you?”

“My name’s Billy.” Ben rolled his eyes.

“God, Steve wouldn’t shut the fuck up about you.” Billy’s heart swelled, but he was on a mission.

“Steve is the best person in this whole God-forsaken world. And you dare treat him like he’s shit on your shoe. You’re fucking disgusting.” He reached up, pulling on the collar of his shirt, slamming his nose into the table, letting his head bounce back up.

“What the fuck, you psycho.”

“He is like sunshine, he is the only thing good in this fucking town, and you have the audacity to hurt him. He is made of love, and you could;ve had him, but you’re a garbage human who deserves jack shit.” He stood from the table, Ben’s nose bleeding into a mad of napkins.

“If you don’t at least text him an apology, I will be breaking more than just your nose.”

Billy stood up, sweeping out of the diner to find Steve waiting by the passenger seat of his car. They drove to Steve’s in silence apart from the odd sniffle from Steve.

They sat for a moment in his drive way, the car off, crickets chirping in the bushes.

“I heard what you said.” Steve’s eyes were wide, his face shadowed.

“And?”

“I didn’t know you felt like that. About me I mean.” Billy sighed.

“Stevie, you are probably the best thing that’s ever happened to me. And I, I love you.” Billy was fidgeting with the steering wheel.

“You mean it?” Billy just nodded, looking straight ahead through the windshield at Steve’s house. “I love you too. Like, a lot. I just thought, maybe you didn’t, didn’t feel the same.” Billy whipped around to look at Steve, see if he was lying.

All he say on his face was such happiness at Billy’s admission.

“You should stay the night.” Steve’s hand was closing around his wrist.

“Look, if we’re gonna do this, I wanna do it right. I wanna, take you out, and spend time with you in a, in a romantic way before we, before we do anything.” Steve’s eyes were so soft.

“Okay. You wanna go out tomorrow? We can do something chill, like, like see a movie.”

“I would really like that, Pretty Boy.” He took Steve’s hand.

“Can I kiss you goodnight, then? Kiss you thanks for saving me back there. Being my knight in shining armor, defending my honor and all that?” Billy’s mind was spinning as he breathed out yeah.

Kissing Steve was as perfect as he always thought it would be.

His pretty lips were soft, and he made these breathy little noises into Billy’s mouth, their hands were still clasped together, Steve’s other holding onto Billy’s bicep, Billy weaving a hand into Steve’s hair.

Steve’s eyes were closed when they pulled apart, they were soft when he blinked them open.

“So, tomorrow then.” Billy grinned, pressing a kiss to his nose.

“Tomorrow, Pretty Boy. I’ll call you in the morning. We’ll talk.” Steve danced like a loser all the way up to his porch, making Billy laugh and flash his headlights. He stumbled through the front door.

Billy texted Robin right when he got home, sent her a simple Benjamin’s the worst but you’ll be happy to know I pulled my head outta my ass :)

#yikes writes #harringrove #steve harrington #steve harrington x billy hargrove #billy hargrove x steve harrington #billy hargrove #harringrove fic #harringrove drabble #harringrove ficlet

[dates101]

The Quarantine Date

These are tough times, tough times indeed. The world has turned upside down, and as a result we have been confined to our homes. “But wait a minute” I hear you ask, “Does that mean I can’t go on any dates?” Well, yes and no. Everyone should be social distancing themselves (meaning keeping apart from each other) so dating in the traditional sense has to be put on the back burner for now. But what if you’ve just started seeing your special someone and are worried this lack of interaction might ruin things. Well, you’ll just have to think more creatively. Or better yet, let me think for you. 

The Date

I’m going to give you 3 core date ideas, in addition to a plethora of fun “video chat” games you can play. But of course, there’ll be some Dates 101 flare added for good measure. Let’s begin with the one you’ve probably heard people doing already.

Video Chat First Date

The is easily the most obvious date idea out there for dating during a pandemic, and I wouldn't be surprised if you’ve heard about this date already. It’s easy enough, hop on to your preferred video chat application, and ‘simulate’ a first date with someone on the other side. Better yet, it can (and will) be used multiple times throughout your isolation weeks because its a fantastic way to communicate with someone! If you’re planning on doing this, I would recommend you start off simple: look presentable (not like you’ve just woken up), set a time where there won't be any distractions, get some wine (or any drink of your choice) and get to know your date. Now, the problem with this date idea in my opinion is it could get really awkward, really fast. What if the lighting isn't good, or what if you run out of things to talk about? I would write out a few topics on a piece of paper beforehand, in case you run into this issue. Some topics of discussion could be... 

-What are you doing to pass the time during isolation?

-What do you do for a living/ If you could do anything else what would it be

-Where have you traveled/ Where would you like to travel once this is over?

-What do you like to do for fun/ What are your hobbies?

-What’s your family like?

-Tell some of your favourite memories

Being prepared is key for this kind of date, and with a list I’m sure your nerves will quickly vanish. Also, don't forget to keep it out of sight. 

Movie Watching

The next date idea requires both of you to have a Netflix account (or similar streaming service). Pretty much you're going to watch a movie together. Simple right? Well, not so fast. Like the video chat date, I’ve seen this idea many times as well. And while I think it could be really fun, I’m afraid most people have never tried watching a movie while trying to talk to someone at the same time. Talk about audio overload... Now, it definitely could be done. Have the volume on the Tv or computer low and the audio on your video chat high. Did I mention you’re doing this on video chat? No? Well that's because it can be done other ways. You could always talk on the phone while watching the movie, which would work much better in my opinion (specifically because you don't want to be focused on 2 screens at once). But I believe the best way to experience this date idea is actually through text; albeit in the chat itself or with your phone (if you're not using it to communicate) Why text? Well, for one its much quieter and less distracting. And two, I feel like the conversation would be a lot better! You can text what you think is going to happen next, who you think the bad guy is, who’s gonna die next, or how scared you are at that very second (if watching a horror movie). It’s also a completely different way of communication, which can be a nice change of pace coming from the video chat date. But feel free to use any method you wish. 

Question and Answer

Like the previous date idea, this can be done through video, phone call or text. But can I make another suggestion? I really feel like the phone is the best method of communication for this one. Why? Because no one uses the phone anymore, and sometimes you want to talk to someone without worrying about how you look (where my sweatpants people at?). So for this idea, you're going to come up with A BUNCH of questions for your date to answer. What should the questions be? Well, anything you want to learn about your date honestly. It can range from the super basic like what's your favourite dessert to the total extreme like if there was a zombie apocalypse what would your game plan be? Ideally you’d want anywhere between 20 and 50 questions. “Wait, 50 questions!?!” Yup 50. The reason I want you to have so many is because you could do this idea multiple times if you wish, or keep the questions coming by text throughout the day. Am I going to tell you what questions to write? Nah, you’ll have to figure that one on your own. Once you’ve come up with your questions, you're going to simply go back and forth with your date answering each others questions (you decide if they're allowed to ask the same ones you asked). 

Quick Video Chat Games

And there you have it, 3 core date ideas you can do without having to leave your house. But what if you’re looking for a more casual date idea? Here’s a bunch of light hearted video chat games you can do to pass the time.

-2 Truths 1 Lie

-Truth or Dare

-20 Questions

-Never Have I Ever

-Sausage (Pick 1 word, in this case “sausage”. Player 1 asks question and Player 2 must always answer with “sausage”. If Player 2 laughs, they lose. Player 1 gets 10 tries, and then the word changes)

-Questions Only (have a conversation only with questions, see who can last the longest)

-iMessage GamePigeon games

But before we go

Wow, this is a long post. But I wanted to give you a comprehensive list of things you can do, so bare with me because this is where things get real. Below you will find really unique, Dates 101 type of activities you can do with your date over video chat. These activities range from mundane to totally outrageous so hope you enjoy! 

Video Chat Outside- Show your date your neighbourhood or cool areas in your city (watch out for data overages). Don't forget to keep your distance from people

Video Chat Drinking Games- can be done while talking or watching a tv show (drink every time you/they do *blank*)

Dinner Date- Eat dinner while talking over video chat (try to make the same meal and see who’s turned out better)

Dinner Theme- Same as above, only have a theme attached to it (Western food, Mexican food, Sushi, Pizza)

Romantic Dinner- Dress up really fancy (maybe add some candles too)

Cooking Channel- Start your dinner date in the kitchen, both must have the same ingredients. One of you is the head chef and directs the other on how to make a delicious meal. Watch each other make the same food and see who’s turns out the best

Guy’s Grocery Games- Be on the phone with each other as you search the grocery store. Each of you picks 3 ingredients that the other must use in their dish. See who can make the best meal with the chosen ingredients included

Bob Ross- Video chat each other while listening to an episode of Bob Ross and painting. Who’s the better painter?

Stranger- Want to make your first date super memorable? Video chat for the first time wearing a whole bunch of clothing on your face (hats, sunglasses, bandanas, etc.). Take turns asking about each other. For example, do you like cookies, do you listen to Ed Sheeran? If the answer is yes, they must take off a piece of headwear. Play until their face is finally revealed. 

Wrap Up

So that was a lot of ideas thrown at you, but that was the point. Hopefully there’s enough here to keep the two of you occupied until this pandemic is over. Don’t feel like using these ideas, or dating for that matter? No worries, you can always do this stuff with your friends! Or wait until we’re allowed to interact with each other again to start dating face to face. But in the meantime, let’s all do our best to get through this thing together, one day at a time.

Remember, make every date a story.

Dates 101 

#dating #date ideas #date idea #coronavirus #corvid19 #quarantine date #first date #first date ideas #video chat date #dates101

[benfgly818]

20 Reasons You Need to Stop Stressing About the step up movie

The Best Free Movie Websites Online for Beginners

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The website mainly includes independent movies, that makes it an excellent place to try to find hidden gems. When you choose a flick or program, you can begin streaming instantly after a couple of previews. You will not be required to create an account in order to stream media on Popcornflix, but you will certainly have to stop or disable any kind of ad blockers.

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5 Simple Techniques For Best Places To Watch Free Movies Online

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Just keep in mind that the newest episodes might not be offered instantly. When you pick a video clip, you'll be able to start streaming it on the internet instantly without having to visit. If you intend to add the video clip to a queue to enjoy later on, you'll require to produce a totally free account.

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[bluewatsons]

Alice Bolin, The Ethical Dilemma of Highbrow True Crime, Vulture (August 1, 2018)

The “true-crime boom” of the mid- to late 2010s is a strange pop-culture phenomenon, given that it is not so much a new type of programming as an acknowledgement of a centuries-long obsession: People love true stories about murder and other brands of brutality and grift, and they have gorged on them particularly since the beginning of modern journalism. The serial fiction of Charles Dickens and Wilkie Collins was influenced by the British public’s obsessive tracking of sensational true-crime cases in daily papers, and since then, we have hoarded gory details in tabloids and pulp paperbacks and nightly news shows and Wikipedia articles and Reddit threads.

I don’t deny these stories have proliferated in the past five years. Since the secret is out — “Oh you love murder? Me too!” — entire TV networks, podcast genres, and countless limited-run docuseries have arisen to satisfy this rumbling hunger. It is tempting to call this true-crime boom new because of the prestige sheen of many of its artifacts — Serial and Dirty John and The Jinx and Wild, Wild Country are all conspicuously well made, with lovely visuals and strong reporting. They have subtle senses of theme and character, and they often feel professional, pensive, quiet — so far from vulgar or sensational.

But well-told stories about crime are not really new, and neither is their popularity. In Cold Blood is a classic of American literature and The Executioner’s Song won the Pulitzer; Errol Morris has used crime again and again in his documentaries to probe ideas like fame, desire, corruption, and justice. The new true-crime boom is more simply a matter of volume and shamelessness: the wide array of crime stories we can now openly indulge in, with conventions of the true-crime genre more emphatically repeated and codified, more creatively expanded and trespassed against. In 2016, after two critically acclaimed series about the O.J. Simpson trial, there was talk that the 1996 murder of Colorado 6-year-old JonBenét Ramsey would be the next case to get the same treatment. It was odd, hearing O.J.: Made in America, the epic and depressing account of race and celebrity that won the Academy Award for Best Documentary, discussed in the same breath with the half-dozen unnecessary TV specials dredging up the Ramsey case. Despite my avowed love of Dateline, I would not have watched these JonBenét specials had a magazine not paid me to, and suffice it to say they did very little either to solve the 20-year-old crime (ha!) or examine our collective obsession with it.

Clearly, the insight, production values, or cultural capital of its shiniest products are not what drives this new wave of crime stories. O.J.: Made in America happened to be great and the JonBenét specials happened to be terrible, but producers saw them as part of the same trend because they knew they would appeal to at least part of the same audience. I’ve been thinking a lot about these gaps between high and low, since there are people who consume all murder content indiscriminately, and another subset who only allow themselves to enjoy the “smart” kind. The difference between highbrow and lowbrow in the new true crime is often purely aesthetic. It is easier than ever for producers to create stories that look good and seem serious, especially because there are templates now for a style and voice that make horrifying stories go down easy and leave the viewer wanting more. But for these so-called prestige true-crime offerings, the question of ethics — of the potential to interfere in real criminal cases and real people’s lives — is even more important, precisely because they are taken seriously.

Like the sensational tone, disturbing, clinical detail, and authoritarian subtext that have long defined schlocky true crime as “trash,” the prestige true-crime subgenre has developed its own shorthand, a language to tell its audience they’re consuming something thoughtful, college-educated, public-radio influenced. In addition to slick and creative production, highbrow true crime focuses on character sketches instead of police procedure. “We’re public radio producers who are curious about why people do what they do,” Phoebe Judge, the host of the podcast Criminal, said. Judge has interviewed criminals (a bank robber, a marijuana brownie dealer), victims, and investigators, using crime as a very simple window into some of the most interesting and complicated lives on the planet.

Highbrow true crime is often explicitly about the piece’s creator, a meta-commentary about the process of researching and reporting such consequential stories. Serial’s Sarah Koenig and The Jinx’s Andrew Jarecki wrestle with their boundaries with the subjects (Adnan Syed and Robert Durst, respectively, both of whom have been tried for murder) and whether they believe them. They sift through evidence and reconstruct timelines as they try to create a coherent narrative from fragments.

I remember saying years ago that people who liked Serial should try watching Dateline, and my friend joked in reply, “Yeah, but Dateline isn’t hosted by my friend Sarah.” One reason for the first season of Serial’s insane success — it is still the most-downloaded podcast of all time — is the intimacy audiences felt with Koenig as she documented her investigation of a Baltimore teenager’s murder in real time, keeping us up to date on every vagary of evidence, every interview, every experiment. Like the figure of the detective in many mystery novels, the reporter stands in for the audience, mirroring and orchestrating our shifts in perspective, our cynicism and credulity, our theories, prejudices, frustrations, and breakthroughs.

This is what makes this style of true crime addictive, which is the adjective its makers most crave. The stance of the voyeur, the dispassionate observer, is thrilling without being emotionally taxing for the viewer, who watches from a safe remove. (This fact is subtly skewered in Gay Talese’s creepy 2017 Netflix documentary, Voyeur.) I’m not sure how much of my eye-rolling at the popularity of highbrow true crime has to do with my general distrust of prestige TV and Oscar-bait movies, which are usually designed to be enjoyed in the exact same way and for the exact same reasons as any other entertainment, but also to make the viewer feel good about themselves for watching. When I wrote earlier that there are viewers who consume all true crime, and those who only consume “smart” true crime, I thought, “And there must be some people who only like dumb true crime.” Then I realized that I am sort of one of them.

There are specimens of highbrow true crime that I love, Criminal and O.J.: Made in America among them, but I truly enjoy Dateline much more than I do Serial, which in my mind is tedious to the edge of pointlessness. I find myself perversely complaining that good true crime is no fun — as self-conscious as it may be, it will never be as entertaining as the Investigation Discovery network’s output, most of which is painfully serious. (The list of ID shows is one of the most amusing artifacts on the internet, including shows called Bride Killas, Momsters: Moms Who Murder, and Sex Sent Me to the Slammer.) Susan Sontag famously defined camp as “seriousness that fails,” and camp is obviously part of the appeal of a show called Sinister Ministers or Southern Fried Homicide. Network news magazine shows like Dateline and 48 Hours are somber and melodramatic, often literally starting voice-overs on their true-crime episodes with variations of “it was a dark and stormy night.” They trade in archetypes — the perfect father, the sweet girl with big dreams, the divorcee looking for a second chance — and stick to a predetermined narrative of the case they’re focusing on, unconcerned about accusations of bias. They are sentimental and yet utterly graphic, clinical in their depiction of brutal crimes.

It’s always talked around in discussions of why people like true crime: It is … funny? The comedy in horror movies seems like a given, but it is hardly permitted to say that you are amused by true disturbing stories, out of respect for victims. But in reducing victims and their families to stock characters, in exaggerating murderers to superhuman monsters, in valorizing police and forensic scientists as heroic Everymen, there is dark humor in how cheesy and misguided these pulpy shows are, how bad we are at talking about crime and drawing conclusions from it, how many ways we find to distance ourselves from the pain of victims and survivors, even when we think we are honoring them. (The jokey titles and tongue-in-cheek tone of some ID shows seem to indicate more awareness of the inherent humor, but in general, the channel’s programming is almost all derivative of network TV specials.) I’m not saying I’m proud of it, but in its obvious failures, I enjoy this brand of true crime more straightforwardly than its voyeuristic, documentary counterpart, which, in its dignified guise, has maybe only perfected a method of making us feel less gross about consuming real people’s pain for fun.

Crime stories also might be less risky when they are more stilted, more clinical. To be blunt, what makes a crime story less satisfying are often the ethical guidelines that help reporters avoid ruining people’s lives. With the popularity of the podcasts S-Town and Missing Richard Simmons, there were conversations about the ethics of appropriating another person’s story, particularly when they won’t (or can’t) participate in your version of it. The questions of ethics and appropriation are even heavier when stories intersect with their subjects’ criminal cases, because journalism has always had a reciprocal relationship with the justice system. Part of the exhilarating intimacy of the first season of Serial was Koenig’s speculation about people who never agreed to be part of the show, the theories and rabbit holes she went through, the risks she took to get answers. But there is a reason most reporters do all their research, then write their story. It is inappropriate, and potentially libelous, to let your readers in on every unverified theory about your subject that occurs to you, particularly when wondering about a private citizen’s innocence or guilt in a horrific crime.

Koenig’s off-the-cuff tone had other consequences, too, in the form of amateur sleuths on Reddit who tracked down people involved with the case, pored over court transcripts, and reviewed cellular tower evidence, forming a shadow army of investigators taking up what they saw as the gauntlet thrown down by the show. The journalist often takes on the stance of the professional amateur, a citizen providing information in the public interest and using the resources at hand to get answers. At times during the first season of Serial, Koenig’s methods are laughably amateurish, like when she drives from the victim’s high school to the scene of the crime, a Best Buy, to see if it was possible to do it in the stated timeline. She is able to do it, which means very little, since the crime occurred 15 years earlier. Because so many of her investigative tools were also ones available to listeners at home, some took that as an invitation to play along.

This blurred line between professional and amateur, reporter and private investigator, has plagued journalists since the dawn of modern crime reporting. In 1897, amid a frenzied rivalry between newspaper barons William Randolph Hearst and Joseph Pulitzer, true crime coverage was so popular that Hearst formed a group of reporters to investigate criminal cases called the “Murder Squad.” They wore badges and carried guns, forming essentially an extralegal police force who both assisted and muddled official investigations. Seeking to get a better story and sell more papers, it was common for reporters to trample crime scenes, plant evidence, and produce dubious witnesses whose accounts fit their preferred version of the case. And they were trying to get audiences hooked in very similar ways, by crowdsourcing information and encouraging readers to send in tips.

Of course the producers of Serial never did anything so questionable as the Murder Squad, though there are interesting parallels between the true-crime podcast and crime coverage in early daily newspapers. They were both innovations in the ways information was delivered to the public that sparked unexpectedly personal, participatory, and impassioned responses from their audiences. It’s tempting to say that we’ve come full circle, with a new true-crime boom that is victim to some of the same ethical pitfalls of the first one: Is crime journalism another industry deregulated by the anarchy of the internet? But as Michelle Dean wrote of Serial, “This is exactly the problem with doing journalism at all … You might think you are doing a simple crime podcast … and then you become a sensation, as Serial has, and the story falls to the mercy of the thousands, even millions, of bored and curious people on the internet.”

Simply by merit of their popularity, highbrow crime stories are often riskier than their lowbrow counterparts. Kathryn Schulz wrote in The New Yorker about the ways the makers of the Netflix series Making a Murderer, in their attempt to advocate for the convicted murderer Steven Avery, omit evidence that incriminates him and put forth an incoherent argument for his innocence. Advocacy and intervention are complicated actions for journalists to undertake, though they are not novel. Schulz points to a scene in Making a Murderer where a Dateline producer who is covering Avery is shown saying, “Right now murder is hot.” In this moment the creators of Making a Murderer are drawing a distinction between themselves and Dateline, as Schulz writes, implying that, “unlike traditional true-crime shows … their work is too intellectually serious to be thoughtless, too morally worthy to be cruel.” But they were not only trying to invalidate Avery’s conviction; they (like Dateline, but more effectively) were also creating an addictive product, a compelling story.

That is maybe what irks me the most about true crime with highbrow pretensions. It appeals to the same vices as traditional true crime, and often trades in the same melodrama and selective storytelling, but its consequences can be more extreme. Adnan Syed was granted a new trial after Serial brought attention to his case; Avery was denied his appeal, but people involved in his case have nevertheless been doxxed and threatened. I’ve come to believe that addictiveness and advocacy are rarely compatible. If they were, why would the creators of Making a Murderer have advocated for one white man, when the story of being victimized by a corrupt police force is common to so many people across the U.S., particularly people of color?

It does feel like a shame that so many resources are going to create slick, smart true crime that asks the wrong questions, focusing our energy on individual stories instead of the systemic problems they represent. But in truth, this is is probably a feature, not a bug. I suspect the new true-crime obsession has something to do with the massive, terrifying problems we face as a society: government corruption, mass violence, corporate greed, income inequality, police brutality, environmental degradation, human-rights violations. These are large-scale crimes whose resolutions, though not mysterious, are also not forthcoming. Focusing on one case, bearing down on its minutia and discovering who is to blame, serves as both an escape and a means of feeling in control, giving us an arena where justice is possible.

Skepticism about whether journalists appropriate their subjects’ stories, about high and low, and about why we enjoy the crime stories we do, all swirl through what I think of as the post–true-crime moment. Post–true crime is explicitly or implicity about the popularity of the new true-crime wave, questioning its place in our culture, and resisting or responding to its conventions. One interesting document of post–true crime is My Favorite Murder and other “comedy murder podcasts,” which, in retelling stories murder buffs have heard on one million Investigation Discovery shows, unpack the ham-fisted clichés of the true-crime genre. They show how these stories appeal to the most gruesome sides of our personalities and address the obvious but unspoken fact that true crime is entertainment, and often the kind that is as mindless as a sitcom. Even more cutting is the Netflix parody American Vandal, which both codifies and spoofs the conventions of the new highbrow true crime, roasting the genre’s earnest tone in its depiction of a Serial-like investigation of some lewd graffiti.

There is also the trend in the post–true-crime era of dramatizing famous crime stories, like in The Bling Ring; I, Tonya; and Ryan Murphy’s anthology series American Crime Story, all of which dwell not only on the stories of infamous crimes but also why they captured the public imagination. There is a camp element in these retellings, particularly when famous actors like John Travolta and Sarah Paulson are hamming it up in ridiculous wigs. But this self-consciousness often works to these projects’ advantage, allowing them to show heightened versions of the cultural moments that led to the most outsize tabloid crime stories. Many of these fictionalized versions take journalistic accounts as their source material, like Nancy Jo Sales’s reporting in Vanity Fair for The Bling Ring and ESPN’s documentary on Tonya Harding, The Price of Gold, for I, Tonya. This seems like a best-case scenario for prestige true crime to me: parsing famous cases from multiple angles and in multiple genres, trying to understand them both on the level of individual choices and cultural forces.

Perhaps the most significant contributions to post–true crime, though, are the recent wave of personal accounts about murder and crime: literary memoirs like Down City by Leah Carroll, Mean by Myriam Gurba, The Hot One by Carolyn Murnick, After the Eclipse by Sarah Perry, and We Are All Shipwrecks by Kelly Grey Carlisle all tell the stories of murder seen from close-up. (It is significant that all of these books are by women. Carroll, Perry, and Carlisle all write about their mothers’ murders, placing them in the tradition of James Ellroy’s great memoir My Dark Places, but without the tortured, fetish-y tone.) This is not a voyeuristic first person, and the reader can’t detach and find joy in procedure; we are finally confronted with the truth of lives upended by violence and grief. There’s also Ear Hustle, the brilliant podcast produced by the inmates of San Quentin State Prison. The makers of Ear Hustle sometimes contemplate the bad luck and bad decisions that led them to be incarcerated, but more often they discuss the concerns of daily life in prison, like food, sex, and how to make mascara from an inky page from a magazine. This is a crime podcast that is the opposite of sensational, addressing the systemic truth of crime and the justice system, in stories that are mundane, profound, and, yes, addictive.

#true crime #adnan syed #media #ethics #The Way We Live Now #culture #andrew jarecki #james ellroy #criminal justice #detective fiction

[favescandis]

ICON Magazine: Cover Story: Million Dollar Bill (By Jessica Bailey)

Bill Skarsgård returns as the big-headed, balloon-toting demonic clown in IT Chapter Two. ICON sits down with the next big actor in Hollywood

NEW YORK CITY: Bill Skarsgård is talking me through how he mastered the sinister, bone-chilling laugh of Stephen King’s evil clown, Pennywise, in horror film It Chapter Two. “I wanted the laugh to sound like someone who is having a panic attack and is almost about to cry,” the 29-year-old Swedish actor explains. Suddenly, he begins cackling, his tall frame – which was seconds before slumped in his chair in the hotel room – rises and his eyes become so intense and fixated on something imaginary on the grey carpet between us. His voice is shaky, crackly, almost gasping for air. You feel like he could either lunge at you or burst into a million pieces at any given moment. It’s scary. “Even doing it out loud evokes a kind of unsettling feeling in myself,” Skarsgård says coming back to reality. “I kind of like it.”

Theatrical, serious and intelligent. It’s fascinating watching the actor come in and out of character; it seems as simple as flicking a light switch on and off. But Skarsgård insists the actual process on the It set – of which he, the human, disappears underneath layers of prosthetics – took more work than what I’d just witnessed. “I would scream and laugh hysterically before takes and reach a certain level of adrenaline to help me get into character for the scene,” he explains. By his own admission, Pennywise was by far the most physically and mentally draining character Skarsgård has played. But when I tell him I can’t seem to un-see Pennywise when I look at him, he almost shudders with distaste. “You see Pennywise in me?” he asks. “I think this is the first time anybody has said that. I don’t like to think too much about being associated with a murderous clown. I thought the makeup was my mask.”

While the wheedling and lethal villain is Skarsgård’s most notable role to date – and he’s brilliant in it, by the way – you might also recognise him from the 2017 mystery thriller Atomic Blonde (with Charlize Theron), the 2016 sci-fi film The Divergent Series: Allegiant (with Shailene Woodley) or Netflix’s supernatural drama Hemlock Grove. The actor has a slew of upcoming films, too, including thriller The Devil All the Time with fellow heartthrobs Robert Pattinson and Tom Holland, and drama Nine Days will see him return to fantastical fare alongside up-and-comer Zazie Beetz. To answer the obvious question, yes.

Skarsgård is related to 43-year-old Alexander Skarsgård, who is his older brother and is best known for his roles in True Blood and Big Little Lies. Both grew up in Stockholm in a family of 10, in which four of the eight children became actors. Their father, Stellan, is also a very famous actor in Sweden and starred as Professor Gerald Lambeau in Good Will Hunting. Post his ICON cover shoot in TriBeCa, NYC, we give the younger Skarsgård some pennies for his thoughts. Here, he discusses his titular character and the vast differences between his native Sweden, where no one locked the doors, and Hollywood, where men in clown makeup is a normal sight on the main strip.

ICON: Unlike Joaquin Phoenix’s Joker – an unhinged man in clown makeup – you essentially had to get inside the head of an evil and maniacal thing. How did you prepare for this role?

SKARSGÅRD: In a way, it’s even more abstract getting into the head of a madman because he’s not a man, he’s a thing. He’s a creature, an entity, so we had to come up with what the rules were for the character or the creature and then kind of humanise it in a way for me to be able to relate to it. He’s kind of the embodiment of evil – everything that’s nasty in people, he is. He’s a bully, he thrives off pain and fear and he’s mean. I used to draw on animals as a reference point a lot, like Jaws. The shark in Jaws is a monster, but it’s an animal. It’s going out trying to eat humans because it’s hungry and that element is in Pennywise as well; he’s hungry and he needs to feed. But what makes him evil and sinister is him taking pleasure out of feeding or pleasure of frightening and tormenting young children. In the first movie, the kids would cry and he would mock the kids crying and I thought that was like pretty much as evil as it gets, when you’re not only making a kid cry but you’re enjoying the fact that you’re making a kid cry. There are those people in the real world who are that bad, but I kind of wanted to go through the character mentally and think, “What is the most monstrous and evil thing I can think of?” and those things kind of came to mind.

ICON: Did you look to other famous clowns in history at all?

SKARSGÅRD: Not really. I watched Bozo The Clown and Ronald McDonald a little bit. There’s kind of a few of those iconic clowns, but the thing we didn’t want to do too much, or at least my entry way into the character, was not make him like this [makes goofy noises] doo-di-doo clown kind of a thing. Because I wanted Pennywise to have this really off thing about him. Also, Tim Curry’s clown [he portrayed Pennywise in the 1990 TV adaptation of King’s novel It) was very much more this villain, old-timey clown. That type of performance was great, but we wanted to do something different for this version. I didn’t go too far into the studying of a clown’s mimicry, but I took little pieces of what I liked and incorporated it into Pennywise.

ICON: At the time of your It audition, you lived with housemates and couldn’t practise Pennywise’s evil laugh in the house, so you had to do it in the car on the way to the audition. Tell me about that drive – in full clown makeup. Were people staring?

SKARSGÅRD: [Laughs] Yeah, that was for the callback audition. I had a version of what became his laugh pretty early on. I wanted it to sound like someone having a panic attack and it’s almost about to be a cry. That amplified became the laugh. Like it’s not someone who’s happy, it’s someone who maybe is miserable and almost having a crazy panic attack with its laugh. Even doing it out loud evokes a kind of unsettling feeling in myself that I kind of liked. But, yeah, I was driving around with this kind of basic clown makeup on and was just trying screams and laughs and everything. If it were recorded, it would have almost been a cliché of an actor’s life in Hollywood; it was so ridiculous. Going to the audition, there was only street parking, so I had to park the car and walk my way into the casting director’s office, which is right by Hollywood Boulevard, so there were construction workers out the front. When they looked at me, they didn’t even flinch. That’s just what Hollywood is, I guess. It’s like, “There’s a man walking around with a clown face laughing to himself” [laughs].

ICON: What was your experience like when you first came to Hollywood? Were there stray clowns?

SKARSGÅRD: I came to LA for the first time when I was seven years old and then again when I was 10. I’ve been travelling there since I was fairly young because of my dad, who would shoot movies out here as well. I don’t remember my perception of LA very much – I liked the weather, I liked the mall, the Beverly Center was the coolest thing ever. You know, Footlocker! At that time, you could get sneakers in America that you definitely couldn’t get in Sweden. I had all the Nike out fits.

ICON: Your brother Alexander has said he’s not a method actor when he takes on dark and dramatic roles. Are you a method actor?

SKARSGÅRD: No, I don’t need to stay in character. That approach doesn’t make sense for me. But everyone has different ways of reaching what they need to reach and I’m definitely not method, but I have my own methods. With Pennywise, it was less about character and more about the energy. You need to find a state of energy that is true for the scene that you’re playing. So say you’re doing a really emotional scene, you need to find that energy or that chemical in your body – which is all it is to me at least – and when you trigger it, tears can start. A talented actor can trigger it chemically. In your body you feel like you’re about to start crying, you make yourself start crying and it’s a chemical reaction to it, you feel it in your body. You need to reach that place before you go into the scene and that’s the sort of method that I work with.

ICON: How did this method work with Pennywise?

SKARSGÅRD: He was a very particular kind of character. He’s always so expressive and energetic. I would scream and laugh hysterically before takes and reach a certain level of adrenaline to help me get into character for the scene.

ICON: We’ve seen dark characters get to actors before. Australian actor Heath Ledger and his iconic role as the Joker – and his clown-like villain – is an extreme example of this. How do you get out of that Pennywise headspace when you arrive home at night?

SKARSGÅRD: I also heard it’s kind of a misconception; that’s a romantic idea that Heath died of the Joker performance. From all accounts I’ve heard, he really enjoyed it and he wasn’t method either.

ICON: He reportedly was very immersed in the character…

SKARSGÅRD: Oh, completely, but from actors who worked with him on the set, they were like, “He would talk about his daughter.” We have this romantic idea that “Oh, this man, he went crazy or he went to the darkest place ever and he couldn’t figure his way out.” As the public, we like those types of stories and sometimes they’re true and sometimes actors fabricate that truth in order for them to seem a little bit more remarkable. So you talk about his or her performance as, “Oh, they did all these things,” and that’s what made it so great. Sometimes I feel like some actors maybe want to feel a little bit extra special in that regard. If I go and I have a very particular type of scene, like if I’m hurting someone or if I’m being awful, that doesn’t feel good afterwards. I think the worst is not like a character like Pennywise or those kinds of villainous roles – they’re dark but they’re fun, the character enjoys what they’re doing – the characters that will really get to you are the characters that are depressed or inflicted by pain. Say you play someone who is so depressed that they are about to commit suicide. Like, if that is your day, every day going into that mindset, you’re not going to be a happy person, because your character is not happy.

ICON: Pennywise though…

SKARSGÅRD: Pennywise is enjoying what he is doing, and in the same way Joker is as well; they’re dark but they’re enjoying it. You’re playing a character who enjoys the darkness, so that is what you have to access, and you don’t have to access the lack of self-worth or characters who are paranoid or in their own head and stuff like that. There is a movie that I’m about to start doing and you read the character and he’s very unlikeable: paranoid, insecure, a pathological liar, mentally ill. As a result, he goes into this kind of schizophrenic state. I read that script and I was like, “This is going to be really, really tough for me to do. I’m going to feel like shit doing it because it’s a character who’s losing his mind throughout the whole movie.” That is the state I have to go into, so when I’m coming home from work and I’ve been in that mental state, I think those things will affect how you feel during the production of the film.

ICON: Some creepy things went down in Derry, Maine. You’re from Stockholm in Sweden – what was it like growing up there and in a household with, like, a million people?

SKARSGÅRD: It was great. Stockholm is a wonderful place for a kid. I grew up in what would be called an extremely gentrified neighbourhood, but it used to be a working class neighbourhood. It was very bohemian and we went to school with immigrants and people from different places around the world. It felt like a very diverse upbringing – at least compared to a place like LA, which is the most secluded, segregated place there is. So Stockholm was wonderful in the way that you were exposed to all these different cultures and people. You could attend different classes and we were all just going to the same schools, there were no private schools or none of that. I’m extremely happy that that was my background. It’s healthy for kids to be exposed to all of that, and my family – a big, big family – our home was always the home that you would bring your friends to. That was true for all of our siblings. Sometimes there would be like 10-15 kids hanging out in our rooms, because our parents very much had an open- door policy – nobody knocked and we never locked the doors. Everybody just walked in and out – it was a big party.

It Chapter Two is in Australian cinemas now.

Photography: Michael Schwartz Styling: Bill Mullen

https://icon.ink/articles/bill-skarsgard-pennywise-it-chapter-two-interview/

https://icon.ink/fashion-shoot/million-dollar-bill-skarsgard-tribesandtribulations-cover-photoshoot/

#Bill Skarsgård #Michael Schwartz #ICON #long post #bill skarsgar

[aggretsuko-s3e1]

ᐅ Aggretsuko (Season 3) Episode 1 Full Episode

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Title : Aggretsuko Season 3 Episode 1 Genre : Comedy, Family, Drama Air Date : 2020-09-05 Season Number : 2 Episodes Number : 4 Overview : A spin-off of Love in Difficult Times that focuses on the relationship between Luisita and Amelia in the present - 43 years after their original storyline. Stars : Carol Rovira (Amélia Ledesma), , Paula Usero (Luisita Gomez), , Lucía Martín Abello (María Gómez Sanabria), , jonás berami (Ignacio/ Nacho), , Alvaro de Juana (Manolín), , Itziar Miranda (Manolita), , Manuel Baquero (Marcelino),

SYNOPSIS Bob Lemmens tracks down some arms dealers.

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The itself is mostly a fiction, although some are based on fact true stories or based on a true story. There are also documentaries with original and real pictures, or biographical films that tell the story of a character. There are many other popular genre films, ranging from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others. That’s a little information about the definition of or movie. The information was quoted from various sources and references. Hope it can be useful. ❍❍❍ TV MOVIE ❍❍❍ The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 1930s. Televised events such as the 1935 Summer Olympics in Germany, the 19340 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 1939 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 19440 World MOVIE inspired many Americans to buy their first television set and then in 1948, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “”Mr Television”” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 4, 2020 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast (the 1954 Tournament of Roses Parade) in the US occurred on January 1, 1954. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 1955, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 19402, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season. ❍❍❍ Formats and Genres ❍❍❍ See also: List of genres § and television formats and genres Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional MOVIE). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows.[citation needed] A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 2020s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the Episode, it was usually undone by the end. Because of this, the Episodes could be broadcast in any order.[citation needed] Since the 2020s, many MOVIE feature progressive change in the plot, the characters, or both. 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If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Fi-Fi, action, romance, thriller, Comedy, drama and Anime Movie. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings! Thanks for watching The Video Today. I hope you enjoy the videos that I share. Give a thumbs up, like, or share if you enjoy what we’ve shared so that we more excited. Sprinkle cheerful smile so that the world back in a variety of colors.

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[thecomedybureau]

The 100 Best Things in Comedy We Were Witness to In No Particular Order of 2019

OK, 2019′s officially over and we’ve wrangled our 100 truly favorite things in and around comedy (and it really spans all of comedy) that are not ranked whatsoever. It’s just like the title says and, it’s, as it is every year, quite long, so we won’t waste any more time with this intro. 

Oh, in case you forgot and/or curious and/or need a quick refresher, here’s our 2018 list. 

1. Rory Scovel Live Without Fear-This documentary follows Rory Scovel and his journey through six nights of completely improvised hour sets. In a single word, it’s inspiring. You see the way Scovel truly connects the audience and keeps it that way through his indelible charm and endless curiosity. The near unbelievable story of the Relapse Theater in Atlanta is also beautifully threaded in the doc as well. The clips of the improvised performances capture the magic that stand-up comedy can be that’s absent from the majority of comedy specials. You should be required to see this whenever and wherever it comes if you have any level of interest in comedy at all. 

2. Naomi Ekperigin-From her own stand-up, to her podcast with husband Andy Beckerman, Couples Therapy, and her writing across TV, and everything else she does, Naomi is such an thoroughly commanding, yet delightful presence that we love seeing every time anywhere (and she should already be way bigger of a star already).

3. Cait Raft’s Presentation on “Bradley Cooper’s a Star Is Born Takes Place in an Alternate Reality Where 9/11 Never Happened”-Witnessing the imagination of Cait Raft up close was a privilege for us. This amazing dissection of the zeitgeist left us in stitches and with our mouth agape for how thoroughly it proved its point.

4. Corporate Season 2-The second season of the ultra dark workplace comedy delivered once again on its hysterical nihilistic satire that’s so prescient, yet still so unbelievably funny.

5. Mom-Prov Presents Family Therapy-Improviser Izzy Roland was daring enough to have her mom and her grandmother, both of whom are also in showbiz, to join her on stage for one of the most madcap, fourth wall-breaking, entertaining improv shows we’ve seen all throughout 2019.

6. Jena Friedman-So, this year, Jena delivered yet again with her subtle delivery and calm demeanor that hides her absolutely killer jokes. The follow-up to her Adult Swim special, Soft Focus, upped the ante with an interview of a gun-toting John McAffee and her brilliant Conan set about everyone’s true crime obsession.

7. Brendon Walsh’s Afternoon Delight-This last year, Brendon Walsh let everyone know that he was and still is one of the best at pulling prank calls, which is so much harder now than it was even ten years ago. This live show actually has Brendon place live prank calls in between stand-ups and the ride you go on is absolutely thrilling.

8. Jacqueline Novak’s Get on Your Knees-Novak’s solo show has more than earned its spot as an Off-Broadway show with bringing such an exquisite, almost never before seen comedic sensibility to the topic of blow jobs.

9. #F*ckF*ckJerry-Props to Vulture Senior Editor Megh Wright for sparking the fire to take out the egregious social media accounts of F*ck Jerry that just lifted jokes from comedians all across the Internet without pay or attribution.

10. Lorelei Ramirez-We’ve known distantly about Lorelei Ramirez for so many years, but seeing them up close was a breathtaking experience that had us laughing so hard. Their artistry in comedy that gracefully borders on performance art and even horror is absolutely inspiring.

11. Aaron Urist-Denver’s Aaron Urist is such a killer joke writer and joke teller and has been for years. We just were reminded about that with his burning bush joke during his latest LA trip.

12. Booksmart-Olivia Wilde’s directorial debut was not only a reinvigorated take on movies that specifically hone in on the end of high school, but also had a sincerely hopeful vision of the future generation. We hope that Booksmart finds its way to the top of the coming-of-age comedy films pantheon.

13. Rachel Mac on Lights Out-One of the highlights of Lights Out with David Spade is how unfiltered and raunchy they let comics get during their sets on the show. Rachel Mac took that amount of comedic license and thrived in getting into the nitty gritty about her last teaching job.

14. What We Do In The Shadows-The FX TV adaptation of the seminal Taika Waititi and Jemaine Clement film in 2014 exceedingly succeeds in nailing the comedy of minutia in the world of the undead that also happens to be in a (somewhat) grounded reality.

15. PEN15-Maya Erskine and Anna Konkle’s vision of 2000 and their performances as teens were so spot on that PEN15 would deserve acclaim just for that. However, the heart of this show made its humor stand out in an ever crowded field of coming-of-age comedy.

16. Tiffany Haddish’s Black Mitzvah-A lot has happened for Tiffany Haddish since her last special (she’s a legit A-list celebrity now), but it’s clear that she is still her unapologetically positively, life loving self. This special is evidence of that, especially with her bit about her New Year’s show that she got undeserved flack for.

17. Straw Men-Lindsay Adams, Danny Palumbo, and Sam Wiles (and producer Kimmie Lucas) put on what is our favorite imagining of a comedic debate that we’ve seen thus far. The encouragement to make the most ridiculous, baseless arguments and being transparent about the whole thing is a golden goose of comedy.

18. The ending of Gloria Bell-Well, we can’t very well give away the ending to this English language dramedy remake from Sebastián Lelio that has Julianne Moore shine as bright as she has ever shone before, but just know that we stood out of our seats, applauding what she did to John Turturro right at the end.

19. I Think You Should Leave-Tim Robinson’s unflinchingly absurd sketch series unequivocally has many of the best sketches of 2019. The hot dog costume and Mexican restaurant sketches will have us busting up through, very likely, the next decade.

20. Les Miz and Friends-Bonkers (and we mean that in the best way possible) doesn’t begin to describe how wild this meta and great this puppet and human hybrid take on the theater institution of Les Miserables. The sheer cleverness on every level is awe-inspiring. 

21. Dave Ross’ The Only Man Who Has Ever Had Sex-Ross has been a longtime favorite of ours for the contrasting bounciness and darkness of his comedy. His debut album captures this dichotomy perfectly.

22. Nikki Glaser: Bangin’-Nikki Glaser’s first Netflix hour special started off with a bang, pun intended. Her frank, but heartfelt exploration of all facets of sex is so damn funny that Glaser gets away with being as blue as she wants.  

23. Super Dating Simulator-This live, interactive version of various Japanese video game dating simulators is one of the more innovative and surprisingly charming things we saw this year. Creator Sam Weller did a bang-up job not only making a video game work as a stage show, but doing so with a very off-beat sub-genre of video games

24. Emmy Blotnick’s Party Nights-Blotnick’s latest album shows Emmy at the peak of her delightful observational powers. The concept of a “Self-Potato” is just priceless.

25. Tammercise!-Folks in comedy are getting all sorts of clever these days to redefine traditional formats and disciplines and push the art form forward. Madeline Wager does this exquisitely with a solo show of a woman unraveling that doubles as legit aerobics class.

26. The Cherry Orchard w/Chad Damiani and Jet Eveleth-Damiani and Eveleth explore a new angle on postmodern clowning by supposedly doing a Chekov play going through dress rehearsal without any of the players knowing what they’re supposed to do. The back and forth between the live direction and the tomfoolery on stage is truly hysterical.

27. Bake Stuff with Lindsay LIVE-It’s about time for a comedic cooking show that actually does teach you a wonderful recipe and also explores and resolves(?) childhood trauma. Lindsay Adams’ Bake Stuff with Lindsay, which we indeed saw live, accomplishes all of that and inspires all those watching to cook through their feelings.

28. Shalewa Sharpe’s So, You Just Out Here?-Shalewa imbues homespun wisdom with marvelously colorful descriptions all throughout this very satisfying album.

29. The Amazing Johnathan Documentary from Ben Berman-The Amazing Johnathan’s life story is pretty captivating as is. The story about Ben Berman trying to tell his story amidst several other people trying to tell his story is absolutely engrossing and is somehow all true.

30. Julio Torres’ HBO special “My Favorite Shapes”-Torres’ special is simultaneously one of the most daring and silly hour specials in recent memory and his elevation of prop comedy to a whole new level is to be commended.

31. The Underculture with James Adomian-James Adomian has been one of comedy podcasts’ most in-demand and bright shining stars. It comes as no surprise that his own podcast that revs up all his characters has some of the best, most dynamic, absurdist interviews in political and pop culture satire. 

32. Daniel Van Kirk’s Thanks Diane/Together Tour-Van Kirk’s first, complete hour that he both toured with and released as an album is so impressive with how deftly Dan manages a balance of sincerity and mischief from wire-to-wire.

33. Conan in Greenland-Conan marvelously turns his travel specials series Conan Without Borders on its head by attempting to buy Greenland based off of Trump’s stupid tweets.

34. Mary Beth Barone’s Drag His Ass: A F*ckboy Treatment Program-Mary Beth Barone’s live show exploration into her dating life is illuminating and hilarious throughout, but the actual interview that she does live with a “f*ckboy” is transcendent.

35. Obvious Plant’s Carnival of Toys-Jeff Wysaski AKA Obvious Plant really outdid himself this year in his quest to permeate everyday reality with a satirical twist. He not only made a whole line of custom toy figures that satirize pop culture on so many levels, but opened up a whole pop-up museum for several days to exhibit them in all of their bizarre glory.

36. Sports Without Equipment with Coach Keith Alejo-This Dress Up Gang sketch is one of those ideas that are simple, yet so out-of-left-field. Literally, they take sports without equipment to its funniest conclusion.

37. #Squatmelt-Howard Kremer’s desire to keep the spirit of The Meltdown with Jonah and Kumail alive has evolved into its own very special thing in the form of a DIY stand-up comedy show/walking tour that periodically migrates around LA.

38. Catch-22-Trying to adapt such a monumental literary work like Catch-22 is almost a fool’s errand, but writers Luke Davies and David Michôd do a smash-up job for not only bringing Heller’s immortal words to life, but also sticking the landing for all the darkly absurdly comical moments that run rampant throughout the story.

39. Get Rich Nick-Even if they didn’t have the fantastic banter, riffs, and asides from the very funny duo of Nick Turner and Nick Vatterott, this podcast that explores how to make money real quick is one of the best new podcasts of the whole year. Fortunately, Nick and Nick’s humor runs rampant through every episode and makes Get Rich Nick engrossing and makes you actually laugh out loud.

40. MK Paulsen-The comedy of MK Paulsen can be faster than a bullet, but as satisfyingly silly as a gun that shoots a flag with the word ‘bang’ on it. Every time we see him do stand-up, it’s a fun, rollicking ride that’s equal parts offbeat whimsy, clever wordplay, and an agile sense of timing and play.

41. Father Figurine by Matt Kazman-The dour faces of the family in this dark comedy short play to the highest comedic effect perfectly. A dead patriarch and an apathetic family make for some of the best dry humor in 2019.

42. Funk Shuffle-Danny Cymbal, Dennis Curlett, and Michael Gardner comprise Funk Shuffle, an improv group that manages fly freer and more untethered than almost any other improv group that we’ve ever seen. They make their defiance and experimentation with improv forms really work due to the trio’s unflinchingly playful spirit.

43. Gary Gulman’s The Great Depresh-Gulman, as one of comedy’s premier craftsman, of course, delivers an hour of stellar comedy with this special. He also manages, this time around, to destigmatize depression and, in general, be hopeful. That particular comedy trifecta is such an impressive feat that very few can accomplish.

44. Greener Grass-The scope and ambition of Jocelyn DeBoer and Dawn Luebbe’s directorial debut hints at some really special things to come from them in the future. Their absolutely demented, pastel drenched absurdist vision was a shocking delight through and through.

45. Jenny Slate’s Stage Fright-Slate’s best comedic strength is her unshakeable vulnerability. This hour special lets Jenny present that trait as intimately as she has ever presented it and gives an in-depth look as to where that hilarious vulnerability comes from. 

46. Heather Anne Campbell swatting a baby out of someone’s hands in an improv scene-At this point, it should come as no surprise that Heather Anne Campbell is one of our absolute all-time favorite people in comedy and thus, she kind of just ends up making it on this list annually on her own someway, somehow. This year, during a performance of her improv group, Heather and Company, we laughed as hard as we’ve ever laughed at Drew DiFonzo Marks initiating a scene by rocking a baby back and forth and then, Heather insanely swatted it out of his hands and stomped on it. It sounds ludicrous, but trust that Heather made that so unbelievably funny. 

47. Adam Cayton-Holland’s Happy Place-Cayton-Holland’s live solo show based on his critically acclaimed book of the same name pulls off oscillating between cleverly wrought and self-aware comedy and some of the most heartbreaking stories you’ll ever hear about his late sister. Holland’s focus and calm make it all miraculously blend together.

48. The Authorized Unauthorized My Favorite Murder Musical-In the world of unauthorized musicals about things that you wouldn’t really think about being adapted into unauthorized musicals (it’s a bigger ever-burgeoning world every month it seems), the staged reading of this My Favorite Murder-inspired musical that we saw was phenomenal. The full stage production to come in 2020 will undoubtedly be something really great. 

49. Pedro Gonzalez-Pedro’s jokes are so expertly written and crafted that you forget that he immigrated to America as a teenager from Colombia and learned English as a second language.

50. Garry Starr Performs Everything-UK comedian Garry Starr’s solo show is a genius send-up and celebration of theater as a whole. The physicality and the sheer madness of the whole show are so thoroughly hysterical.

51. Kira Soltanovich-We just want to take a moment to appreciate the agility of the comedy of Kira Soltanovich. Not only does Kira play any room or any show as far as we’ve seen, but her drive is just unstoppable (see ep. of The Honey Dew).

52. Mike Birbiglia’s The New One-Though it seems almost too routine that Birbiglia comes out with a new hour special that garners tons of acclaim for its ornate and complex and, ultimately, very satisfying tapestry of stories, Birbiglia delivers exactly once again with one such solo show/special on fatherhood.

53. Michelle Buteau-We saw Michelle headline just a few months ago at Dynasty Typewriter and were reminded of just how good Buteau is. She combines being heartfelt, having a fun bit of attitude, and an absolute command of the stage in such a beautiful way.

54. Gareth Reynolds’ Riddled with Disease-Many folks know how great Gareth is from his madcap riffing on The Dollop, but Reynolds shows he is fantastic with a sharp, hilarious, yet still fast-and-loose-feeling hour.

55. Sara Schaefer’s LIVE LAUGH LOVE-Sara, above most folks working in comedy today, goes to great lengths to be considerate, inclusive, and vulnerable in her comedy and it’s so, so wonderful because of that. This album is yet another great example of that mix.

56. Sean Patton’s Scuttlebutt-Sean Patton’s latest album is a fantastic note to any and all that Sean is, hands down, one of the best comedians ever to spin a yarn (and also share some damn fine true stories) and deserves way more accolade and attention for that now and going forward. 

57. Matt Rogers’ Have You Heard of Christmas?-Rogers had quite a 2019 in putting culture on notice, but his queer and subversive holiday musical extravaganza might be one of the best pieces of holiday themed comedy of all time.

58. The Chris Gethard Show with Robby Hoffman-Not only does Robby Hoffman keep the punk rock, conventions-be-damned spirit of TCGS alive, but she makes it so much her own and lets her hilarious, domineering persona transform the show into another very special, unique round of controlled chaos.

59. The taping of Eddie Pepitone’s latest special-Eddie’s sound and fury and his irreverent stream-of-consciousness-seeming comedy were flawless in this latest hour. Everyone in attendance, including ourselves, were in stitches for the whole taping. Props to director Steven Feinartz for one of our favorite looks of a special that we saw last year (which you’ll all get to see soon in 2020).

60. Eric Dadourian’s closer on Nebraska 2-Dadourian is always all in for the sake of a real bold, imaginative bit and, as such, pulled off one of our favorite closers of the year on his very first full length album.

61. Jessica Kirson: Talking to Myself-Kirson’s hour special on Comedy Central really let Jessica cut loose and let her showcase her stand-up expertise. From the way that Kirson contorts her face to her deep well of voices/characters to razor-sharp quick wit to, of course, her signature asides to herself, Jessica really kills it in this hour. 

62. Brody Stevens-Long live the “jock doing performance art” comedy (one of our favorite descriptions of Brody’s comedy by his dear friend Zach Galifianakis) and may he rest in peace. Yeeeees! Enjoy It!

63. Byron Bowers on Colbert-Byron Bowers and his clever, yet sincere, dark, vulnerable comedy put up one of our favorite late night sets this year. From the opening to his frank jokes about his dad make us think that it’s just a little crazy that this is his network TV debut.

64. Desus and Mero on Showtime-With the upgrade of being on Showtime, Desus Nice and The Kid Mero are having the most fun in late night with the freshest voices and format (and they’re able to pull that off with only being twice a week).

65. Fleabag Season 2-creator and star Phoebe Waller-Bridge assuredly has more masterpieces ahead of her, but managing to top herself from one masterpiece season of dark romantic dramedy with another one is something that deserves all the accolades and awards that it has gotten.

66. Kenny DeForest on Corden-Kenny dismantles toxic masculinity so incisively through the whole set that he most certainly earns all the applause breaks he gets the whole way through.

67. Josh Gondelman’s Dancing on a Weeknight-Gondelman is often thought of as one of the best, sweetest people in comedy. This latest album, for all of its being clever and genuine, is proof that he indeed really is that sweet and funny.

68. The Marvelous Mrs. Maisel Season 3-The perennial prestige comedy from Amy Sherman-Palladino earns its keep by having some of the best writing (it’s almost impossible to write jokes that are contextualized for the 50s/60s and make them actually funny for 2019 audiences) and also being one of the most gorgeous looking shows in all of television.

69. Nick Ciarelli and Brad Evans-Whether it be pulling pranks on Twitter, their plethora of hysterical sketches doing an impression of Jack FM on shows around town, or their monthly live sketch character showcase Atlantic City, Nick and Brad are a damn fine comedy duo and have been for quite some time. 

70. Caitlin Gill’s Major-It’s quite the magic trick to make an hour of comedy that’s entirely clean and have it being clean not be a thought that you’re thinking about at all when listening or watching it. Caitlin Gill spectacularly does just that with this album as Gill can make all of her earnest rants, imagery, and observations work in any way that she needs to.  

71. 97.9 The Rat Race-Ben Roy’s satirical reimagining of a morning radio “zoo crew” is so spot on, then gets real twisted to make this one of the most surprising and rewarding podcasts of 2019.

72. Mike Lane’s Picture Frames-This short film from Lane heightens the idea of remembering those you love after they’ve left this mortal coil to such a ridiculous level every step of the way (and is more and more enjoyably unpredictable the further it goes).

73. Paige Weldon on Corden-Paige’s upbeat self-deprecation is just hard to resist and it makes the best impression in this late night set on The Late Late Show with James Corden.

74. The Righteous Gemstones-Danny McBride’s latest HBO series that darkly and comically dissects the South might be his most ambitious yet, but, of course, he nails it. The constant suspense perpetuated by hysterically tragic characters in the world of televangelists is profound.

75. My Friend Chuck-Comedic erotica author Chuck Tingle (one of the absolutely most unique voices and cadences we’ve heard in awhile) and friend McKenzie Goodwin celebrate their friendship every week for a podcast that’s preposterously funny and, also, more heartwarming than almost anything we’ve heard or seen. 

76. Joey Clift’s Telling People You’re Native American When You’re Not Native Is a Lot Like Telling a Bear You’re a Bear When You’re Not a Bear-Clift makes such biting, pun intended, commentary with this short film/PSA that is also so playful that the message about Native identity will undoubtedly stick with you.

77. Megan Gailey’s My Dad Paid For This-Gailey strikes a wonderful balance of charm and attitude and fervent desire to burn down the patriarchy. Such a mix accents her very delightful observations about herself and the world around her in this marvelous debut album. 

78. Robin Higgins as Baby Yoda at Tournament of Nerds-Higgins might have made one of the best, first attempts at Baby Yoda cosplay. She also, for what’s supposed to be a roast-style competition between fictional/pop culture characters, perfectly imagined how Baby Yoda would roast someone while maintaining Baby Yoda’s sweetness that has captured the hearts and minds of the Internet.

79. The Man Who Killed Don Quixote-Terry Gilliam went through hell, did a few laps, and came back over several years to get this meta-quixotic tale about reimagining the legendary novel Don Quixote made. The finished film, for us, was worth the wait. 

80. Jo Firestone on The Tonight Show-Jo’s sense of play is so pure and present that it’s kind of irresistible. Combined with a perfect amount of self-deprecation, Jo really delivered a terrific set we’ll probably never get tired of.

81. Paul Rudd continues his time honored tradition of playing that one clip of Mac & Me on Conan-Rudd evolves the arc of this long running bit on Conan where, instead of playing a clip of what he’s on Conan to promote, he plays the same exact clip of the universally panned alien comedy Mac & Me. We all know what’s coming and yet, without the benefit of surprise, Rudd’s annoyance of Conan still keeps on being so damn funny.

82. Billy on the Street featuring Reese and Mariah-This year, we were lucky enough to get two instantly classic episodes of Billy on the Street with Reese Witherspoon and Mariah Carey that gave us our fix for our obsession with Billy Eichner yelling at strangers on the streets of NYC.

83. The Dollop England & UK-As Dave Anthony and Gareth Reynolds embarked on an entire England & UK tour of The Dollop, they thought it prudent to do a mini-series specific to Great Britain and did a smashing job making fun of British history. The Cyril the Swan episode is particularly brilliant.

84. Lost Moon Radio-The live musical sketch comedy theater troupe (Lost Moon Radio truly lives up to such a description) marked their 10th anniversary and put on an absolutely fantastic “Summer Block Party” this year that both showed that they still got their ingenious musical sketch comedy chops. 

85. Nate Bargatze’s The Tennessee Kid-The calm with which Bargatze pervades all of his comedy is part of what makes it beloved by nearly any and all that see or hear Bargatze’s stand-up. That’s such the case now that Nate gives updates to stories from previous specials on this latest hour. 

86. Beth Stelling on Kimmel-Every detail of this set on Jimmy Kimmel Live is pretty stellar. That includes Beth, in general, for her warm demeanor, smile, and cleverness, the Chippendale’s story, Beth’s mom being there in the crowd, and, of course, the surprise guest at the end. 

87. Liz Climo’s Please Don’t Eat Me-This illustrated book is just the latest in a long line of uber-adorable and genuinely-funny-for-all-ages books from Climo. Liz seems to have quite the knack for making unlikely animal friendship jokes. 

88. John Hodgman’s Medallion Status-Hodgman’s journey through the various statuses of airline privilege/celebrity is a superb serving of existential humor, done up with Hodgman’s painstaking attention to the exactly right details. 

89. Jane Curtin’s 2019 New Year’s Resolution “My New Year’s Resolution Is To Make Sure The Republican Party Dies”-Said during a CNN interview with the SNL alum, this was the first thing to make us heartily laugh in 2019.

90. Alex Kavutskiy’s Squirrel-Kavutskiy’s short film dives into the concept of forgiveness unlike we’ve really seen and, as is Kavutskiy’s style, is so darkly spellbinding and so pointedly funny at the same time.

91. Astronomy Club: The Sketch Show-The long running comedy troupe known as Astronomy Club really ran with their chance to do a full-fledged sketch series on Netflix. They’re so endlessly clever on in their sketches, especially when it comes to the subjects of identity and oppression, and pack in so many jokes and sight gags that you’ll definitely want to watch it more than once so you don’t miss anything.

92. Dolemite Is My Name-Eddie Murphy seems poised to make a real return to comedy (and stand-up comedy in particular) and this marvelous biopic of comedian and blaxploitation star Rudy Ray Moore AKA Dolemite is the perfect way to start.

93. Anna Drezen on Corden-Drezen has such a perfect sense of farce and misdirection and puts on a beautiful display of those two things from start to finish in this set on The Late Late Show with James Corden. 

94. BUTT’s Yoda themed dating app sketch-This sketch is so prescient of the resurgence of the world’s current (baby) Yoda obsession. Also, while this is so absurd with its deep dive into various Yoda fan art and cosplay, Joe McAdam and Chris Stephens’ take on dating apps is so sharply and deeply funny. 

95. Mel Brooks Unwrapped-The never ending bit of attempting a documentary between Mel Brooks and the BBC’s Alan Yentob is yet another display of the true, unquestionable genius of Mel Brooks.

96. 50 First Stephs-The amazing, hysterical Steph Tolev kicked off 2019 with a show where 50 or so of her compatriots and contemporaries did various impressions and characterizations of her. Part roast, part loving tribute, part amazing showcase of the depth of creativity in LA comedy, Tolev’s night for herself was something really special.

97. The Bongo Hour with Sandy Honig and Peter Smith-Honig and Smith brought their wild variety show that featured such wonderful bits, characters, drag, and burlesque to LA and showed, truly, how much better life is when you’re fluid about nearly everything.

98. How Did This Get Played?-Hosts Nick Wiger and Heather Anne Campbell and their take on the “worst and weirdest” video games do their namesake, the beloved How Did This Get Made?, proud. Even if you’re not a gamer, the way they dissect the most bizarre video games ever made along with Heather and Nick’s chemistry is very, very enjoyable.

99. Joe Pera Talks With You Season 2-This second season of Joe Pera’s unique talk-to-the-viewer series is so calming that the comedic twists sneak up in the most delightful way possible. There is a certain beauty to Pera’s show that makes us want to have Joe Pera Talks With You playing on a loop in a contemporary art museum.

100. John Mulaney & The Sack Lunch Bunch-John Mulaney does “it”, yet again. “It” being releasing another hour of comedic brilliance that’s so markedly different than whatever he did before, yet, somehow still stamped with an indelible mark of Mulaney’s comedy of obtuse hyper-specificity. 

#top 100 #100 best #best of 2019 #2019 comedy #best sketch #best stand up #best improv #best comedy specials

[flightandsurvival]

What’s your name? Cait.

How old are you? 27.

What’s your hair and eye color? Nearly black and dark brown.

How tall are you? 5′3″

What’s your relationship status? Single. 

What’s your favorite song? Hmm... I’m not sure I have one favorite. 

What does that song mean? What is the message behind it? x

Is it your favorite because you relate to it, or do you just like the beat? x

Have any pets? If so, what are they and what’s their names? Dex is a chihuahua, Bean is a torbie.

Have you ever met your idol? If so, were they nice or were they kind of an ass? I have had the unique opportunity to meet a celebrity that I greatly admire and she was very nice. 

What’s your favorite method of gaming? (PC, Xbox, Playstation, etc) None. 

If you’re in college, what’s your major and why did you pick it? I’m getting my master’s in social work. 

How’re you doing today? I had a weirdly great day. 

What color are your bedroom walls? Off white. 

Describe your favorite shirt. My favorite shirt is a mfm merch shirt that says “toxic masculinity ruins the party again.”

Use this space to tell someone off. Nah. 

What’s your view on smart watches? Cool or a waste of money? I think they’re very cool but I am not nearly able to afford one. 

What is one poster that you have hanging on your bedroom wall of? None. 

How many times have you moved in your life? A good handful. 

If you moved, do you like where you are now better than where you were? I like this place, I’ve lived here nearly 4 years. However, I am very excited about the possibility of moving in September. 

What’s your favorite color and why? Purple. It just is. 

Do you have a calendar? If so, what’s the theme? Yes, florals. It’s still on November. 

Have any famous person’s autographs? Nope. 

Do you draw well? Nope. 

What type of cell phone do you have? iPhone xr

Should you be doing anything else right now or are you just bored? I’m bored.

If you’re in school/college, what’s your favorite subject and why? My favorite subject must be social work... since that’s what I’m getting my master’s in. 

Are you a cat or a dog person? Why? Both. I love both my children equally.

Tell me about the plot of your favorite book. Young girl with a lot of cynicism about love finds it, self sabotages, and then gets it back.

Do you wear glasses or contacts? Yes. 

What do you think about horror movies? If you love them (I do), what’s your favorite? I enjoy them immensely. I’m not sure I have a favorite. 

Got any cool Christmas presents picked out for family or friends yet? I got my nephews walkie talkies. 

Do you do Black Friday shopping or wait for Cyber Monday? No. More of a cyber Monday gal. I also like to shop local. 

Have any mental illnesses? General anxiety disorder, panic disorder, and OCD. All three currently under great control. 

What’s your favorite word and why? Fuck. It’s just a great descriptor. 

What is the most expensive thing you own, and what is it? My car. 

Did you buy that item yourself? My mom helped, but then I paid her back because I am an adult. 

Where do you work and what is your postion? I work at a school as a supervisor.

How often do you cuss? Very. 

What type of car do you drive, if any? Chevy. 

Are you happy with it? If no, what’s your dream car? I like it. My dram car will forever be the OG VW bug. 

Do you have a lot of social media accounts? Which ones? Insta and snapchat. 

What is your favorite genre of music? Folk, blue grass, indie, alternative.

Does your family have holiday traditions? If so, what are they? Having some sort of relationship damaging conversation. 

If you’re in a relationship, are you happy with it? Not in one. 

How long have you been with your significant other? x

Do you like psychology? (It’s my college major). I enjoy it, I got my bachelors in psychology. Unfortunately, it’s too narrow a scope which is why I’ve taken up social work. As much as the individual’s brain chemicals matter, what matters more is the systematic garbage and social sanctions that create the individual’s environment and molds how they react and behave. 

What is something your state is popularly known for? Uhhh... Paul Revere.

Do you like to do craft projects? If so, what’s the coolest thing you made? Sometimes but I’m not super creative.

Do you watch sports or do you think they’re overrated? I think they’re overrated. I think that they put people in danger and they create this weird culture of worshiping people who are very flawed. I also think that the money in the industry would be better served elsewhere. 

What’s one occupation you think gets paid too much and doesn’t deserve to? ^ honestly any weird celebrity occupation. It’s a weird culture. 

Do you straigthen your hair? Sometimes. 

Ever dyed your hair a color that isn’t natural? (blue, pink, etc) Yes. 

How’s your relationship with your parents? Right now my relationship is very strained with my mom, which is kind of unusual for us but has been a long time coming. My relationship with my dad, on the other hand, has always been strong- my personality is exactly like his.

Do you still live with them or do you have your own house? I live in an apartment by myself. 

What’s something you are currently saving money for to buy? Possibly a home... within the next 5 years. 

Do you smoke/vape? If so, what brand do you smoke/what device do you use? I smoke weed. I use a pax. 

Ever done drugs? Only marijuana and one time I used adderall to complete a paper.  

Tell me one of your worst habits. Biting my nails. 

What’s a weird quirk you have that no one else you know does? Well, when I’m feeling overwhelmed or anxious I will touch my fingernails to my thumb in a pattern... guess that’s the OCD. 

If you game, what type of headset do you use? I don’t. 

What type of computer do you own, and do you like it? Chromebook. It works for me. 

What’s the thing that annoys you the most? Work politics. 

What brand of TV do you have? Vivio or something like that. 

Are you excited for Christmas? (It’s December 1st today when I made this) I’m excited to have my nephews and nieces around. 

Tell me about your favorite vacation you’ve taken. Phuket, Thailand. I went with one of my best friends for 10 days and soaked up the culture. 

Tell me something cool about yourself. I’m cool in general. 

Did/do you get good grades in school/college? In grade school and high school- not particularly because I didn’t apply myself because I had untreated anxiety and depression. In college I did amazingly because I lived with my dad and had ample support and was doing a lot of great self-care shit. 

What’s your ringtone on your phone? The Office. 

What’s your favorite store to shop in? Book stores. 

If you won the lottery, what is the first thing you would buy and why? I’d pay off the loans.

How long have you had a Bzoink account? No. 

Ever been to Field of Screams? If so, what’s your favorite attraction? No. 

Do you own a Polaroid camera? No.

Do you have hardwood floor in your room or carpet? Hardwood. I hate carpeting. 

It’s a Saturday night, what are you typically doing? I’m either at work or just having a lowkey evening in. 

Do you have a lot of friends or do you not have any at all? I have a lot of friends. 

What’s your all time favorite movie and why? Practical Magic. It’s just a classic. 

How many blankets do you sleep with at night? One. 

What’s the last TV show you watched? Did you enjoy it? Virgin River. It’s fine... but really I don’t “watch” tv... it’s typically background noise. 

Do you prefer cable TV or do you use Netflix? I stream only. 

What is your dream job and why? Therapist specializing in children and adolescents with anxiety disorders. 

Do you think you would be a good therapist? Absolutely. 

What’s your favorite brand of clothing? Not sure...

#survey #personal #about me #me #questionnaire

[eldritchsurveys]

588.

What's your name? >> Mordred.

How old are you? >> 32.

What's your hair and eye color? >> Dark brown, both.

How tall are you? >> 5′5″.

What's your relationship status? >> Married outworld, bonded inworld.

What's your favorite song? >> I guess it’s still Death is the Road to Awe by Clint Mansell. I don’t feel the need to actually have a favourite song, but that’s a good working answer.

What does that song mean? What is the message behind it? >> It seems to be the culmination of the leitmotif on The Fountain’s soundtrack. When I listen to it, it feels like a journey through a lifetime, a gradual and sometimes uncertain and sometimes rushed and sometimes dramatic and sometimes quiet crescendo towards the one singular moment of complete and utter awe. It feels like the most exultant piece of music I’ve ever heard, to the point where it’s painful.

Is it your favorite because you relate to it, or do you just like the beat? >> I feel comfortable with naming it as a favourite because it has a profound visceral emotional effect on me that no other song can really claim.

Have any pets? If so, what are they and what's their names? >> A black cat named Spooky Mulder.

Have you ever met your idol? If so, were they nice or were they kind of an ass? >> I don’t have any idols, but all of the musicians and celebrities I’ve met have been friendly.

What's your favorite method of gaming? (PC, Xbox, Playstation, etc) >> PC.

If you're in college, what's your major and why did you pick it? >> I’m not in college.

How're you doing today? >> I’m all right.

What color are your bedroom walls? >> Beige.

Describe your favorite shirt. >> Okay, naming favourites is hard enough with media and such, but there’s no way I can name a favourite shirt. I only keep the shirts I really like as it is.

Use this space to tell someone off. >> I’d really rather not.

What's your view on smart watches? Cool or a waste of money? >> I think they’re neat. But I don’t have the kind of income where I’d feel comfortable buying one, and I don’t want one anyway. I’m happy with the electronics I have.

What is one poster that you have hanging on your bedroom wall of? >> I only have one poster on my wall (the other things are art pieces), and it’s a Cradle of Filth promo poster that I found lying around with the free flyers and zines at the record store.

How many times have you moved in your life? >> So, so many.

If you moved, do you like where you are now better than where you were? >> This most recent move (almost 4 years ago now) has done wonders for me, even though I still don’t particularly like the location itself.

What's your favorite color and why? >> Gold. It just is, man.

Do you have a calendar? If so, what's the theme? >> No.

Have any famous person's autographs? >> Not anymore.

Do you draw well? >> Not anymore.

What type of cell phone do you have? >> Motorola, bleh. I’m never leaving Samsung again.

Should you be doing anything else right now or are you just bored? >> I’m doing this because I want to do this, not because I’m procrastinating or bored.

If you're in school/college, what's your favorite subject and why? >> ---

Are you a cat or a dog person? Why? >> I’m a “I’d rather not share my living space with animals” person. Outdoor-kept animals are absolutely fine (and those tend to be dogs, which I favour).

Tell me about the plot of your favorite book. >> ---

Do you wear glasses or contacts? >> No.

What do you think about horror movies? If you love them (I do), what's your favorite? >> I do love horror movies, although I can be rather particular about them. I wouldn’t say I have a favourite, but I’ve been obsessed with the Hellraiser franchise (movies, novels, comics) for like 12 years, so there’s that.

Got any cool Christmas presents picked out for family or friends yet? >> No. I’m going to try to see if I can get a pre-owned copy of Super Mario Odyssey at GameStop, but otherwise I have no idea what I’d get Sparrow as a full-on gift, especially since I’m low on funds right now. I just have a bunch of small things that I’m going to put in her stocking.

Do you do Black Friday shopping or wait for Cyber Monday? >> I don’t do either, really, but I prefer Cyber Monday as a concept.

Have any mental illnesses? >> Probably, but the only reason that’d matter is for the purposes of retaining my government income.

What's your favorite word and why? >> ---

What is the most expensive thing you own, and what is it? >> My gaming laptop, probably.

Did you buy that item yourself? >> I did.

Where do you work and what is your postion? >> ---

How often do you cuss? >> Quite often.

What type of car do you drive, if any? >> I don’t drive.

Are you happy with it? If no, what's your dream car? >> ---

Do you have a lot of social media accounts? Which ones? >> No, I just have facebook and tumblr. I might do some research into Mastodon soon, because I’m curious.

What is your favorite genre of music? >> ---

Does your family have holiday traditions? If so, what are they? >> ---

If you're in a relationship, are you happy with it? >> Sure.

How long have you been with your significant other? >> Eight or so years.

Do you like psychology? (It's my college major). >> I... sigh. I think it’s interesting to study, but I think the way it’s used has done a lot of harm for me personally, so I have very little confidence in it as a practice.

What is something your state is popularly known for? >> I don’t know... beer and wine? Snow? Apples? Detroit?

Do you like to do craft projects? If so, what's the coolest thing you made? >> I don’t mind doing craft projects, but I don’t do them often.

Do you watch sports or do you think they're overrated? >> I don’t think they’re overrated, I just don’t care about them.

What's one occupation you think gets paid too much and doesn't deserve to? >> I don’t have an opinion about this.

Do you straigthen your hair? >> No.

Ever dyed your hair a color that isn't natural? (blue, pink, etc) >> Purple, yeah.

How's your relationship with your parents? >> Completely nonexistent.

Do you still live with them or do you have your own house? >> I obviously do not live with parents.

What's something you are currently saving money for to buy? >> Nothing.

Do you smoke/vape? If so, what brand do you smoke/what device do you use? >> No.

Ever done drugs? >> Yes.

Tell me one of your worst habits. >> Meh.

What's a weird quirk you have that no one else you know does? >> I don’t know, I don’t pay enough attention.

If you game, what type of headset do you use? >> I have a Razer headset.

What type of computer do you own, and do you like it? >> I have an MSI computer for gaming and a Lenovo one for everything else. I love them both, they’re good machines.

What's the thing that annoys you the most? >> Meh.

What brand of TV do you have? >> Samsung.

Are you excited for Christmas? (It's December 1st today when I made this) >> Yes!

Tell me about your favorite vacation you've taken. >> This most recent one to New Orleans, because we got to spend a whole week and we were there for Halloween. Also, there was a wedding.

Tell me something cool about yourself. >> I was born with twelve fingers. Fuck you, that’s cool.

Did/do you get good grades in school/college? >> ---

What's your ringtone on your phone? >> I have no idea, it’s always on vibrate or DND.

What's your favorite store to shop in? >> ---

If you won the lottery, what is the first thing you would buy and why? >> Dude, I don’t even play the lottery.

How long have you had a Bzoink account? >> I don’t know, like 9 years.

Ever been to Field of Screams? If so, what's your favorite attraction? >> No.

Do you own a Polaroid camera? >> No.

Do you have hardwood floor in your room or carpet? >> Carpet.

It's a Saturday night, what are you typically doing? >> I don’t know, messing around on the internet as usual.

Do you have a lot of friends or do you not have any at all? >> I have... er... I don’t know. Two? One? Three? I don’t know what a friend is, ask me some other time.

What's your all time favorite movie and why? >> The Fountain. Similar reasons to the song question (especially considering the song comes from this movie).

How many blankets do you sleep with at night? >> I sleep with a sheet and one of the weighted blankets.

What's the last TV show you watched? Did you enjoy it? >> Grey’s Anatomy. You’re damn right I enjoyed it.

Do you prefer cable TV or do you use Netflix? >> I use streaming services.

What is your dream job and why? >> ---

Do you think you would be a good therapist? >> No.

What's your favorite brand of clothing? >> I don’t have one.

#surveys #survey #random survey

[lovemesomesurveys]

Do you have anyone you fully trust? Yes. I just don’t confide a lot to anyone for some reason. It’s not because I don’t trust them, I just... I have a hard time expressing myself and opening up. I know, shocking right? I ramble on and overshare on these surveys, but it’s not easy for me to do in person. I don’t like talking about myself (again, despite how it seems in these surveys) and having the attention on me. I don’t like burdening people with my problems. I also always feel like my problems are so insignificant and stupid that I feel no one wants to hear about. Which I know I could go to my mom with anything and tell her anything and she’d listen to me, but I still feel that way. I like that in these surveys I can just vent into the void.  What kind of pants did you wear today? Leggings, duh. How old is your television? I don’t know how old the TV itself is, but I think I’ve had it for almost 4 years. Do you have a laptop or desktop? Laptop. When did you last talk on the phone with someone? Yesterday when my mom called me on her lunch break. 

Are you currently sleepy? Of course I am. Have you ever deleted Facebook friends for a significant other? No. Have you ever had bad trust issues with someone? Yes. What accent do you think is the most attractive? Some southern and some British accents. Do you own any television series box sets? Yes. I have I Love Lucy and The Dick Van Dyke Show. Have you ever been in a fight with your best friend? Yeah. When did you last receive a hug and who was it from? Yesterday from my mom. Do you take any advanced classes? I’m not taking any classes, I’m done with school. What is your lucky number? I don’t have a “lucky” number, but my favorite number is 8. Was the last movie you watched a horror film? No, the last movie I watched was Freaky Friday yesterday. I watched 2 really good and creepy shows yesterday, though: AHS 1984 and Two Sentence Horror Story. Do you own a lot of tee shirts? Yes. I love graphic Ts and I’ve got myself a pretty good collection going.  Do you plan your outfits ahead of time? Only certain times like now cause I have a few Halloween shirts and sweatshirts, so I got those out.  Have you ever spent the night in jail? No Would you say you’re a bad influence on others? Definitely don’t look to me as an example right now. Describe your favorite jacket? I love all my hoodies, sweatshirts, and peacoats. List one word to describe your significant other? Non-existent.  Do you handle pain well? It’s something I’ve dealt with all my life. I used to be able to handle that and other health stuff better, but that’s changed these past few years. I’ve gotten so weak. :/ Have you ever been so nervous you threw up? No, but I’ve definitely felt sick. Where is your favorite place to go when you’re depressed? I spend most of my time in bed.  Do you remember the first survey you took? No, that was like back in 2005, I think. I’m sure it was your basic survey, though i.e name, age, location, birthday, etc. I wish I could access my Myspace survey posts and my Xanga account (RIP Xanga). Oh man, the memories.  How many friends do you have on Facebook? 100 and something.  Have you ever watched fight videos for amusement? No. I don’t find that stuff amusing at all. In high school, were you in trouble a lot? No, I never got in trouble in school. Do you enjoy your hairstyle? No. I badly need to get it dyed, trimmed, and styled. Do you have long hair or short hair? Long. How much make up do you wear on a daily basis? I haven’t worn makeup in quite awhile. I don’t think I’ve worn any this year... What is your favorite television show? I have several. Do you have a leather jacket? I have 2 pleather ones. Do you think anyone dislikes you for no reason? I’m sure if anyone dislikes me they have good reason. Do you have any children? Noooo. Have you ever been interviewed on television before? Yes. Do you have weak upper body strength? Now I do. :/ I use to have really great upper body strength. I’m a paraplegic, so it’s all upper body for me and I used to be active when I was going to school and had a social life. These past few years due to health stuff, I’ve become quite inactive and spend majority of my time in bed. I lost the muscle mass I used to have. 

What is the worst insult someone can call you? I don’t know, man. I put myself down enough. Do you write on your hands a lot? No. I used to sometimes when I was in high school. Are you good at sketching? Nope. I suck at drawing.  Do you think hugs are awkward? They definitely can be, yeah. Depends who I’m hugging. Do you think facial hair is gross? I wouldn’t say it’s gross, but I personally don’t like a lot of facial hair. I like some scruff on a guy, but that’s it. Would you ever dye your hair an unnatural color? I’ve dyed it red for the past few years.  What color was the last cup you drank from? It’s a clear glass with Disney characters and facts on it. Ever play Angry Birds? Nah, I never got into that. I remember when it seemed like everyone was playing that. That, and Farmland. Omg the game invites on Facebook used to get on my nerves until Facebook finally made the option to block those.  Have you ever been to the zoo before? Yeah, several times. What instruments do you know how to play? I used to play some piano. I regret not taking it more seriously. I wish I had kept up with it. :/ The last time I played was over 10 years ago. How late did you stay up last night? I went to bed around like 230. How late do you plan on staying up tonight? It’s almost 230 now and I probably should try to sleep after this. Whose wall did you post on last? It was a birthday post for someone. Have you ever done hard drugs before? The only drug I’ve done is weed.  Has anyone ever been weirdly obsessed with you? It kind of felt that way with my first boyfriend. Do you own a Snuggie? I do. What is your favorite band of all time? One of them will always be Linkin Park. Would you consider getting a tattoo any time soon? I’ve wanted one for several years, but I’m a big scardy cat. I can’t see myself actually getting one. Are you afraid someone might steal your identity someday? No. Are there any paintings on your wall? Speaking of which, what color are your walls painted? Yes, there’s a few. My walls are white. Do you have any talents that come naturally? I don’t feel like I have any talents. What is your favorite piece of jewelry? I have a few favorites. Is there a place you’d rather live right now? Yes. My family and I want to move. We’ve wanted to for a long time, but we just haven’t been able to yet, unfortunately.  What movie did you last watch with someone? The live-action Aladdin with my mom and aunt a few weeks ago. Do you go out often? No.  Are you afraid of airplane rides? Yes, but I’ve been wanting to travel via plane for awhile now. I’ve had this weird urge. I think probably because I’ve gone with my mom to drop off and pick up a family friend several times at the airport and just recently my dad did. It’s been 13 years since the last time I’ve flown and I’m like, okay it’s my turn to go somewhere now. How many times a day do you brush your teeth? Once. Do you consider yourself a sensitive person? I know I am.  Is there anyone who is overly nice to you? Uhh I don’t know about overly nice. What do you think is the best smell in the world? I have a lot of favorite scents that I love. If you’re reading a book, what page are you currently on? I’m not.  Do you think people are intimidated by you? Uh, no. Do you have a job you like? I don’t have a job. Have you ever lived with a roommate before? No. What song is your favorite right now? I have numerous favorite songs, but I don’t have a current particular favorite. Have you ever had a surprise at your doorstep? Well, like packages. Obviously I know what it is since I ordered it, but it’s still always exciting to get them. Ooh, but during Christmastime my family and I are all ordering stuff and the stuff they order for me is a surprise.  Do you like candles? * Ehhhh. I like them more in theory <<< Lol, same. I love many candle scents and Bath & Body Works has a lot I like that smell good and look cute, but I don’t actually light any candles. I have like 4 in my room that I never light lol. Would you prefer internet or television? The internet if I could only have one since I could watch my shows online as well. What is something you lose often? My patience and temper. Well, I don’t get angry very often, but I get frustrated and irritated all the time. :/ Do you enter a lot of sweepstakes? No. It’s been a long time since I’ve entered anything. What is your favorite possession in your room? Everything. I have it because I want and love it. What will you be doing in the next ten minutes? I should try and sleep. How old is your oldest sibling? He’ll be 36 next month. Do you consider yourself physically active? Nope. I’ve explained this already. How many scarves do you own, if any at all? Zero. It doesn’t get cold enough to where I’d need a scarf. Plus, I don’t like things around my neck. As it is I’m always pulling down my shirt cause they ride up. Do you have any cuts or scratches as of now? Yes. Where did you last sleep? My bed. Do you have Netflix? Yeah. Are you colorblind? Nope. Do you know anyone personally who is colorblind? Not anymore, but like I said in a previous survey recently I had a science teacher in high school that was. Do you enjoy dancing? My “dancing” is just me bobbing my head along to the music and maybe moving my arms/hands a bit. Have you ever considered writing a novel? Yeah, actually. I used to like writing short stories when I was younger, and I thought about writing novels.

#personal #text #survey #surveys

[veryfantasticstudent]

The Monster-Citizens of India

Netflix India is back with another anthology of stories, but instead of Lust Stories we now have Ghost Stories. The movie looks like it is well on its way to becoming a “Mixed to Positive” reaction from critics and audience. The technical excellence of the movie is not my concern, even though I must acknowledge the brilliance of these movies. Ghost Stories spins some old tales in new ways and assures me that the Indian genre fiction scenario is moving to a better directed, written, and acted era. Perhaps we will may, in the near future, place the bid to have the names of Indian horror counted alongside enduring classics like The Shining and Shutter.

           My concern is the rather perfectly-timed arrival of these stories, particularly story 3: Dibakar Banerjee’s Monster. The story begins with the arrival of an unnamed government clerk in the town of Beesghar (translated “Smalltown”) late at night. The town is empty except for two children—a boy from Beesghar and a slightly older girl from Saughar (translated “Bigtown”). Beesghar is a part of Saughar, but there have always been differences between them since Saughar seems to be economically well-off. In the present, there are no markers of these differences because, as the children ominously tell us, everyone has been eaten. There are cannibalistic zombie-like creatures on the streets of Beesghar that attack you the moment you speak or move in front of them. The only way to stay alive in this situation is staying indoors, eating raw onions, and drinking curdled milk; or, one can decide to join the zombies by eating human flesh. Towards the end, the clerk tries to make it out of Beesghar. This attempt ends with the little girl being eaten by her (former) father and the little boy bullied into eating human flesh. The clerk alone runs away from the monsters and falls into a pit in the ground where he faints. Later, he wakes up to find that the children are gone. A group of people in a Mahindra Jeep find him wildly beating his chest in anguish. They tell him that Beesghar has been abandoned for a month. Whatever happened must have been a figment of imagination. The decrepit state of Beesghar is a result of the actions of the inhabitants, actions that deserved having their home burnt down; Saughar residents did not have anything to do with it.

           The a-historical town clash of Beesghar and Saughar somehow captures the complexity of present-day India. The meat-eating contention is not the Hindu-Muslim contention of beef; it is forcibly eating food that makes you a part of the mindless masses. Tanul Thakur of The Wire also noted how the conflict of Beesghar and Saughar becomes a dream for the clerk. He argues that Monster is a story about the movement towards a single culture through social media. There is certainly the suggestion that the more you speak, the more likely it is that the mindless hoards will attack you but Monster is hardly as simple as that. We never have the clerk coherently narrate the events to the outsiders. He does not even speak a word to them because he is so dumbstruck. Even as we see the woman in the car (who looks suspiciously like the behenji the clerk tried to hail in the middle of the story) feed the clerk, he starts to doubt the reality of his experience. What could he possibly tell these completely sane people from Saughar? How could he tell them that he saw people turning into monsters who went blind, who only feasted on fresh human flesh, even if it was one’s own daughter? Family ties no longer mattered in that frenzy to identify who is with us or against us. A history of peace and harmony means nothing in the face of these divisive borders.

           The monsters themselves maybe stupid, but we know that the creature orchestrating these attacks is not. The furriest and ugliest of the monsters, the man who started it all by eating a citizen of Beesghar, is a shrewd creature. He easily recognises the fact that the boy and the clerk are not a part of “us”. Instead of eating both of them, the leader presents the boy with a choice: he can either eat the flesh of the girl or join the clerk that the leader intends to feast on. In this way, the leader manages to convert the last citizen of Beesghar into the indistinguishable mindlessness of Saughar. The boy accepts, and the last thinking bastion of Beesghar falls—there will no longer be voices against Saughar. The education of the boy actually comes from Saughar. He tells us that students from Beesghar went to Saughar to study because there was no opportunity to study in the small town. When the children of Beesghar make it to Saughar to study, the citizens of Saughar look on them as intruders. They do not value what the children of Beesghar bring with them—real world experience (which is perhaps why the boy survives as long as he does). The Beesghar kids, too, must become like the children of Saughar. The Big Town refuses to acknowledge that Small Town could have anything to offer, wiping out the traditions of Small Town. They are literally wiping out the only voice that could participate in the progress of Beesghar—an educated boy who can navigate the town’s traps and survive. They are wiping out the only voice that could say anything about the life in Beesghar before the disaster and tell us how the events took place that led to the downfall of Beesghar. Without the boy, the town may as well have been destroyed by ghosts and not monsters.

           Uncertainty and an incommunicable terror define the lens that Monster offers us. The strength of the Saughar residents is such that they will not allow Beesghar to own its story. As soon as the clerk leaves Beesghar and steps into the vehicle of the Saughar residents, he is made to doubt the veracity of his own experience. No matter the remains of the carnage that run through Beesghar; since no one from Saughar is willing to accept the account of the clerk (or perhaps the earlier Beesghar residents), it means that it simply did not take place. After the attacks on JNU protestors on Sunday night, a Delhi Police member told us that no violent incidents had occurred. Or perhaps, the Saughar residents are right, and the Beesghar residents really did take actions that deserved fire and riots. That way, it does not matter which side ate which side first. It does not matter if it were ABVP students or JNUSU students who were beat up; it mattered that whoever said anything different should be put down. It does not matter whether the face on the TV is the face of the President of JNUSU or that of an ABVP student—even when we very well know that it is the face of Aishe Ghosh. The masked miscreants somehow entered the campus of a highly regarded educational institute and attacked several students and then left the campus like ghosts. They cannot be monsters because no one can vouch for their presence despite the several videos on the Internet. What this tells us is that our experience and our word means nothing in this world. The veracity of our experience holds no value if residents of Saughar do not verify them.

           The last bastion, as I mentioned earlier, of Beesghar was the little boy, an unnamed student. He was the only one who stood between Beesghar and oblivion. Once the student is silenced from opposition, there is nothing that allows the employed adult, the clerk, to remember his own fear and trauma. Saughar is sovereign in deciding who is a part of us and who is the enemy.

Who is a monster and on what basis? Who is anti-national and on what basis? Who is a citizen and on what basis?

#caa #caa protest #netflix #monster #citizen amendment bill #citizen #nrc #nrccaa #jnu attack #social media #fake news #india #ghost stories #dibakar banerjee #delhi