#wayan look

[kinaliketina]

#black girl magic #black women #blackgirlmagic #blacklove #looks #fashion #blackloveforever #beauty #myuploads #hairsandstyles #blackhaiirstyles #loveislove #barbieworld #Wayan brothers #marlon wayans #explore

[amaramizuki666]

Dp x DC crossover

so you know the danny is a son of one of the batfam au will how about one of the batfam being a kid of danny's. my personal fav for this au is jason because of the whole ‘welp my kid died too, mabey that says something about me’. but imagine the kid is damian. just danny goes to wayne manner going ‘congrats your not the father’ to bruce.

ok so turns out bruce was infertile witch kinda fucked talia over. so she went to a bar one night and met this guy who looked like bruce wayne almost to a te he just hat s slimer build. so she had a one night stand with the man, got pregnant and lied to ra and everyone saying daimean was bruce’s.

-------------------------------------------------------

danny only finds out he has a kid when he sees an interview of the wayne kids and sees damian and just has his ghost sinces going off going ‘BABY MINE, MY BABY, MUST PROTECT MY BABY’ because ghosts are very protective of their children. 

so danny goes to gotham immediately and is practically storming wayne manner. *aggressive knocking* alfred opens the door “can i help you sir?” “i want my child” danny says his eyes flaring green. “sir i assure you we don't have your child-” -”alfred whos at the door?” bruce asked. danny glared at the slightly shorter man “you have my son”. “look sir we don't know what your talking about, if your sone wandered onto the property we can help find him-” -”damian” danny interrupted bruce. both the butler and wayans gaze hardened as they looked at danny. “i’m sorry to inform you but damian is my masters blood son” alfred said “as alfred said, damian is my child” bruce added. 

“then lets do a paternity test” danny says glaring at the two, how dare they try to get in between him and his child. “if that will appease you, we have a machine inside for just that, please come in” bruce offered and danny stepped in. needless to say the test came back in danny's favor. bruce looked at the results over multiple times before going to hand it to danny “i already know, congrats your not the father” and with that a family meeting was called all bruce's children, minus jason hes legally dead where called home.

--------------------------------------------------

the wayne family where all sat in a meeting room. they all had their eyes on the mysterious man who held himself with an air of pride. “whats this about b?” tim asked looking at his father figure. “well it has come to light that daiman is not my son” bruce says thirdly. the wayne children all went quiet “what the hell, you could have broke the news more gently” the man snapped and hit bruce upside the head.

“father what are you talking about?” damian asked quietly, he feels like ground is about to eat him whole, what is happening? “im sorry damian you had to find out like that. im danny nightingale, im your father” danny says walking over to damians side. “but i was told im the son of bruce wayne, i was raised to be the son of bruce wayne, your lying!” daiman snapped at danny. “i understand this is a lot to process, but i want you to know i want to get to know you, i want to be your father” danny says gently. “if your my father then where have you been, why weren't you with me!?” damian growls his eyes flashing green “i didn't about you, but once i did i came straight here, if i new about you before you would have been with me” danny's eyes mirrored damian’s but glowing far brighter.

 “for now ill leave you to talk to your family and give you time to think. i gave bruce my number so call if you want to talk to me sooner, ill be back next week on friday” danny said and just like that he vanished, starling everyone. damian was just sitting there unresponsive for the rest of the night.

#writing prompt #writing #danny phantom #danny fenton #dc x dp #dc comics #batfam #dc #robin damian #damian wayne

[sebastianstansqueen]

Lost In The Shadows: Part Eleven

A/N: I’m gonna try and be more frequent, start giving me Ideas for what type of series you want to see next, i’m curious and finished writing this one so lets see if I can start getting parts out more frequently, If you want to be Tagged, either send an ask or comment on this or click on Taglist open.

Wordcount: 1,749

Warnings: angst, and hospital stuff, some sadness i guess, I don't want to spoil unless yall figured it out, if I forgot anything let me know please!

Masterlist // Series Masterlist // Taglist open// 

Tags: @cherryblossomsky- - @babylooneytoonz - @wonderlandfandomkingdom - @miraclesoflove - @amelia-song-pond-pond - @leyannrae- @avengerlex - @pineprincess - @nik2write - @dorothea-hwldr - @rosie-posie08 - @scxrletrecsmarvel - @sebsgirl71479- @missvelvetsstuff - @hadesownhell - @casa-boiardi- @winterslove1917- @hallecarey1 - @ash-craze - @barnesxstan - @unaxv - @bethexo07 - @itsmytimetoodream - @sebastians-love - @stoneyggirl2  - @ordelixx - @arunabrak

As Bucky’s eyes began to open he realized that there were too many bright lights that made it so he didn’t want to open them, he heard a woman and a man talking seriously. Slowly he began squinting them open. He looked at both people, one sounded like Y/n, and the other was someone he didn’t know, his brows pinch together and as he takes in the room he slowly realizes that it was the bedroom, this is when his eyes fully open he realized that this was a hospital room. “We’ll talk more about this another time.” Y/n’s voice sounded irritated as she told the man that, before he left. When she turned around her eyes widened, at seeing Bucky awake. 

“Bucky, are you okay?” She rushed up to him, worrying, filling her eyes as she looked at him. 

He nodded. “I’m fine, I think, who was that guy?” His head tilts as he looks at Y/n with confusion.

Y/n’s brows furrow. “Andy, you know Andy, remember he brought me home when I got really drunk and then we had to kick Wayane out.” She remembered, but Bucky was pulling a blank still so he shook his head. “He was literally at our wedding.” Y/n’s brows furrowed. “Okay, I’m going to grab a doctor to make sure you're alright.” Y/n was confused, Bucky knew Andy so why didn’t he remember him? Her brows were furrowed until she got back to the room. The doctor did a physical, explaining to Bucky what had happened to his left arm. “You seem fine, but if something odd does come up one of you let me know.” Y/n didn’t want to say anything about the Andy thing, yes it was odd but nothing she thought needed immense worry. 

When the doctor left Y/n turned to Bucky, she could see the shock written on his face when the doctor showed him his arm, and when he explained the accident, and it still was there. “Are you okay?” Her voice didn’t show as much worry as much more sympathy. 

He nodded. “Uh, yeah I think?” He said in thought. 

“I know it’s a lot to take in especially when you've just woken up, do you want time alone?” She would have understood if he did. 

He shook his head. “No, I want you here.” He squeezed her hand softly. 

She sighed nodding. “I need to tell you something that I think we should do, and so do our family and friends.”

Bucky’s brows furrowed. “Okay, What is it?” 

“It’s why Andy was here, they think we should leave the states for a bit because of what happened, there hasn’t been an attack on a family head in years.” She explained to him, but the more she went on, the more he seemed confused. “What is that look for?” 

“What are you talking about, family head, attack, and why the hell would we need to leave for a car accident?” He asked with pure confusion. 

“Bucky, what the hell are you talking about? You know this, your family even is a part of this, you were supposed to take over before you handed it over to Thomas, you told me that.”  Y/n spoke with worry once again.

“I don’t know what you're talking about either?” He was continuing to be confused. 

Y/n moved closer, looking around to see if anyone else could hear. “The mafia.” She whispered with gritted teeth. 

“The what!?” Bucky yelled. 

Y/n stood up and walked out of the room, shock and worry fully consuming her. “Don’t say a word till I get back.” Y/n was going to find a doctor, this was definitely odd. She explained what she could to him. “There are certain blankes in his memory.” She paused thinking for a second. “I think I need to contact my personal doctor for the rest of his care.” She wouldn't be able to talk to this doctor about what was actually wrong. 

“Mrs.Barnes, I don’t think that is the best Idea, now if you explained to me what it is, I can possibly help, what is this specific memory?” The man asked.

Y/n made sure her demeanor turned Ice cold to this man, her posture fully changed and so did the look on her face. “I want my personal doctor for this situation, otherwise, we’re going to have a problem, I think you don’t want that.” Her voice completely sounded different when it changed to her stern tone. 

“I-I’ll see what I can do.” He stuttered. 

 She nodded. “Good.” She turns, pulling out her phone, calling Bruce, when he answers she explains everything that is going on, he agrees to come and see Bucky and to help diagnose him. Then she texts Bucky’s family, and Steve to let them know he was awake, then she waits for them so she can explain. 

Steve and Sharon were the first to arrive. “Steve, I need to talk to you alone about this, without my sister.” 

Steve nodded, about to follow Y/n, Steve was stopped by Sharon. “Y/n, whatever you're going to tell him you know you can tell me.”  

Y/n became quickly irritated by that. “It’s to do with my husband so I can tell whoever I want, come on, Steve this is very important.” She began leading him away once again but was stopped by him, planting his feet. “What now?” She looked at both blonds.

“You can do it infront of her too.” The blond says with slight defensiveness.

Y/n huffs. “Fine, you can be left in the dark about your best friend.” Her jaw clenched as she when into the room, wanting to get away from Steve and Sharon. 

When Bucky’s family came, they went into the room first finding Y/n, and Bucky. “James.” Winnifred spoke softly Y/n saw tears welling in her eyes, as she hugged her son happy he was okay. 

Y/n and George looked at eachother,she stood up and he along with Thomas followed her. “What’s going on?” Thomas asked. 

Y/n looked at both men. “James doesn't remember anything about ‘the business’, not even the fact that I’m the head of a family, he doesn't remember that he doesn't remember Andy, I don’t know what’s going on, I’m waiting on Banner to say anything to a doctor, because I don’t want to say anything to anyone here.” She explained, beginning to ramble out of stress. 

“Okay, you're doing exactly what you should so far.” Thomas told her, wanting to calm her down. “Did Andy tell you what we were thinking?” 

Y/n nodded. “But I don’t know if it's a good idea if James is suffering from brain trauma.” 

“It’s not safe for you in the states right now, someone did this on purpose probably thinking you would be driving that car because what everyone suspects is that it was placed on the drivers side in the trunk.” Thomas argued. “I’m doing what I think is best for James and you Y/n, I wouldn’t have made this option if it weren’t what was best. “

“I’m still thinking about it.” Y/n admitted. “Maybe, I don’t know yet.”

“Well make a decision before he is discharged.” George told her before going back into the room, with Thomas following him. Y/n’s shoulders fell limp as she stood there, she shook her head as she looked at the ground, she didn’t know what to do.

______

Brock looked pissed, as he looked at the woman. “Thank you for your help Power Broker, though it went wrong.” He sounded bitter about it, though she knew it was a fifty-fifty chance of Bucky or Y/n Driving the car. “It seems you’ve made my plan easier to complete.”

“What do you mean?” Sharon’s brows furrowed looking at the man. 

Brock smirked. “Y/n, has no protection now, and as soon as I find out where she is I’ll send someone to kill her, and then she won't be an issue anymore.” 

Sharon smirked. “Whatever you say, I’ll uh see you another time.” She turned to leave as she opened the door. “Oh and Brock, I’m the only person who knows where Y/n is that can get in a twenty mile radius of any of her business.” Just like that she was running to leave and out to her car before Brock could have done anything. 

Brock knew Sharon was right about not being able to get near anything Y/n owned, but Sharon didn’t have the upper hand like she hoped. Wayne came in after hearing what happened, along with seeing the woman rush out. “You're not going to do anything!” Wayne yelled in anger. 

Brock looked at Wayne like he was stupid. “Don’t forget who gives you, your fix, Wayne I’d shut the fuck up before you questioning my leader ship.” Then he pulled a device out. “I placed a tracker on Sharon as soon as I decided to ‘trust’ her, if I have to come to where every one of you two are going to kill Y/n myself, I’m going to kill you first. Got it?” Wayne noded, making Brock smirk. “Good.”

_____

When Bruce did get there, and everything had been explained, and he did the test he needed he determined Bucky had 

Dissociative amnesia. Y/n came to a conclusion that day, and it was to leave with Bucky, if he didn’t remember anything about the mob, and being associated through marriage to her could be life threatening and that wasn’t fair to him, so she agreed. When they got to the paine Bucky asked. “Where are we going?” It reminded her of their honeymoon. 

“Venise.” She answered quickly. 

Bucky’s brows furrowed. “Why are we leaving?” This didn’t make sense why they were going to Venice right after he got out of the hospital. 

“Don’t worry about it, at the moment I’ll tell you if you need to know.” She said it softly as she looked at him. “I just need you to trust me at the moment, Bucky, please.” 

He sighed, going to give in, knowing that he currently had amnesia, he didn’t fully trust what he thought or knew. “Okay, I’ll trust you, but if anything major comes up you need to tell me.” Y/n nodded with his requirements before boarding the plane, with Bucky following her. 

#bucky x reader #bucky barnes #bucky x you #marvel #bucky x y/n #bucky barnes x reader #sebastian stan x reader #sebastian stan #mob!bucky x reader #james buchanan bucky barnes #bucky x mob!reader #mechanic!bucky x reader #avengers mob au #bucky x reader mob au #mob bucky barnes x reader #mob au bucky x reader #mob bucky x reader #mob bucky x y/n #mob! bucky x reader #mob!bucky x wife!reader #bucky x wife!reader

[zillasvilla]

Mayhem.Preview

Summary: A planned feud goes a bit too far when two sister pitch a story line that shifts the trajectory of the women’s division. Co-written with: @keyaho

The sun was starting to set as Schoolin’ Life blasted through the speakers. The party was in full affect. A couple of friends and some family was all she needed to have a good time. She stood in front of the window in the master suite, watching her friends dance and joke around with each other. It was going to be a long night.

Nareya finds herself on the floor, looking under her side of the bed for her stash. She fumbles around. Unbeknownst to her, Joseph was walking into their room and around the bed with a brow arched up as he looked at his fiancé.

“What are you looking for?” 

Her head hits the bed with a groan. “Joseph.” She curses, rubbing her head while standing up.

“My bad princess.” He kisses where she hit her head. “You disappeared on us. Had to see if you were good?” 

“I’m fine.” She walks around him, rummaging through her dresser. He follows closely behind her.

“What are you looking for. Maybe I can help.” He tells her. She ignores him, but then turns to look at him while squinting her eyes. The realization kicked in on his face as he walked over to his nightstand, pulling out the red and white container.

“Joseph!” She rushes to him to grab it; he raises it out of her reach, using the fact that he towers over her to his advantage.

“I hid them for a reason Nareya.” He looks down at her, bottom lip poked out at him. “But you’ve been a good girl, so just one.” He takes the sour gummy out of the container and put the rest back in his pocket. 

His family was known for partying well into the night, and if she was going to last, she needed a little boost. 

“Take it and go.” 

She should’ve known he was going to do that; he was going to hide them somewhere else. 

She soon rejoins the party and finds herself in the middle of a heated debate between Jimmy and Jey.

“Nah uce. The Wayan’s brothers is better than Martin.” Jey argues.

Aggressively shaking his head, Jimmy turns to her. “Sis, tell this fool, that Martin is better.”

The twins look at her expectedly, waiting for an answer. she looks between them and their surrounding, hoping someone would save her.

“Uhhm” She starts. “I mean—.” 

A familiar face joins the conversation, cutting her off. “The Wayans Brothers is better.”

#Roman reigns x black!reader #Roman reigns x black reader #Roman reigns x oc

[mrchalamet-mrstyles]

lmao @JLo filming Timmy. I remember when she liked a pic of him and Kylie on the Vogue ig. Oh, she's a stan.

And look at this video of Timmy with Marlon Wayans:

https://www.instagram.com/p/C10s6sRtw_4/?img_index=1

Timmy collecting them like pokemons lmao. They all adore him, Hollywood prince fr.

What a sweet moment ❤️

#timothée chalamet #marlon wayans

[rollercoasterwords]

hiiiiiii!! i don't have the brain to do or watch anything atm but i would LOVE some movie recs please 🙏🏻🙏🏻🙏🏻

YAY ok assuming this is coming from the 80s movie post so. here r some of my favorite 80s movies:

ridiculous campy fun:

earth girls are easy (1988) - fucking LOVE this movie!!! such a fun time. horny aliens crash their spaceship on earth + get taken in by a human woman. also it's a musical comedy + the aliens are played by jeff goldblum jim carrey and damon wayans

hell comes to frogtown (1988) - also. obsessed w this one. post-apocalyptic world where society is a matriarchy + humans need 2 repopulate. protagonist is a Manly Man who has been discovered to have a Mega-High Sperm Count, making him a government asset so a sexy military doctor locks him up in a chastity cage 2 conserve his precious sperm. also there are mutated frog people + they kidnapped a bunch of ~fertile~ human women to keep as sex slaves so Manly Man needs 2 accompany sexy military doctor + sexy soldier to go rescue the ladies from Frogtown so he can fuck them <3 also his name is Sam Hell. hence. 'hell comes to frogtown'

clue (1985) - based on the board game!! murder mystery comedy w wacky characters + an ending that is oh-so-fun

weird dark fantasy:

the company of wolves (1984) - the movie that inspired my 80s movie post 2nite <3 creepy fairytale retelling of red riding hood w a bunch of stories-within-a-story so that it ends up feeling like some sort of fever dream matryoshka doll

labyrinth (1986) - one of my FAVORITE movies of all time!!!!! david bowie is a goblin king who kidnaps the protagonist's baby brother as a favor 2 her + then when she's like actually i want him back he's like ok solve my maze then <3

return to oz (1985) - sequel to 'the wizard of oz' that is like. 10 times darker + weirder + creepier + definitely scarred me + my twin when we watched it as children lol. dorothy won't stop talking abt oz so she's taken 2 a mental institution for electroshock therapy. queue dramatic storm + sudden return to oz except the city is in ruins + dorothy needs 2 save the day

horror:

aliens (1986) - sequel to alien (1979) which just missed the cutoff for making this list + i also recommend--but u don't NEED 2 watch it 2 watch this movie. outer space creature feature meets slasher survival horror. xenomorph i love u <3

the thing (1982) - another sci-fi alien horror but this time it follows a group of researchers in the arctic who encounter an alien that can change shape 2 look like any of them. queue paranoia. there's also a more modern remake of this movie if i'm not mistaken

day of the dead (1985) - probably romero's least well-known zombie movie lol but a fun one nonetheless! good if u like 80s movies + zombie movies which. i do <3

the shining (1980) - oooh artsy spooky hotel horror.....a classic to be honest....

animated:

the last unicorn (1982) - ANOTHER favorite movie of all time for me!!!! unicorn who lives in isolation in a forest overhears two humans talking about how there are no more unicorns in the world + is like what i can't be the only one left...so she sets out on an adventure 2 try and find out what happened 2 all the unicorns <3 another movie that scarred me as a child bc of how creepy + dark it was

nausicaa of the valley of the wind (1984) - studio ghibli <3 this is one of my fave ghibli films. post-apocalyptic wasteland where giant bugs roam the earth....amazing

castle in the sky (1986) - more ghibli! girl w mysterious magic necklace meets boy who is searching for castle in the sky. also they are being chased by pirates + creepy government agents. FUN

kiki's delivery service (1989) - aaaaand more ghibli. teenage witch sets out 2 make her way in the world + encounters existential dread <3

classics:

heathers (1988) - veronica decides that she's sick of her mean-girl popular friendgroup + at the same time meets Mysterious New Boy. when she complains 2 him abt her friends he starts killing them <3

the princess bride (1987) - based on the book (which i also recommend!!); i feel like everyone knows this movie but. basically fairytale-esque romance abt a girl named buttercup who falls in love w a farmboy named wesley but then wesley gets murdered by pirates...or so it seems....

ferris bueller's day off (1986) - teenagers decide 2 skip school + run amok in chicago. wahoo!!

#if u watch anything. PLEASE let it be hell comes to frogtown #i'm fucking obsessed w that movie it's so fucking fun #like. definition of camp. 2 me #literally just watch the trailer + you'll get the vibe..... #and if u watch anything else. let it be earth girls are easy. and also labyrinth. and also the last unicorn. ok that is all bye <3 #movie recs #ask

[thottybrucewayne]

I wonder if media recc lists in Japan look the same as media recc lists here? Like, "American Queer media reccs!" and it's just, 1. The Hot Chick (2002) dir. Tom Brady 2. White Chicks (2004) dir. Keenan Ivory Wayans 3. She's the Man (2006) dir. Andy Fickman 4. Drag race all of them. All of the drag races. 5. The episode of The Simpsons where Homer is homophobic to John Waters 6. The episode of House where Dr. House and the other guy are pretending to be gay to somehow eventually date some lady????? 7. The Boondocks but only the clips of Riley being homophobic. 8. The one episode of Degrassi where Drake gets called a homo. 9. Seinfeld but only clips of Jerry saying "Not that there's anything wrong with that." 10. Set It Off (1996) dir. F. Gary Gray but only clips of Queen Latifah (this is real and valid)

#thotty speaks

[brokehorrorfan]

My Demon Lover will be released on Blu-ray on September 5 via Scream Factory. The 1987 horror-comedy stars Scott Valentine and Michele Little.

Charlie Loventhal directs from a script by Leslie Ray (The Wayans Bros.). Robert Trebor, Gina Gallego, Alan Fudge, Calvert DeForest, and Arnold Johnson round out the cast.

Special features are in progress and will be announced at a later date.

The happy-go-lucky but lonely Kaz (Scott Valentine) is looking for love when he meets Denny (Michele Little), a kindhearted young woman with an uncanny ability to attract stray pets and down-and-out boyfriends. Denny is sure she's met the man of her dreams when she sweeps Kaz off the streets and into her heart. But it's anything but a match made in heaven when she discovers that Kaz is afflicted by a curse that turns him into a horny monster — literally — whenever he's turned on! Will Denny be able to bring out the best, and not the beast, in her newfound paranormal paramour?

Pre-order My Demon Lover.

#my demon lover #horror #80s horror #1980s horror #80s movies #1980s movies #scream factory #dvd #gift #scott valentine #horror comedy #arnold johnson #charlie loventhal #80s comedy #comedy

[wen-kexing-apologist]

Bengiyo's Queer Cinema Syllabus

For those who are not aware, I have decided to run the gauntlet of @bengiyo’s Queer Cinema Syllabus and have officially started Unit 1: Coming of Age Post Moonlight.

The films in Unit 1 are: Pariah (2011), Get Real (1998), Edge of Seventeen (1998), My Own Private Idaho (1991), and Mysterious Skin (2004)

Today I will be writing about

Pariah (2011) dir. Dee Rees

[Available on: Amazon, YouTube Rental, Run Time: 1:26]

Summary: A Brooklyn teenager juggles conflicting identities and risks friendship, heartbreak and family in a desperate search for sexual expression. (from IMDB)

Cast:

Adepero Oduye as Alike (pronounced Ah-Lee-Kay) Aasha Davis as Bina, Alike's love interest Charles Parnell as Arthur, Alike's father Kim Wayans as Audrey, Alike's mother Pernell Walker as Laura, Alike's best friend Sahra Mellesse as Sharonda, Alike's younger sister

Overall Thoughts (this write up is longer than my The Birdcage one because this time I actually took notes)

I LOVED THIS FILM. I am so intrigued by the layers this film builds for itself. If there was one phrase that came to mind while I watched this film it would be “code-switching.” Not in the traditional way it would relate to language and linguistics, but in the way that there is code and there is switching. Because there are so many levels of change and obfuscation in this film from the clothing to the queer flagging to the thinly veiled threats. Before I get too far in to this, let’s do a quick analysis of the main character’s name

Alike Freeman. 

Alike- Origin: Nigerian, Meaning: “girl who drives out beautiful women” (at least according to babycenter)

Freeman- I mean…I feel like this one is pretty self-explanatory. But it is very very intentional. 

The film opens in a lesbian club, showing Alike wearing baggy, masculine clothing. On the bus ride home, she changes into a more femme style. And here we have the first switch. With her friend, out on the town, in the dark (look, Ben! I haven’t even seen this show yet, but I knew you were gonna pop in here with the link so I figured I would get ahead of it) Alike is free to be herself. To be openly, purposefully queer, to code herself that way. But the same cannot be said at home, where she is still in the (glass) closet. Second switch occurs when Alike leaves the house wearing more feminine clothing, and changes to more masculine clothing when she gets to school. 

We see the first code soon after when Alike spends her lunch period in her English teacher’s classroom. (This is how you know the story was written by a lesbian). We see her full name for the first time written on the cover of her journal. Alike Freeman. What a wonderful name for someone who is not free to be herself in all parts of her life. The second code we see established around the dinner table and on the basketball court. The way this family interacts with each other, there is the push and pull between honesty and secrecy, control and lack of it, respect and disrespect, and the love you feel coming from these characters is palpable, but there is an undercurrent of understanding that this love may be conditional. 

Audrey is interesting as a character because you know that she knows, and you know that she is trying to pretend like she doesn’t see it, and you know that she is (again, coding) trying to not-so-subtly “correct” her daughter’s behavior through the clothes that she buys her, through the disdain she has for Laura, by not letting Alike close the door when Laura is in her room, through telling Alike “God doesn’t make mistakes”. And the way that Audrey is lonely and isolated within the context of her family, within the social groups at work, because she is so internally focused on trying to stop her daughter from being gay that she has neglected every other connection in her life. 

We get another semi-code with the conversation in the hallways between three girls, one of whom says: “Some of them AGs are cute, I’m not saying I would, but I’ll holla” \\ “I’m not gay, but if i was gay, I’d talk to [Alike]” \\ “I like girls, I love boys” while making occasional eye contact with Alike across the hallway or walking right past her. The girl is letting Alike know she’s interested while still trying to maintain both the illusion of straightness and disinterest. 

Audrey connects Alike with the daughter of the literal only person she talks to in her office (read: her only trusted person) in the hopes that Alike will act more like a “lady”. While at first glance, we understand Audrey’s intention, we get yet another code from Bina that this plan may backfire for Audrey…when Bina mentions the English teacher. Queer. Coding. 

I loved the way that everyone knew, everyone knows that Alike is queer, and they just. won’t. talk. about. it. I love the way this film shows the very hard lines of allyship (yet another switch). When a butch lesbian comes in to the barbershop and is being harassed by his friends, Arthur stays silent. When she leaves, Arthur gently calls out his friend. When Arthur’s friend calls Alike a “bull-dyke” he’s ready to throw hands. No one is willing to risk a fight with their friends when they are being shitty to a queer no one knows or cares about. Another code, this time from Arthur to Alike comes after his friend makes yet another homophobic, and vaguely threatening comment about his daughter while she is inside the store, when he says “you know you’re daddy’s girl, right?”. She is safe to be herself with him. His love for Alike is unconditional…unlike her mother’s. 

I loved the way Alike’s caterpillar poem related to queerness, to closeted queerness in particular. The way the caterpillar felt trapped and suffocated in the dark cocoon, the way that Alike feels trapped and suffocated in the closet as she develops in to herself, as she develops in to her adulthood, as she develops in to her queerness. 

I am obsessed with the way that Arthur codes his conversation with Alike as he attempts to coax her in to coming out to him when they are alone, at night, in the dark. I mean, just!! He starts to try to bring it up, bails, skirting the conversation to ask about school instead, Alike knows what’s up, and having complicated feelings around her first kiss, she starts asking her father for advice, keeping pronouns out of the conversation, slowly building to the moment where she is going to come out to him, and he knows it, and she knows it, and Arthur just…interrupts her to start asking questions about “him.” He adds he/him pronouns in to the conversation, and he walks away continues the conversation where Alike cannot see his face, and where he cannot see hers. Because he can’t handle that conversation, because he knows how deeply rooted Audrey’s homophobia is, because the second he hears her say that, he knows that he has lost his daughter. And so instead, he sends her vague and coded messages with his questions around the women’s club, and it being bad news, and to not be associated with it. Because again, if Alike comes out, he knows that he will lose her. So he steers the conversation the way it needs to go where he can equivocate to his wife, telling her that Alike told him she has a boyfriend (because she didn’t correct him when he started adding he/him pronouns to his questions about a crush). 

I loved that Bina, a femme character was constantly the one initiating intimacy, while Alike, a masc character was constantly second guessing and then eventually bailing on initiating intimacy, and I loved that Bina is the one who decided she couldn’t handle admitting that she was queer while having sex for the first time helped Alike get over her hand ups. It felt subversive to me this way. 

I LOVED LAURA. I think she 300% deserves better, but I loved that despite the fact she struggles, despite the fact that she was disowned, despite the fact that she acts tough (and is tough) she is so compassionate, so caring. She lets other homeless queers sleep in her sister’s apartment for the evening so they have a safe and secure roof over their head, she got her fucking GED, she reached out to her mother despite being the one abandoned by her, and she took Alike in after her mother beat her for being gay despite the fact that Alike kept blowing her off in order to follow her feelings for Bina. Laura is a community pillar and we love and support and cherish community pillars in the house. 

I loved that while we get this initial eruption, and an acute burst of pain when Alike comes out, and her mother attacks her, the very next day Alike is in the light, watching the birds, being treated with softness and kindness, smiling and eating ice cream. I like that the loss of Alike’s presence in the family was palpable, that Audrey is clearing out the kitchen in the dark, that the Freeman’s are eating in the dark, and that Arthur reaches out to Alike in the light. 

I loved that Alike makes it clear that she isn’t running. I like that I don’t feel like Alike is suffering here, the people who lose are her family, the person who loses the most is her mother. Alike still maintains a relationship with her father and her sister, and following in Laura’s footsteps, she tries to extend the olive branch to her mother. But her mother cannot do it. I love queer kids reaching out to their parents, and it is important to me to see that pain that comes from loving your parents unconditionally and finding they cannot do the same for you in return. 

I don’t have anything I really want to say about the ending, because it was perfect and the script speaks for itself

“Your mother would always pick you up, your mother would always pick you up…you remember how we always used to race when it rang-” \\ “I got accepted in to an early college program…” \\ ‘I’m sorry I let her hurt you, you can always come back home. Things are gonna be different, I promise.” \\  “I’m not running, I’m choosing. I’m not going back home.” \\ “I know.” \\ “And you should tell Mom she was right, God doesn’t make mistakes.” \\ “You should tell her yourself.” 

The way this moment punched me in the gut? Knowing that I was watching a father trying to bring his baby home and realizing that he is facing an adult who has been freed instead. 

And on the subject of freedom, I am incredibly moved by the finally lines of the film: 

“For even breaking is opening. Broken to the new light without pushing in. Open to the possibility within pushing out. See the love shine in through my cracks. See the light shine out through me. I am broken. I am open. I am broken open. See the love light shining through me, shining through my cracks. Through the gaps. My spirit takes journey, my spirit takes flight. Could not have risen otherwise, and I am not running. I am choosing. Running is not a choice from a breaking. Breaking is freeing. Broken is freedom. I am not broken. I am free.”

Where Does This Film Fall in My By, For, About Queers Categorization?

THE GAY TRIFECTA

The writer/driector, Diandria “Dee” Rees, is a lesbian and describes Pariah as “semi-autobiographical"

Favorite Moment

I wouldn’t say there was a particular moment that stood out above the others as my favorite, because it was all incredible, but I will say that my favorite visual element that was employed was the use of lighting. When Alike is in queer spaces, her world is awash in vibrant and varied colors. In the privacy of her room she is bathed in red light, when she is being comforted by Laura after the fight with her mother, she is bathed in blue. 

10/10 Film

#bengiyo queer cinema syllabus #pariah #pariah (2011) #wka long post

[o-craven-canto]

"The grass always looks greener on the other side of the fence." That old proverb isn't about jealousy, as most people think. It's subtler than that. You see, it's literally true. When you look at grass you stand on, you're looking down--you see the leaves end-on, so a lot of bare earth is visible too. When you look over the fence at your neighbor's grass, you see it full-length, at a low angle, so the grass-blades overlap and hide the ground. Even if your lawns are identical, your neighbor's grass really does look greener. And this effect crops up in other places. Ever notice, on a busy, multi-lane road, how you always get stuck in the slowest lane? Lady Luck isn't out to get you--by definition the most crowded lane will have the most people in it! Clear, fast-moving lanes have fewer drivers. More often than not, you really ARE in a worse-than-average lane, the other lanes ARE greener--till you move over, and slow them up! Now, the opposite principle applies to alternate earths. Consider: Let's say you're contemplating Randomia, an alternate Earth no better or worse than ours, with roughly the same biomass, same amount of arable land, about the same population... just re-distributed. Now, what regions will you notice the most? First, your home, of course, and then, other well-known regions--and well-known means inhabited. Randomia will always look worse! For, by definition, most readers will be from our world's high-population zones. Random changes will, on average, degrade them. And the lands that improve, that become the heartlands of Randomia's civilizations, are likely to be barren obscure lands in our world, mere names (if that) to non-Randomian readers. The Jaredian version of Europe is cold (millions of European readers groan), while the green Sahara nurtures great civilizations (a handful of Saharan readers cheer). If you love civilization, Randomia will probably stunt or kill the ones you love; its greatest civilizations will arise from lands (and creatures) you barely know and dismiss as primitive. So the grass always looks browner in a parallel world--because what you value most, what you KNOW to value, is generally lost. This principle makes it hard to see alternate worlds fairly. So, if I seem foolishly optimistic about these alternate Earths, postulating island leagues and tropical civilizations and intelligent lemurs or elephants or mega-ravens... just remember I'm fighting the Randomian factor. Your view is colored by the degradation of what you know and love; so my predictions of new growth and life in the unlikeliest regions, will seem fatuous. Yet they grow from the same data as the doom and gloom--your perceptions are naturally tilted toward seeing the losses. Factor Randomia in, before you mock.

-- Chris Wayan, Jaredia (an alternate Earth tilted so as to create the longest possible east-west near-continuous landmass)

#alternate universe #alternate history #quotes

[websterss]

I strongly believed that if you had found out what Ethan does to anyone who looks even breaths the same air as you

And it causes you to hate him because that he either will be heartbroken or he may kill you but we all know

He wouldn't kill you he would have to get Quinn or Wayan to kill you after they kill you he would

Be so heart broken because he had to do that, which he strongly did not want to do

But if you found out and like it made you love him even more he would be so confused but happy that you didn't hate him for it

I have to wrap my head around this for a sec 🤔 okay done…

If we’re going down the path of hating him, and you discovered that he killed everyone who looked at you or breathed on you then you’d think back to all those moments and the faces.

“What did you do?”

“I killed them all!”

“All of them…”

“Every one!” He nod so proudly.

Your mind thinks back to the girl who you had collided with. You both apologizing to one another as you both collected your discarded things from your bags. Or the man that tried hitting on you on the street, the guy at Central Park with the dog. Ethan had been adamant that his dog didn’t just take off on its own. That he ordered it to approach you with the chew toy. You’d ask…

“How would you know?” And he’d whistle, and you’d turn as you heard the pitter pattering of its nails on the floor.

“I told you there was no way he got lose on his own. He’s actually quite well trained look…play dead!” You’d gape in fear as the dog lay down on its side.

You try and flee but he’d slam the door closed shut. “Don’t do this. We’re fine. This is just a bump in the road. Don’t make me have to kill you…please!” You cry hoping not to end up like one of them, but little did you know you would.

If we’re going the “you like it” path. You’d stare at him speechless for a second trying to process the fact that he was clearing a path for you. Getting rid of people who socialized or brushed you in the slightest bit. On one hand it feels romantic. On the other you knew that you had to stop him.

“You gotta stop.”

“What? Are you serious?”

“You can’t just kill someone on my behalf just cause they looked at me funny. Like why would you waste your time on someone who didn’t even cross my mind afterwards. Can you be a little more smart about this?” You shake your head. Ethan would have assumed you’d be upset, hurt, devastated yet here you were judging his motives, his thought process.

“You’re not mad…”

“That you killed people for stupid reasons, yeah, I am. At you…not really.”

“Thought you’d freak.”

“Then you don’t know me at all Ethan Landry.” Your lips upturns in a faint smile.

#‣ julie answers #ashlesys-blog #scream vi:hcs

[ausetkmt]

I first saw Bamboozled as a 15-year-old, in April 2001, at the Ritzy Cinema in Brixton, south-west London, and it threw me for a loop. Written and directed by Spike Lee, the film is an intense satire about a frustrated African American TV executive, Pierre Delacroix (Damon Wayans), who creates a contemporary version of a minstrel show in order to purposefully get himself fired, and expose the commissioning network as a racist and retrograde outfit. However, the show, which features its black stars wearing blackface, becomes a huge hit, prompting Delacroix’s mental collapse, and an explosion of catastrophic violence, the effects of which are felt far and wide.

In a fraught contemporary climate where the mediation of the black image in American society is at a crucial juncture, Bamboozled’s trenchant commentary on the importance, complexity and lasting effects of media representation could hardly feel more urgent. Each time an unarmed black person is killed, then hurriedly repositioned in death as a thug, a brute, or a layabout by mainstream media outlets – as has happened recently to Trayvon Martin, Michael Brown, Eric Garner, Samuel DuBose and countless others – we are seeing the perpetuation of old anti-black stereotypes, forged in the crucible of mass American art, reconfigured for our time.

Lee’s film traces a grim continuum between stereotypes old and new, connected by knotty skeins of institutional racism. Many critics at the time of the film’s release suggested that Lee had needlessly reopened old wounds; that the dark days of minstrelsy were comfortably behind us, and that we should move on. Yet Lee’s vision was not only necessary, it proved remarkably prescient. During the course of writing this book, I rewatched episodes of garish reality TV shows like Flavor of Love (2006-8), starring the clock-wearing rapper-cum-jester Flavor Flav, and The Real Housewives of Atlanta (2008-). I had to concede that Bamboozled’s nightmarish New Millennium Minstrel Show didn’t look so far-fetched after all. I sat gape-mouthed in front of Lee Daniels and Danny Strong’s musical soap opera Empire (2014-) – a wildly entertaining but exceedingly dubious carnival of black pathologies – and couldn’t help but wonder if it was the type of show that would get Bamboozled’s master-wigger network boss Dunwitty (Michael Rapaport) hot under the collar at proposal stage.

When, in October 2014, I saw footage of freshly signed rapper Bobby Shmurda literally dancing on a table in front of a group of executives, exactly like performer Manray (Savion Glover) does in Bamboozled, I began to wonder whether Lee was in fact a secret soothsayer. Not even he, however, could have predicted the transcendentally weird tale of Rachel Dolezal, the NAACP leader in Spokane, Washington, who was revealed to have been white, and posing as African American all along. At the time of the incident, many wags on social media suggested that Lee would be the ideal man to direct Bamboozled 2: The Rachel Dolezal Story.

Bamboozled’s shrewd commentary on the lack of behind-the-scenes diversity in mainstream entertainment is also especially relevant today. The presence of figures like Robin Thede – head writer on The Nightly Show With Larry Wilmore, and the first black woman to hold that position on a late-night network comedy show – and Shonda Rhimes, the powerful showrunner behind Grey’s Anatomy, Scandal and How To Get Away With Murder, is heartening. Yet a report released in March 2015 by the Writer’s Guild of America West revealed that minority writers accounted for just 13.7% of employment: a dismal statistic. Moreover, Rhimes’s success didn’t insulate her from being disrespectfully branded as an “Angry Black Woman” – that most pernicious of stereotypes – in a rancid, supposedly flattering article by Alessandra Stanley in the New York Times

While most of us can cheer the incrementally increasing diversity on our film and television screens, Bamboozled forces us to question the quality and progressiveness of these roles. Ostensibly it’s great that talented actors such as Mo’Nique (Precious, 2009), Octavia Spencer (The Help, 2011) and Lupita Nyong’o (12 Years a Slave, 2013) are winning Oscars, but isn’t the shine taken off somewhat by the fact they were rewarded by the establishment for playing, respectively, a psychotic “welfare queen”, a neo-Mammy in a white savior period picture, and a chronically abused slave? Why don’t black women win Oscars for playing complex heroines or crotchety geniuses like their white male counterparts? Because old stereotypes die hard within an industry that prefers stasis over change. Perhaps even more disturbingly, there’s something inherently soothing about such stereotypes for mass audiences – a point particularly relevant to the wild popularity of Bamboozled’s own minstrel show.

And how far have we come, really? Ridley Scott cast a host of white actors (including a fake tan-enhanced Christian Bale and Joel Edgerton) in his Middle Eastern epic/flop Exodus: Gods and Kings (2014), but his response to complaints was both flippant, and distressingly matter-of-fact: “I can’t mount a film of this budget, where I have to rely on tax rebates in Spain, and say that my lead actor is Mohammad so-and-so from such-and-such. I’m just not going to get it financed. So the question doesn’t even come up.” The best riposte to Scott and his film came from independent black film-maker Terence Nance, who wrote that “[l]ike The Birth of a Nation before it, [Exodus] traffics in absurd cultural appropriation and brown-faced minstrel casting/makeup techniques to rewrite African history as European history, and in so doing propagates the idea that European cultural centrality is more important than historical fact and the ever-evolving self-image of African-descended people as it is influenced by popular representations of people of color in Western media distributed worldwide.”

Nance, however, is just one talented black film-maker among many (Dee Rees, Tina Mabry, Haile Gerima, Julie Dash, Barry Jenkins et al) who have struggled to attract funding to tell artistic and personal stories outside of the monolithic, corporate world of mainstream entertainment which Bamboozled so acidly depicts (even if it is set in the world of TV rather than film.) Lee has long been vocal about the struggles he’s faced in raising funds to tell black-focused stories, and even he had to go cap in hand to fans on Kickstarter to crowd-fund his idiosyncratic, low-budget vampire movie Da Sweet Blood of Jesus (2014). Da Sweet Blood is his most excessive, least easily readable work since Bamboozled, but it can’t match his earlier film for sheer visceral impact.

Bamboozled, then, is a genuine one-off, but I can detect traces of its relentless, irritable, questioning approach in a variety of contemporary art. I see it in Justin Simien’s excellent college-set satire Dear White People (2014), which was inspired by horrific, real-life blackface parties at universities across America. I see it in the antic situational comedy of Key & Peele, whose best sketch, musical spoof “Negrotown”, compresses the madness, pathos and insight of Lee’s film into four-and-a-half harrowingly hilarious minutes. I see it in Branden Jacobs-Jenkins thrillingly audacious play An Octoroon (2013), which reconfigures blackface tropes in daring ways. Most of all I see it coursing through the veins of Paul Beatty’s scabrous satirical novel The Sellout (2015), about a shiftless young black Angeleno who hatches a plot to reintroduce racial segregation, and takes an elderly slave – a disturbed former “pickaninny” star of Little Rascals films – while he’s at it. Like Lee’s film, it plays as a shotgun blast to the face of formal convention, it’s stubbornly resistant to a single concrete interpretation, and it has a lot of very painful things to say about America today.

ABC’s enjoyably gentle sitcom Black-ish (2014-), meanwhile, simultaneously echoes Delacroix’s crisis – with its premise of a middle-class black ad executive (Anthony Anderson) jockeying for position in a white corporate space – and feels like the kind of show Delacroix, free of Dunwitty’s pressure, might have concocted himself.

Lastly, I couldn’t help but think of Bamboozled while poring over Ta-Nehisi Coates’s epic essay in the Atlantic, The Case for Reparations, which uncovers, in forensic detail, the institutional plunder of black Americans from slavery to redlining to mass incarceration and its destructive impact on families. Coates’s fury is more controlled than Lee’s, but it’s equally sincere, and his essay shares with Bamboozled the central imperative to look directly into the heart of past racial sins in order to plot a productive way forward.

It is time, then, to take a close look at Bamboozled, which deserves to be respected as much more than a mid-career oddity in Lee’s filmography. It is a vital work that’s equal parts crystal ball and cannonball: glittering and prophetic, heavy and dangerous.

#Bamboozled: Spike Lee's masterpiece on race in America is as relevant as ever #Bamboozled #Spike Lee #Black Film #Black Movies #Black Actors #The Wayans Brothers #Black and White Comedy

[aaliyahunleashed]

#OnThisDay September 7, 2000

2000 MTV Video Music Awards is aired live on September 7, 2000, honoring the best music videos from June 12, 1999, to June 9, 2000. The show was hosted by Marlon and Shawn Wayans at Radio City Music Hall in New York City.

Aaliyah slays with a yellow and black zebra print dress designed by Roberto Cavalli. Rapper EVE would sport this same dress (a green and black version) a few days earlier at the 6th annual Soul Train Lady of Soul Awards on September 2, 2000.

When presenting Aaliyah's award, singer Ricky Martin mispronounces her name as "Uh-Lie-Ah" (which is what most Aaliyah fans today label wannabe look-a-likes).

This was Aaliyah's last appearance at the VMA awards before her death a year later in August 2001. She won her two (and only) VMA awards that night, for "Best Female Video" and "Best Video from a Film" for her #1 hit song "Try Again". Speaking with charm and grace, she closed her speech by dedicating her award to her grandfather and the memory of her grandmother.

Aaliyah and friend/Choreographer Fatima Robinson would also be nominated for "Best Choreography in a Video", but lose to N'Sync's "Bye Bye Bye" - Which Aaliyah (and friend Ananda Lewis) would grace the stage together and introduce during the taping.

#aaliyah #ripaaliyah #aaliyahhaughton #vmas #vma #mtvvma #vma00 #nsync #anandalewis #rickymartin #zebraprint #robertocavalli

[random-thought-depository]

I think its cool how open you are about how your worldbuilding efforts are both sincere efforts at creating interesting secondary worlds and also oriented around what your kinks are. I reminded of Chris Wayan's Planetocopia stuff, which is a gold standard of interesting and weird (complementary) worldbuilding.

Sorry for taking so long to get around to answering this! Thank you for the compliment! Yeah, Planetocopia was a huge source of inspiration for my bonobo-like humans project, both in the sense that I drew inspiration from Chris Wayan's worlds in imagining the bonobo-like human world (the thing where their planet has lots of islands and fractal coastlines and fragmented landmasses so their civilization was more sea-centered than ours historically, that's very much inspired by some of Chris Wayan's worlds), and in the sense that looking at Chris Wayan's approach to worldbuilding made me think "if they can do this, so can I!"

Anybody who's reading this and doesn't know about Planetocopia, I encourage you to check it out, I think it's really cool! A bit NSFW in places, but really cool!

#Planetocopia #my writing #my main SF setting #bonobo-like humans

[littledevilinside]

they're walking the property of wayan givens old abode, standing tall above the rest of the old houses in the area. the man was wealthy, that much was evident, but he was also cruel. committed suicide aftr murdering his second wife and their two children, in an attempt to appease some cosmic god. what a load of bullshit.

tucking her fingers into the pockets of her jeans, the blonde shifts her weight from one foot to another, before she feels a shiver work it's way up her spine at the sound of tim's speaking.

"that place looks like it hasn't been touched in years. "

she nods over to him, pulls a hand out and points to the second window on the top floor.

"ain't nobody kept up with it after the murder suicide. that's where it happened. people say the house is haunted though, i don't know if i believe in ghosts, but i believe there's some bad energy in this place.

she takes a step on the porch and listens to the sound of creaking stairs, seeing if it can hold her weight before taking more steps along the inside.

"i don't remember him much, my grandpa, or my grandma for that matter. his second wife was younger - hence the two young kids while my dad was already grown. sometimes i feel like he's haunting me for my choices - y'know, giving up against the whole cult-kind of bullshit that they were involved in."

as she mentions him, she shivers again, this time feeling a presence press against her throat, a gruff whisper in her ear of unintelligible noise.

"i don't think we're alone, anymore, tim." she says, glancing back at the man who's stayed off the porch. she takes a few steps further, before reaching the front door.

"you coming?" she turns to ask @guttcrson, before speaking once more. her heart is thundering in her chest, but she has to face her demons one by one to make sure that she can get over this. "or are you gonna make me do this all by myself?"

#threads. #ft. tim gutterson. #guttcrson #i hope this is alright angel.

[mediamixs]

Scary Movie 6 is officially announced

Scary Movie 6, the latest installment in the popular horror-comedy franchise, is set to hit theaters in the near future. The series is known for its irreverent and humorous take on the horror genre, parodying popular horror tropes and films with a mix of slapstick comedy and over-the-top gore.

Unfortunately, specific details about Scary Movie 6 are currently scarce. The film has not yet been officially announced, and there is no information available about the plot, cast, or release date. However, based on the franchise's history, fans can expect a fast-paced and entertaining ride that pokes fun at the latest trends and cliches in the horror world.

The Scary Movie series has a long and successful history, with the first film released in 2000. Directed by Keenen Ivory Wayans, the film was a surprise hit, grossing over $157 million at the box office and spawning a series of sequels. The franchise has featured a rotating cast of comedic actors, including Anna Faris, Regina Hall, and Marlon Wayans, and has parodied a wide range of horror films, from classics like Psycho and The Exorcist to more recent hits like Saw and Paranormal Activity.

While fans wait for more information about Scary Movie 6, there are plenty of other horror movies to look forward to in the coming months. Some of the most highly anticipated horror films of 2024 include History of Evil, a dystopian horror film starring Paul Wesley; Imaginary, a psychological horror film about a woman's imaginary friend; and Immaculate, a nun horror movie with a devilish secret. Other notable releases include The First Omen, a prequel to the classic horror film The Omen; Abigail, a reimagining of the 1936 film Dracula's Daughter; and Beetlejuice 2, the long-awaited sequel to the 1988 horror comedy classic.

In short, while specific details about Scary Movie 6 are still under wraps, horror fans have plenty to look forward to in the coming months. With a diverse range of films set to hit theaters, there is something for everyone, from classic horror to modern parody.

Scary Movie 6 is a horror-comedy film that is a parody of various horror movies, including The Conjuring, Get Out, The Purge series, Poltergeist, The Babadook, Happy Death Day, Lights Out, Split, and Don't Breathe. However, there is no official plot information available for Scary Movie 6, as it has not been released yet.The Scary Movie franchise is known for its irreverent and humorous take on the horror genre, poking fun at popular horror tropes and films with a mix of slapstick comedy and over-the-top gore. The previous installment, Scary Movie 5, was released in 2013 and starred Anna Faris, Regina Hall, and Simon Rex. The film received mixed reviews from critics but was a box office success, grossing over $78 million worldwide.

#horror #movies #scarie movie 6