#(2005: 13/19 races watched)

[skitskatdacat63]

2005 Hungarian Grand Prix - Kimi Räikkönen, Michael Schumacher & Ralf Schumacher(my personal post-race highlights)

+ bonus Renault boys

[zomb21z]

my favourite pete wentz petekey livejournal entries

Q: peter, would you ever date someone 13 years younger then you? or at least be friends with them? p.s you are hot and i love you

A: i don’t want to go to jail. im little and i think i would get passed around like a pack of cigarettes. but thank you that is really sweet. i don’t really want to do pushups in a drag…

that one isn't really related to petekey and it's not a lj entry but it's funny and makes me feel less devastated and depresed about the whole petekey thing

Tuesday, June 28, 2005

Amazing new mexico sunset. I’m hanging on a bridge with my friend mikey way from my chem. Its all orange and pink above us. We went to another waterpark again. I love high fives again. Totally back in love. Saw the most amazing movie… I think its called spirited away. Watch it.

Peterpan

obviously this is one of my top favs everytime i see the word "mexico", "sunset" or the mention of mikey way i immediately think of this one lj entry

July 19, 2005

wrote you a goodbye note (you just wrote me off) on your arm when you passed out. bestfriends, exfriends- better off as lovers not the other way around. racing through the city in the back of yellow checkered cars. the takeoffs are the worst but the skin from your shoulder to your ear makes it all worth it. and im sorry the way my moods flicker on and off like old light on your porch, but i know you wouldn’t have it any other way. sneaking in your window instead of out. the way you hold a cigarette cause you don’t know what to do with your hands when we are sitting this close. the way the waists of pants feel better at the ankles. the way you always were my best excuse for calling in sick on everyone else. i miss you.

petey

SO HEARTBREAKING also i lovelovelove bang the doldrums even though it makes me super sad

July 26, 2005

lately i’ve been into believing fictional stories like the ones about me and you being happy. they’ve gotta be science fiction cause how else can you have a monster fall in love with a boy with no heart? actually i’m pretty sure you have a heart, but i’m just as certain it’ll never be mine. i can tell you’re willing to be loved somewhere on the inside but that doesn’t do me any good when i’m still seeing things through thick curtains over windows and padlocked doors on the outside. bitter regrets, predictable forfeits. we lit a fire that was nothing but smoke and hot air. ashes. my hands are empty and you hold all the cards, kind of funny how you don’t even want them/me. the final nail in my coffin stabbed me in the heart - from my back. you once made my heart skip a beat, now you make it want to skip this. you’ve got salty mails ripping my wounds open that you’re telling me to let heal. love is a mirage, you only think it’s there for so long..til you either wise up or die of hydration. love is the way to blow your brains out minus the gun, i swear. it’s the stupidest form of suicide cause you don’t die. and whatever doesn’t kill you only laughs at you for coming close enough to. sorry, it’s just the bitterness talking. ignore it/me. i’m just loose words hanging on the ends of your lips, even looser when i’m anywhere near your hips. poetry written from blistered fingertips and sleep deprived eyes that was better before the ink dried. he said, "i should have stayed with her,” and i should have stayed away. held together by paperclips and lies, a part of me is still trying to pretend i was (mis)hearing things but even the voices in my head aren’t that mean to me. and them “i’m sorry,” too late, i’m a better (re)actor than the one you’re being to convince me. i’m just convinced that telemarketers are the only people with more hangups than me. you called this before you knew the number, and hung up before you got a responce. tell me any of this will get me somewhere worth being without being left behind. i tried, i gave it/you my all, but all i can do is give up. i don’t tell you my insecurities so you can use them against me, but help me get over them. instead you said and did the worst thing you could do. worse than cheating to me, i hope you know. but whatever i don’t even know, i guess sometimes it takes losing what you had to see what you didn’t.

the parts in italics r my fav this one truly is the most heartbreaking one out of all of pete's petekey entries it's so poetic emotional I CANT DESCRIBE ITTT

next one isn't an entry i js really like it

December 2nd, 2005

[…]

i love how i thought this was all over and i have to face the same two months replayed for the rest of my life.

my head and heart are beating the shit out of me trying to see what hurts worse.

kinda like us.

yep.

summer wasn’t hot enough but i had hope winter was gonna be the coolest.

i obviously thought wrong.

you and me are the last hot day in summer. we’re just fading before the fall.

if you listen really closely to whatever's around you you can hear me crying. again, italics r my fav

November 23rd, 2005

[…]

i wrote you a letter a few hours ago that i never intended to give you in the first place and then ripped it up and threw it away cause it’s much too personal to say on paper. even over a phone. the words i said in it i need to say to you in person. i guess it felt better to write it all out. it’s easy to say “i only need 5 seconds with you than a lifetime with someone else” than it is to live it. to be honest, i’m dying from it. “kiss me electric” vs “kiss me at all.” and when you do it’s just a kiss off.

this isn't the full entry its js that this half had more emotional impact on me

friends that lay together

forgive me for not showing more remorse

apologies were never really my thing- outside of feeling sorry for myself. the last nail in your coffin got stuck in the mail. youre gonna have to wait. until then focus on love below the waist. they say your head can be a prison- consider this a conjugal visit.

Monday, June 05, 2006

Stick around long enough and everyone becomes parody of themselves (see also: if it could happen to the egyptians if could happen to you).

[…]

you dont hate me, you hate the part of you that is like me. i cant sit here and ride my flaws until the end because the truth is i live the charmed life because of you and them. we are a gang. maybe its time to disband. im not sure i am thinking clearly but i just want you to know that i waited on you guys calls all night- they never came. i just wanted to say i miss you or im sorry or you know something that would have meant something to you. i would have made it poetic and memorable or at least something you could laugh at while drifting off to sleep. always trying to relive the glory days.

i dont care how poorly these sentences were constructed or how in the light of day i will wish i had not written them- right now i can only curse the fucking light off of this stupid western city because it wont ever get dark enough for sleep but otherwise how could you guide your way back here?

my head always feels warm right before i pass out, i always worry that there is something wrong and i wont wake up or you know i will. promise me that you wont take anything i ever say too seriously.

***

Friday, July 07, 2006

im so sorry, but not really. ('straighten up and die right’)

i said i want to be rebuilt like a frank lloyd wright only without all of the water damage. or painted over like a monet only less blurry. she said “no, youre something different”. like what? “something better”. it gave me the rush of warm blood like you see in cartoon dogs right before their eyes pop out and all of the bells go off. my head is spinning like a car off of an icy guardrail. show me what you are made of. your eyes were always rolling but youd tilt your head so they were somehow always still stuck on me (have your cake and eat it too). i feel safe but not like a bet more like the way mothers feel when the lock the car doors in bad neighborhoods. i am blue waves across the red rootlike veins in the bodies drawn flat in medical books. i wonder at the way that someone can write thousands and thousands of pages about my insides. when i met you i gave you a name- not your own- but in my head so i wouldnt ever mix you up with anyone so ordinary- i cant tell you- but to me it meant salvation. you only wanted reaction. but i cant be bothered. not anymore. ill see you in the spring. first pew on the left. wear your white veil and dont forget the words. warped tour. sun drenched days. bestfriends. new roads. so long salvation. dont worry your pretty little heads. i am sleeping safe tonight.

okay tbh this is js a bunch of petekey stuff thatre my favs but i put the title heading thing as livejournal entries cause it's more aesthetic 😞

these next ones r js tweets

ALSOOO HE GREEN TEA KITKATS OETE THING IS SO CUTE ITS MY 2ND FAV NEXT TO THE NEW MEXICO SUNSET ONE and that's all i think

[andreaskorn]

Game Screenshot Archiv

Game Titel (T-Z)

Update: 20.08.2024

Titel / Jahr / Gameplay Screenshots Option Screenshots

Tactical Ops (2003) 2003 15 7 Terminator 2019 177 32 Test Drive: Unlimited 2006 47 74 The Darkness II 2012 76 13 The DaVinci Code 2006 6 15 The Outer Worlds 2019 112 31 The Solus Project 2016 166 9 The Swapper 2013 2 7 The Thing (Gamestar) 2002 11 3 The Vanishing of Ethan Carter 2014 13 13 The Witcher 2007 41 20 The Witcher 2 2011 5 95 The Witcher 3 Wild Hunt 2015 218 23 Thief 2014 8 25 Titan Quest 2006 65 27 Titanfall-2 (Multiplayer-Player) 2016 44 62 Titanfall-2 (Single-Player) 2016 15 7 Tom Clancy's Rainbow Six Vegas 2006 8 7 Tomb Raider (2013) 2013 22 26 Tomb Raider 1 1996 8 0 Tomb Raider 2 1997 10 0 Tomb Raider 3 (Adventures) 1998 6 0 Tomb Raider 4 (Letzte Offenbarung) 1999 5 0 Tomb Raider 5 (Die Chroniken) 2000 5 1 Tomb Raider 6 The Angle of Darkness 2002 20 1 Tomb Raider Anniversary 2007 29 7 Tomb Raider Legend (7) 2006 53 11 Tombraider Underworld  2008 24 12 Torchlight 1 2009 16 22 Torchlight 2 2012 17 17 Tourino  2006 32 11 Tron 2.0  2003 26 6 Turok 1997 6 0

Undying 2001 5 5 Unreal 1 1998 11 4 Unreal 2: The Awakening 2003 0 1 Unreal Tournament  1999 17 15 Unreal Tournament 2003 2003 4 1 Unreal Tournament 2004 2004 15 25 Unreal Tournament 3 2007 27 19

Victor Vran 2015 8 11 Vietcong 2003 26 4

War and Peace 2002 6 12 Warcraft 2 1995 1 4 Warcraft 3 Reign of Chaos 2002 15 15 Watch Dogs  2014 31 45 Watch Dogs 2 2016 47 19 Will Rock 2003 19 3 Wing Commander IV 1996 1 5 Wing Commander V (Prophecy) 1997 21 10 Wolfenstein II New Colossus 2017 377 43 Wolfenstein The New Order 2014 2014 196 53 World of Warcraft 2005 38 0 World of Warcraft: Mists of Pandaria 2012 6 18 World Racing (1) 2003 36 13 World Racing 2 2005 14 11

X 3 Terran Conflict 2008 25 17 X2: Die Bedrohung 2002 20 21 X3 Reunion 2005 32 0 XIII  2003 59 8

Yager (Demo) 2003 7 0

Zork: Großinquisitor 1997 4 3 Zork: Nemesis 1996 4 2

Dr. Andreas U. Korn, 20.08.2024 + + +

[therasslingrob]

How about a list chronicling all the flicks that I have seen in the cinemas? To start, most of my theatrical viewings have been in one of two cinemas, others have been frequented. The two theaters in question were the Regal Cinemas in Vestal, New York and Crown City Cinemas in Cortland, New York.

#1) Armageddon

#2) Paulie

#3) I'll Be Home for Christmas

#4) Star Wars: The Phantom Menace

#5) X-Men

#6) Pearl Harbor

#7) Lord of the Rings: The Fellowship of the Ring

#8) Star Wars: Attack of the Clones

#9) Men in Black II

#10) Lord of the Rings: The Two Towers

#11) X2: X-Men United

#12) Finding Nemo (2x)

#13) Seabiscuit

#14) Freaky Friday (2003)

#15) Radio

#16) Lord of the Rings: The Return of the King

#17) Miracle

#18) Hidalgo

#19) Harry Potter and the Prisoner of Azkaban

#20) Spider-Man 2

#21) I, Robot

#22) Collateral

#23) Sky Captain and the World of Tomorrow

#24) Christmas with the Kranks

#25) The Boogeyman (2005)

#26) Star Wars: Revenge of the Sith

#27) War of the Worlds (2005)

#28) Harry Potter and the Goblet of Fire

#29) Walk the Line

#30) Chronicles of Narnia: The Lion, the Witch, and the Wardrobe

#31) King Kong (2005)

#32) United 93

#33) The DaVinci Code

#34) X-Men 3: The Last Stand

#35) Cars

#36) Flags of Our Fathers

#37) Eragon

#38) Spider-Man 3

#39) Transformers

#40) Harry Potter and the Order of the Phoenix

#41) I Am Legend

#42) Chronicles of Narnia: Prince Caspian

#43) The Express

#44) High School Musical 3: Senior Year

#45) Push

#46) Race to Witch Mountain

#47) X-Men Origins: Wolverine

#48) Angels and Demons

#49) Transformers: Revenge of the Fallen

#50) Ice Age: Dawn of the Dinosaurs

#51) Harry Potter and the Half-Blood Prince

#52) Avatar

#53) Twilight: New Moon

#54) Iron Man 2

#55) The Karate Kid (2010)

#56) Twilight: Eclipse

#57) Inception

#58) Harry Potter and the Deathly Hallows, Part 1

#59) Soul Surfer

#60) Thor

#61) Harry Potter and the Deathly Hallows, Part 2

#62) Twilight: Breaking Dawn, Part 2

#63) Sherlock Holmes: Game of Shadows

#64) Safe House

#65) 21 Jump Street

#66) Marvel's The Avengers

#67) Men in Black³

#68) Rock of Ages

#69) That's My Boy

#70) The Amazing Spider-Man

#71) The Dark Knight Rises

#72) The Watch

#73) The Campaign

#74) The Expendables 2

#75) Hit and Run

#76) Trouble with the Curve

#77) Looper

#78) Taken 2

#79) Argo

#80) Here Comes the Boom

#81) 007: Skyfall

#82) Flight

#83) Twilight: Breaking Dawn, Part II

#84) The Hobbit: An Unexpected Journey

#85) Jack Reacher

#86) Django Unchained

#87) Fast Six

#88) The Hangover, Part III

#89) Now You See Me

#90) The Purge

#91) That's My Boys

#92) Man of Steel

#93) Grown Ups 2

#94) RED 2

#95) The Wolverine

#96) 2 Guns

#97) Percy Jackson and the Olympians: Sea of Monsters

#98) Kick-Ass 2

#99) Getaway

#100) Prisoners

#101) Captain Phillips

#102) Carrie (2013)

#103) Delivery Man

#104) The Hobbit: Desolation of Smaug

#105) Lone Survivor

#106) Captain America: The Winter Soldier

#107) Amazing Spider-Man 2

#108) Godzilla (2014)

#109) X-Men: Days of Future Past

#110) Guardians of the Galaxy, Volume 1

#111) Ant-Man

#112) Star Wars: The Force Awakens

#113) Captain America: Civil War

#114) X-Men: Apocalypse

#115) Independence Day: Resurgence

#116) The Magnificent Seven (2016)

#117) Logan

#118) Beauty and the Beast (2017)

#119) Guardians of the 7, Volume 2

#120) Wonder Woman

#121) Spider-Man: Homecoming

#122) Justice League (2017)

#123) Jumanji: Welcome to the Jungle

#124) Avengers: Infinity War

#125) Tag

#126) Ant-Man and the Wasp

#127) Captain Marvel

#128) Avengers: Endgame

#129) Men in Black: International

#130) Toy Story 4

#131) Spider-Man: Far From Home

#132) Star Wars: The Rise of Skywalker

#133) Jumanji: The Next Level

#134) Shang-Chi and the Legend of the Ten Rings

#135) Spider-Man: No Way Home

#136) The Batnan

#137) Doctor Strange in the Multiverse of Madness

#138) Jurassic World: Dominion

#139) Thor: Love and Thunder

#140) Avatar: The Way of Water

#141) Ant-Man and the Wasp: Quantumania

#142) Guardians of the Galaxy, Volume 3

#143) The Marvels

#144) Deadpool and Wolverine

[televinita]

TV I Watched In 2023

Before I can even begin to answer survey questions about it, I have to remember what I actually watched. I have been tracking it month to month, but since I rarely finish an entire series or even a season within a month, all that data is stretched and scattered throughout the year and it takes a post like this to bring it all together. Does this need to be public? Probably not. But it is anyway!

Broken down by categories that are not, for the most part, genre:

INSTA-QUIT

Animal Control: 1x01

The Terror: 1x01-02

Quantum Leap (2022): 1x04

The Triangle (2005 miniseries): pt 1

SAMPLED, WILL COME BACK SOMEDAY

The Ranch: 1x01-02

Trinkets: 1x01

What If…?: 1x03 & 1x07

CURRENT SHOWS (SCRIPTED)

Abbott Elementary: S2

Night Court (2023)

That 90s Show

Ghosts (CBS): S2

Poker Face

Daisy Jones & The Six

Loki (full series)

Alaska Daily

Good Omens: S2

Big Sky: S2-3

La Brea: S2

Goosebumps (2023)

NEW TO ME

The Exes: 4x17-22, finishing what I started last year

Scott & Bailey: S3-5 (and a rewatch of S1)

The Night Manager (which I completely failed to reblog anything about because I was overwhelmed with joy; so good)

The Essex Serpent

Return to Cranford

Litvinenko

Slasher: S1

REALITY & GAME SHOWS

Survivor: S44-45

The Amazing Race: S32 & 35

The Chase: S3

Celebrity Jeopardy

Celebrity Family Feud: Chenoweth vs. Najimy

Celebrity Wheel of Fortune: Abbott Elementary cast

Cook at All Costs

Snack vs. Chef

Best Leftovers Ever

Pressure Cooker

The Traitors (both US and UK)

Snake in the Grass

Squid Games: The Challenge

Special Forces: World's Toughest Test: S2 (and 2 of S1)

Dallas Cowboys Cheerleaders: Making the Team: season 15

(I can't explain why I will watch 7 junk food reality shows before I watch one genuinely good series when I have sooo many of the latter on my watch list. It used to be because I wrote about every episode of TV, and it's always hard to articulate positive feelings well, but now I guess I just have an emotional block about processing Great Stuff without even having something to show for it afterward.)

RANDOM REWATCHES

Various episodes: 30 Rock; Seinfeld; Friends; The Simpsons (S7 & 12 mostly); Community (S1-2 mostly)

That 70s Show: 1x01-19

Survivor: Gabon (S17)

The Amazing Race: S32

The Office: S9

CSI: 4x12

Primeval: New World: 1x01

Doctor Who: 4x01-02; 4x06; 4x12-13

[spneveryseason]

Official ranked list of scooby doo media I’ve seen

Movies

20. Scooby Doo and the Goblin King (2008): terrible. Saw it once and never again.

19. Scooby Doo and the Samurai Sword (2009): similar issues as above but slightly less terrible

18. Scooby Doo in Arabian Nights (1994): totally forgettable. I bet you don’t even remember this one either

17. Scooby Goes Hollywood (1979): Scooby would NEVER do that

16. Scooby Doo Pirates Ahoy (2006): the mystery didn’t do it for me as much, also the ghosty bit didn’t maintain well

15. Scooby Doo in Where’s My Mummy? (2005): Velma didn’t need to do all that

14. Scooby Doo and the Witch’s Ghost (1999): probably controversial but I don’t like this one. No camp and fun to be seen.

13. Scooby Doo on Zombie Island (1998): same issues as previous. Also it scared me bad as a kid and not in a good way.

12. Chill Out Scooby Doo (2007): decent and good callbacks to better movies

11. Scooby Doo and the Alien Invaders (2000): enjoyable enough, the romantic plot line got weird enough to put this lower for me though.

10. Aloha Scooby Doo (2005): the surfing monster is funny. Good focus on daphne. I like it.

9. Scooby Doo and the Ghoul School (1988): classic. Good cast of characters. Fun.

8. Scooby Doo and the Monster of Mexico (2003): fun and also introduced me to the concept of the chupacabra

7. Scooby Doo and the Reluctant Werewolf (1988): fun and zany cast of characters. Himbo Dracula. Car racing. What more could I ask for?

6. Scooby Doo and the Loch Ness Monster (2004): SO fun. Daphne heavy so that’s a plus for me. Also the music in this one is really good

5. Scooby Doo the Movie: the first live action one. Perfectly cast and I love it

4. Scooby Doo and the Legend of the Vampire (2003): hex girls I love you and your music. I liked the mystery of this a lot and the setting too

3. Scooby Doo the Movie 2: the second live action one. Honestly they were just great. I liked this one just a bit more than the first one and also still quote it occasionally.

2. Scooby Doo and the Cyber Chase (2001): watched this for two weeks straight every day in 2004. I could probably recite the whole thing by heart. A+ callbacks and concept. I love this movie.

1. Scooby Doo Meets the Boo Brothers (1987): watched this daily for several years. Perfect. No notes. Scrappy’s presence was camp. Quote it every day with my brothers

TV Shows

5. The Scooby Doo Show (1976-1978): it’s okay, some iconic villains introduced but it’s not the best.

4. The New Scooby Doo Movies (1972-1973): I don’t know what’s funnier, when the celebrities voice themselves or when they are voiced by other people. Either way it’s fun. Also it has Batman.

3. A Pup Named Scooby Doo (1988-1991): SO good. So many song bangers. I still sing the cheese monster song now.

2. What’s New Scooby Doo (2002-2006): SOOO good. Also the opening song is iconic.

1. Scooby Doo Where are You (1969-1970): can’t beat the classics

Video Games

6. Scooby-Doo Case File Number 3: Frights, Camera, Mystery! (2002): definitely the weakest of the bunch and the one I remember least

5. Scooby-Doo: Jinx at the Sphinx (2000): too similar in tone to their other Egypt themed stories but it’s still pretty fun

4. Scooby-Doo Case File Number 2: The Scary Stone Dragon (2002): not the best but not the worst! Still a good time.

3. Scooby-Doo Case File Number 1: The Glowing Bug Man (2002): this was a creative approach to a scooby doo mystery. No complaints

2. Scooby-Doo: Phantom of the Knight (2000): this one has a great haunted castle atmosphere! Sure the setting has been done a lot but I felt this was a unique take on it

1. Scooby-Doo: Showdown in Ghost Town (2000): this is probably my favorite ghost town take in scooby doo media (yes more than the miner 49er episode). It’s so fun!

[purplesurveys]

1473

1]; What is the nearest traffic sign to your house? There are a lot of Stop signs nearby since we do have several intersections in the village.

2]; What year did you move into your current home? That was in 2008.

3]; What year was it built? Construction started in 2005 and the house was finished maybe a year or so later. It just took a while to move in because my parents had also been saving up to get furniture and appliances and things like that, so it took three years for us to move in for good.

4]; What year was your vehicle manufactured? It’s either a 2014 or 2015 model, I’m not super sure.

5]; What are your pets doing right now? I have no idea as I’m currently at the rooftop and they’re all in the living room. I’m guessing they’re all napping, though.

6]; What is plugged into the nearest outlet? My phone and laptop chargers.

7]; How many rolls of toilet paper, paper towel, and boxes of Kleenex do you have right now? I don’t know. Enough.

8]; When did you last see your mother? Around 15 minutes ago when she came up here briefly to tidy up some things.

9]; And your father? Two weeks ago. He’s already left for Denmark, where he will be working for the next four or so months.

10]; What are your 5 “oldest” recent emojis? The praying emoji; the dizzy emoji; the rolling-eyes emoji; the original laughing emoji; and the burning red heart one.

11]; What song plays in your head the most? It depends on the day and my mood. Different songs play in my head all the time.

12]; Are your pets’ names actual classic pet names, human names, places, things, verbs, or what? Cooper and Kimi were inspired by personalities - Sheldon Cooper from The Big Bang Theory; and Kimi Raikkonen, as in the racing driver. Aki was inspired by the Korean ‘agi’ which essentially means ‘baby.’

13]; Have you ever received a card signed individually by a large group of people? I don’t think I have.

14]; Who do you know that’s pregnant right now? Someone I work with. She’s from a different agency/company, but we’re both contracted by that client to execute campaigns so we cross paths frequently.

15]; What did you do last weekend? It’s currently the weekend so can I share what I did in the last two days instead? Hahaha. Anyway, yesterday was allotted for recovering from my hangover because did I feel like shit upon waking up; I napped the whole afternoon away. Today, I just went to church, took Aki to the vet (only took 10 minutes this time!); and spent the afternoon with extended family for lunch and catch-up. We just got home and since I’m expecting this work week to suck, I’m currently having two boxes of sushi delivered to help deal with the anxiety lol.

16]; Last night? I watched several mini-documentaries from Asian Boss, freaked out about the new wave of concept photos for Proof, drank coffee.

17]; What did you last use scissors for? I opened a 3-in-1 coffee sachet.

18]; Who have you helped move? The only time I remember ever helping out during a move was when my own family was moving from one part of our duplex to the other part – this was back in like 2000 or 2001 when I was 2-3 years old, haha.

19]; At what age did you get your first period? (Sorry if this one question doesn’t apply to you) I had just turned 10.

20]; And what age was your first kiss? I was 16.

21]; With whom are you planning trips currently? My cousins and I want to have an out-of-town trip this Christmas, and I’m really hoping that pushes through. For context, we plan to escape from the traditional Christmas party one of our aunts usually holds because she’s a notorious Marcos supporter and quite frankly we’ve had enough of that crap, so we’re planning to have our own getaway lmao. Then there’s that Korea trip that I wish pushes through for me, Anj, Reena, and Hans.

22]; When is the last time you got laid? Over a year ago.

23]; What all is in your pockets? There’s nothing in them.

24]; What is the last strain of weed you smoked/consumed however? I don’t even know what it was.

25]; What size is your bed? I have a twin.

26]; What size are the spare beds? We don’t have spare beds lol?

27]; What is the last load of laundry you did? Colours, darks, towels..? I believe my mom did the whole shebang, as she usually does.

28]; What is the last YouTube channel you watched? One of my favorite BTS compilation creators.

29]; What is the last thing you used water for? I was cleaning the mop I used to clean dog piss.

30]; How old are you turning next year? I’ll be at the quarter-century mark!

31]; What is the last thing you wrote down? My name and number when I filled out the guest sheet at the vet clinic earlier.

32]; Who is the last friend you spent time with? My co-workers. There were 10 of us and I don’t feel like writing everyone’s names down, but yeah we were quite the party haha.

33]; What calendar year did you last turn a multiple of 11? 2020. 34]; What is the range of year answers in this survey (#2, 3, 4, 33)? Nothing too big haha, 2000s up to the 2020s.

35]; How many people have texted/messaged you today? Off the top of my head around 10, but I could be wrong.

36]; Last person to comment on your anything? My cousin Niña messaged me “Cute” as a response to a photo of Cooper I posted yesterday.

37]; What are you doing after this survey? Clean my keyboard because the dirt is starting to irritate me lol; then maybe find another survey to fill up. 38]; How many steps did you walk yesterday? 942.

39]; How many hours of sleep did you get last night? 5. I turned in by 3 AM and woke up by 8.

40]; How many tattoos do you have? I don’t have any.

[redrobin-detective]

Detective Conan Movie Ranking

Hey so while my laptop has been down I binged all 23 main Detective Conan movies and was gonna give a brief review and breakdown

Favorite (9-10) one of my favs High Medium (6-8) enjoyed, probably will watch again Low Medium (3-5) not bad but forgettable, might rewatch but maybe not Ugh (0-2) just bad, I don’t want to see it again

1. The Time Bombed Skyscraper (1997) [6] Relatively simple bombing plot but some good character action and development. Not as good as I remembered.

2. The Fourteenth Target (1998) [5] Criminal is targeting people close to Kogoro, some good scenes but not my favorite. Liked it more than I remembered which wasn’t a lot.

3. The Last Wizard of the Century (1999) [9] The Kaitou Kid is after a Russian Fabergé Egg. A true classic, one of the best. This whole movie is nostalgic with a good mix of action and heart. I love it every time I watch it. 

4. Captured in Her Eyes (2000) [3] Ran witnesses a murder attempt and loses her memory. Pretty bland and kind of a dumb plot, not inherently bad just not my thing. Expectations were low.

5. Countdown to Heaven (2001) [7] Several key figures in the creation of a building are murdered. The turn where DC movies became a little more action oriented, fairly good mystery, good effects and good character development. Liked it more than I remembered.

6. The Phantom of Baker Street (2002) [9] A rogue AI traps a bunch of kids in a virtual reality 19th century London to solve the Ripper case. As a Sherlock fan this is near and dear to me, like #3 its a warm, comforting movie. Always makes me smile to watch.

7. Crossroad in the Ancient Capital (2003) [5] Conan, Heiji and the rest are in Kyoto when a slew of antique smugglers are murdered, explores Heiji’s first love. Its okay, had some good deductions and bonding btw Heiji and Shinichi but the plot was a bit boring. 

8. Magician of the Silver Sky (2004) [9] The Kaitou Kid is planning on stealing a jeweled ring aboard a plane. Unironically probably my favorite, I just love this one so much for the half batshit/half emotional plot. Best use of Kid in the movies. 

9. Strategy Above the Depths (2005) [7] A series of murders occur on a luxury liner. It takes a fairly simple plot and spins a genuinely compelling murder mystery with som good character moments for Ran, Conan and Kogoro. Liked it more than before. 

10. Private Eye’s Requiem (2006) [8] With their loved ones held hostage at an amusement park, Kogoro, Conan and Heiji need to solve a cold case. The plot is a bit weak but this movie has the second best use of Kid and is hysterical from a meta POV. Love it every time.

11. Jolly Roger of the Deep Azure (2007) [4] One a small island, the group chases after treasure hunters and potentially pirates gold. Such a fun premise that ultimately falls flat but it’s got it’s enjoyable moments. Honestly couldn’t remember any of this movie.

12. The Full Score of Fear (2008) [6] Prior to a big music concert in Japan, a famous singer is targeted. The plot was kind of weird and forgettable but idk, I genuinely liked this. Definitely the calmest of DC movies, kind of a nice break from the usual chaos.

13. The Raven Chaser (2009) [9] A serial killer is on the loose and Conan finds himself competing for clues against the Black Organization. Another classic, a tight, fascinating plot, probably the highest plot related stakes in the movie verse. 

14. The Lost Ship in the Sky (2010) [7] The Kaitou Kid targets a jewel from an airship targeted by bio-terrorists. Kid is a little bit too bastard in this one tricking Ran like that but the plot is pretty interesting and has some nail-biting moments. 

15. Quarter of Silence (2011) [4] A train is bombed and the investigation takes them to a snowy village where an unsolved case resurfaces. Again, has some good moments and good visuals but overall was pretty forgettable. I barely remembered it. 

16. The Eleventh Striker (2012) [5] Soccer stadiums are being bombed and its a race against time in the midst of final matches. Same as above, good moments, good action but kind of boring. I liked it slightly more than when I first watched it.

17. Private Eye in the Distant Sea (2013) [1] A spy has been identified onboard a Japanese naval vessel with promises of more murder and mayhem. I was so bored throughout this entire movie and the plot was boring and meandering and didn’t make much sense. 

18. The Dimensional Sniper (2014) [3] A disgruntled American ex-sniper targets those who wronged him. Japan counters with their own sniper. Centralized on American military culture, it focuses on precision shooting with some nice effects but the plot is laughably bad.

19. The Hellfire Sunflowers (2015) [7] The Kaitou Kid targets van Gogh’s Sunflowers but is he becoming murderous? This one is kind of wild but in a fun way. The criminals motivation is baffling but a morally ambiguous Kid and Kid/Conan interactions are delightful. 

20. The Darkest Nightmare (2016) [8] A Black Org member steals a list of all the spies in the BO but loses her memory and she must decide if she wants to go back. Another heavy BO movie, it’s both poignant with crazy, physics defying action scenes. Really enjoyed it. 

21. The Crimson Love Letter (2017) [7] A Karuta card tournament is being threatened while Kahuza battles a girl in cards for Heiji’s love. This one I hadn’t seen before and it was very interesting, Kazuha got the well deserved spotlight along with some fascinating Japanese culture. 

22. Zero the Enforcer (2018) [1] Amuro accuses Kogoro of bombing a building leading to a legal and physical battle of wits and will. I..... I legit was so lost half of this movie. It jumped around wildly and borderline made no sense. Also I’m just not an Amuro fan so I couldn’t dismiss its flaws like I can with Kid movies. 

23. The Fist of the Blue Sapphire (2019) [2] Kaito Kid targets a sapphire in Singapore during a karate tournament and kidnaps Conan. This is the exception that proves the rule, the only Kid movie I legit didn’t like. Its so nonsensical and Kid again is too bastard to be likable. What even was the plot?

[religioused]

Church Flies First Class

PIE Day Sermon

by Gary Simpson

Hebrew Scriptures:

Numbers 21:4-9 (CEV)

The Israelites had to go around the territory of Edom, so when they left Mount Hor, they headed south toward the Red Sea. But along the way, the people became so impatient that they complained against God and said to Moses, "Did you bring us out of Egypt, just to let us die in the desert? There's no water out here, and we can't stand this awful food!"

6 Then the LORD sent poisonous snakes that bit and killed many of them. Some of the people went to Moses and admitted, "It was wrong of us to insult you and the LORD. Now please ask him to make these snakes go away." Moses prayed, and the LORD answered, "Make a snake out of bronze and place it on top of a pole. Anyone who gets bitten can look at the snake and won't die."

9 Moses obeyed the LORD. And all of those who looked at the bronze snake lived, even though they had been bitten by the poisonous snakes.

John 3:14-21 (CEV)

And the Son of Man must be lifted up, just as that metal snake was lifted up by Moses in the desert. Then everyone who has faith in the Son of Man will have eternal life.

For God So Loved the World God loved the people of this world so much that he gave his only Son, so that everyone who has faith in him will have eternal life and never really die.

17 God did not send his Son into the world to condemn its people. He sent him to save them! No one who has faith in God's Son will be condemned. But everyone who doesn't have faith in him has already been condemned for not having faith in God's only Son.

19 The light has come into the world, and people who do evil things are judged guilty because they love the dark more than the light. People who do evil hate the light and won't come to the light, because it clearly shows what they have done. But everyone who lives by the truth will come to the light, because they want others to know that God is really the one doing what they do.

Reflection:

Our Lectionary readings include one of the best known and most quoted and loved passages of the Christian Scriptures, John 3:16. The King James Version resonates for me because I have heard it so often. For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life. I am not sure if John 3:16 is why the Gospel of St. John is loved so much. For "many people," John's Gospel is "the most precious book in the Bible." (1) Scholar William Barclay observes that John can be "read and loved without any commentary." (2)

John 10:17-18 needs to be considered as we reflect on John Chapter 3. "The Father loves me, because I give up my life, so that I might receive it back again. No one takes my life from me. I give it up willingly!" This means Jewish people are in no way responsible for Jesus' death, and you can tell that to people who dislike Jewish people because of Jesus' death.

To some people, John 3:16 is problematic because it sounds so bad - that Parent God would send the Son to die for humanity. Looking at this from a Trinitarian perspective might help. John O'Donnell sees the "death of Jesus as a Trinitarian event." (3) O'Donnell believes Jesus' death was "an event between God and God." (4) Both God, the Parent, and God, the Son suffer.(5) I think the idea of God and the Son suffering catches some people's attention. The cross "shatters our ideas about God." (6) We confront the theological problem that God suffers. "God literally takes suffering into" God's "own life." (7) Renowned Swiss Catholic theologian Hans Urs Von Balthasar notes that the division between God the Parent and God the Son at the cross "rends the heart of God." (8) The general sense from theologians who view salvation from a Trinitarian perspective is that God takes upon God the weight of human sin and mistakes. I think a takeaway from these Catholic theologians is this: "The Being of God cannot be separated from God's acts." (9) God's impressive acts of love are an integral part of God.

While I grew up with a sense that Jesus loved people, I was less certain if God loved people. This passage helps establish a very different sense of God. According to the passage, redemption and the saving of humanity started with God. "It was God who sent" the Son, because God loves humanity.(10) I believe that John 3:16 is a universalist text because it shows the breadth of God's love. According to the text, God's love is not limited to a nation, to good people, and to people who love God. God's love is so extensive that it includes the entire world.(11) God's love embraces people we like. People we either dislike or fear are surrounded by God's love, just as surrounded by love as we are. People from every class, occupation, ability, ethnicity, race, sexuality, and gender are included in God's love. John 3:16 includes people who do not think that they deserve to be treated with love and kindness.

John 3:16 might be the perfect passage for PIE Day. Whosoever is an inclusive term, so inclusive that one of the largest and most popular pioneering LGBT+ Christian website is named Whosoever. The website used to receive over 500 thousand visitors a year.(12) The commission Jesus gave the disciples in the Gospel of Matthew is to take the Gospel to the entire world.

In the Numbers narrative, people are bitten by poisonous snakes, and they become very sick. The people admit that they made a mistake, and they cry to Moses for help so Moses prays. God tells Moses to make a bronze snake and to put it on a pole. Anyone who is sick from a snake bite can look at the snake, and they are healed.

Sadly, in contemporary Canada, many people are bitten by the poisonous snake of internalized societal self-hate. Because of the hate, the violence, and discrimination they experience, they believe that they are deeply flawed, that something dreadful is wrong with them. And they come to believe that they do not deserve what other people have.

The Hebrew Scriptures reading contains a narrative that perplexes some Jewish people. God forbids graven images, and God turns around and commands Moses to make an image of a snake. All of the people are to look at the snake and they are healed.(13) There are times when the only way we can find healing and the ability to move on is to face our problems. PIE Day is a day when Affirming Ministries tell their stories about their Public, Intentional, and Explicit work for members of sexual and gender minority people. By telling our stories, we face the problems of homophobia and transphobia. As we face the problems, we are able to work to help reduce homophobia and transphobia so that queer and trans people feel more accepted and welcome in society and in our churches. When we name the groups of people churches and society marginalizes, we can address the problems and find healing.

Troy Perry founded the largely LGBT+ denomination, the Metropolitan Community Churches. Anita Bryant had a job promoting Florida orange juice. In 1977, Anita Bryant successfully campaigned for the repeal of legislation prohibiting discrimination against gay people. As a result of her public campaigns against gay rights, gay bars across North America replaced screwdrivers with an "Anita Bryant Cocktail" made from vodka and apple juice.(14)

Troy Perry was on a late-night plane flight. When they brought him breakfast, he noticed there was orange juice. Troy Perry asked what kind of orange juice it was. He asked if it was Florida orange juice. The Stewardess replied, "Well, it's Minute Maid." Troy said that he could not drink the orange juice because it contained Florida orange juice. He said, "I'm a homosexual," and "we are boycotting Florida orange juice because of what Anita Bryant is doing to us." He says people started eating about "90 miles an hour." (15) A few minutes later, a smiling male flight attendant approached Troy and said, "Reverend Perry would you come with us. We're going to move you up to first class." (16) Troy flew first class because he faced the problem.

How can we live out PIE Day? On PIE Day, we are reminded of our need to extend a Public, Intentional, and Explicit welcome to members of all gender and minority groups and to members of all other groups who historically face discrimination and exclusion. On PIE Day, I hear Troy Perry challenging our church to go first class.

Notes:

(1) William Barclay. The Daily Study Bible: The Gospel of John. Vol. 1. (Philadelphia: Westminster Press, 1956), ix.

(2) Barclay (1956), ix.

(3) John O'Donnell. The Mystery of the Triune God. (London: Sheed and Ward, 1988), 60.

(4) O'Donnell (1988), 62.

(5) O'Donnell (1988), 63.

(6) O'Donnell (1988), 63.-

(7) O'Donnell (1988), 63-64.

(8) O'Donnell (1988), 65.

(9) Dick Eugenio. Communion with God: the Trinitarian Soteriology of Thomas. F. Torrance. Ph.D. Thesis. (Manchester: Nazarene Theological College, 2001), 10.

(10) Barclay (1956), 128.

(11) Barclay (1956), 129.

(12) Candace Chellew-Hodge. “Rev. Candace Chellew-Hodge Profile.” LGBT Religious Archives. July, 2005, 21 February 2021. <https://lgbtqreligiousarchives.org/profiles/candace-chellew-hodge>.

(13) Barclay (1956), 124.

(14) "Anita Bryant." Wikipedia. 24 February 2021, 03 March 2021. <https://en.wikipedia.org/wiki/Anita_Bryant>.

(15)"Call Me Troy." Movie on Frameline YouTube. 2007, 03 March 2012. <https://www.youtube.com/watch?v=-RD0h7BNIJI>.

(16) "Call Me Troy." <https://www.youtube.com/watch?v=-RD0h7BNIJI>.

[tessisawriter]

I was tagged by @baby-cat-nol-pat 💛💛💛

Rules: Answer 30 questions & tag 20 blogs you are contractually obligated to know better

1. Name/nickname: Tess

2. Gender: Female (she/her/hers)

3. Star sign: Aries ♈🔥

4. Height: 5’10”

5. Time: 9:02PM

6. Birthday: April 17

7. Favorite Band/Group: Florence + The Machine, The 1975

8. Favorite Solo Artist: Dua Lipa, Gabrielle Aplin, Taylor Swift, Halsey, Lorde

9. Song Stuck in Your Head: “Prisoner” by Miley Cyrus & Dua Lipa

10. Last Movie I Watched: Pride and Prejudice (2005)

11. Last TV Show I Watched: Outlander (I’m catching up on season 5)

12. When Did I Create This Blog: June 2019

13. What Do I Post: This is almost exclusively a hockey blog, but I reblog other stuff too. Mostly Isles & Flyers, particularly Barzy, Nolan, and TK (although I won’t be posting about Barzy until he signs his goddamn contract) 

14. Last Thing I Googled: Georgia Senate race

15. Other Blogs: No. I have a hard time balancing FB & Insta, let alone Tumblr

16. Do I Get Asks: Sometimes. I always answer unless it’s hate (zero tolerance for that around here)

17. Why I Chose My URL: My name and what I do here

18. Following: 1,201

19. Followers: 923 (Idk how my blog has grown this much, thank you!!!)

20. Average Hours of Sleep: 6-8 during school, 7-10 while on break

21. Lucky Number: 7 and 17

22. Instrument: I played violin when I was younger but not anymore

23. What I’m Wearing: Gray college t-shirt and black & white pajama pants (they’re comfy and it’s cold out)

24. Dream Job: Historian/writer/professor

25. Dream Trip: Sicily and Bavaria (SW Germany). There’s no flag emoji for Sicily even though they have a flag—that’s bullshit, it’s distinct from Italy and I claim my Italian and Sicilian heritage equally.

26. Favorite Food: That’s hard. I love Italian food

27. Nationality: American 🇺🇸 but when people ask me where I’m from I say New York

28. Favorite Song: That’s too hard, so here’s my current playlist: “Fire for You” by Cannons, “Prisoner” by Miley Cyrus & Dua Lipa, and “Willow,” “Gold Rush,” “No Body, No Crime,” “’Tis the Damn Season,” and “Champagne Problems” by Taylor Swift

29. Last Book I Read: Currently reading A Tale of Two Cities by Charles Dickens b/c they didn’t assign it in high school & I never got around to it until now

30. Top Three Fictional Worlds: The Shadowhunter world. That’s it at the moment

Tagging: @mtkachuk @nhlandotherimagines @flaminmtl @emma-bigg @star-gazing-game @staradorned @urmovebroski @nhlsorokin @badgirlrhirhii @shawnsreputation @antoineroussel

[charlottecarterbcu]

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Vogue (2018) Mary Katrantzou – Spring 2019 Ready to Wear [fig.39]. Available at: https://www.vogue.com/fashion-shows/spring-2019-ready-to-wear/mary-katrantzou/slideshow/collection#1 [Accessed 16 April 2021].

Vogue (2021) Noir Kei Ninomiya – Fall 2021 Ready to Wear. Available at: https://www.vogue.com/fashion-shows/fall-2021-ready-to-wear/noir-kei-ninomiya [Accessed 25 March 2021].

Vogue (2021) Noir Kei Ninomiya – Fall 2021 Ready to Wear [fig.20-21]. Available at: https://www.vogue.com/fashion-shows/fall-2021-ready-to-wear/noir-kei-ninomiya/slideshow/collection [Accessed 25 March 2021].

Vogue Runway (2021) Today, there’s the need of a new warmth, of more humanity. Instagram, 5 May [fig.54]. Available at: https://www.instagram.com/p/COgcTJrF2-N/ [Accessed 1 May 2021].

VPR (2021) Why are Cactuses Spiky? [fig.10]. Available at: https://www.vpr.org/post/why-are-cactuses-spiky#stream/0 [Accessed 30 March 2021].

WGSN (2021) Womenswear Forecast A/W 22/23: Rerooted Nature [fig.46]. Available at: https://www-wgsn-com.ezproxy.bcu.ac.uk/fashion/article/89994#page5 [Accessed 20 April 2021].

[aion-rsa]

HBO Max New Releases: May 2021

https://ift.tt/eA8V8J

Do not adjust your WiFi settings. No, you are not experiencing a severe case of Deja Streaming-vu. HBO Max’s list of new releases for May 2021 are indeed highlighted by two very recent WarnerMedia hits.

For starters, Tenet finally makes its long-awaited HBO Max this month. Mark your calendars as May 1 is the day that you can finally watch Christopher Nolan’s latest cerebral thriller. Of course, Tenet already had its theatrical release, but obviously that was not really an option for many of us. In addition to Tenet, Wonder Woman 1984 makes its triumphant return to HBO Max this month on May 13. The Wonder Woman sequel already premiered on HBO Max this past December, now it’s getting a second run on the streamer.

In terms of newer originals, May is relatively light for HBO Max. The Jean Smart-starring comedy Hacks premieres on May 13. The latest Adventure Time: Distant Lands special arrives on May 20. May also contains two prominent finales with The Nevers closing out part 1 of its first season on May 15 and Mare of Easttown wrapping up its case on May 30.

It’s also not a big month for Warner Bros. theatrical releases. The only one to speak of is Those Who Wish Me Dead on May 14. Thankfully that will be augmented by some library titles on May 1 including The Interview, Jackie Brown, and Willy Wonka and the Chocolate Factory.

Here is everything else to expect in May 2021.

HBO Max New Releases – May 2021

TBA Gomorrah, Season 4 (Max Original) Oslo, (HBO Original Film)

May 1 17 Again, 2009 Abraham Lincoln: Vampire Hunter, 2012 (HBO) Anaconda, 1997 Anger Management, 2003 (HBO) Baby Boom, 1987 (HBO) Barry Lyndon, 1975 Black Hawk Down, 2001 The Cable Guy, 1996 Charlie and the Chocolate Factory, 2005 Cursed, 2005 (HBO) Daddy Day Care, 2003 Darkest Hour, 2017 (HBO) Darkness, 2004 (Extended Version) (HBO) The Dirty Dozen, 1967 Dumb & Dumber, 1994 Employee Of The Month, 2006 (HBO) Firehouse Dog, 2007 (HBO) Flight of the Intruder, 1991 (HBO) Free Willy, 1993 Frida, 2002 (HBO) Generation Por Que? (HBO) God’s Not Dead, 2014 (HBO) Good Morning, Vietnam, 1987 (HBO) Happy Feet Two, 2011 Happy Feet, 2006 Harley Davidson And The Marlboro Man, 1991 (HBO) Hercules, 1983 (HBO) Igby Goes Down, 2002 (HBO) Igor, 2008 (HBO) Insomnia, 2002 (HBO) The Interview, 2014 Jackie Brown, 1997 Kansas, 1988 (HBO) Magic Mike, 2012 Menace II Society, 1993 Michael, 1996 (HBO) Mortal Kombat, 1995 Movie 43, 2013 (HBO) Muriel’s Wedding, 1995 (HBO) My Baby’s Daddy, 2004 (HBO) Mystery Date, 1991 (HBO) Norbit, 2007 (HBO) Para Rosa (For Rosa) (HBO) Precious, 2009 (HBO) Rabid, 1977 (HBO) Romance & Cigarettes, 2007 (HBO) Rosewater, 2014 (HBO) Rudy, 1993 Rush Hour 2, 2001 Rush Hour 3, 2007 Rush Hour, 1998 Save The Last Dance, 2001 (HBO) Save The Last Dance 2, 2006 (HBO) Senseless, 1998 (HBO) Separate Tables, 1958 (HBO) Serpico, 1974 (HBO) Serving Sara, 2002 (HBO) Summer Rental, 1985 (HBO) Tenet, 2020 (HBO) The Debt, 2010 (HBO) The Immigrant, 2014 (HBO) The Kingdom, 2007 (HBO) The Last Of The Finest, 1990 (HBO) The Perfect Man, 2005 (HBO) The Tuxedo, 2002 (HBO) The Wings Of The Dove, 1997 (HBO) The Witches Of Eastwick, 1987 (HBO) Tomcats, 2001 (HBO) Trust Me, 2014 (HBO) Tyler Perry’s Madea’s Witness Protection, 2012 Varsity Blues, 1999 (HBO) Welcome To Sarajevo, 1997 (HBO) When Harry Met Sally, 1989 Willy Wonka & the Chocolate Factory, 1971 Won’t You Be My Neighbor?, 2018 (HBO) Words And Pictures, 2014 (HBO)

May 2 Uri and Ella, Season 1

May 3 300: Rise of an Empire, 2014 Pray, Obey, Kill — HBO Docu-Series Finale

May 6 Hunger, 2008 Legendary: Season 2 (Max Original) Take Me Out To The Ball Game, 1949 That Damn Michael Che — Max Original Series Premiere West Side Story — TCM CFF Opening Night, 1961

May 7 La Boda De Rosa (Rosa’s Wedding) (HBO)

May 8 Greenland, 2020 (HBO) Re:ZERO — Starting Life in Another World: Season 2, (Subtitled, Episodes 14-25) (Crunchyroll Collection)

May 9 Axios (HBO)

May 10 Jujutsu Kaisen: Season 1, (Subtitled, Episodes 13-24) (Crunchyroll Collection) Race for the White House: Season 2 The Crime of the Century — Two-Part Documentary Premiere (HBO)

May 13 Hacks — Max Original Series Premiere Wonder Woman 1984 — 2020 (HBO)

May 14 Those Who Wish Me Dead — Warner Bros. Film Premiere, 2021

May 15 The Personal History Of David Copperfield, 2020 (HBO) The Nevers: Part 1 Finale (HBO)

May 19 Apple & Onion, Season 2A

May 20 Adventure Time: Distant Lands – Together Again — Max Original The Big Shot with Bethenny — Max Original Season Finale Ellen’s Next Great Designer — Max Original Season Finale Territorio (Close Quarters) (HBO) This Is Life with Lisa Ling: Season 7

May 23 In Treatment: Season 4 Premiere (HBO)

May 25 Cinderella Man, 2005 (HBO) Real Sports with Bryant Gumbel (HBO)

May 26 Curious George, 2006 (HBO)

May 28 A Black Lady Sketch Show: Season 2 Finale (HBO)

May 30 Mare of Easttown: Limited Series Finale (HBO)

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Leaving HBO Max – May 2021

May 11 Mud, 2013

May 13 Bullitt, 1968 The Searchers, 1956 Take Me Out To The Ball Game, 1949 West Side Story, 1961

May 16 Annabelle Comes Home, 2019 (HBO)

May 23 Mortal Kombat, 2021

May 28 The Operative, 2019 (HBO)

May 31 All About My Mother, 1999 All the President’s Men, 1976 Amistad, 1997 (HBO) The Avengers, 1998 The Beguiled, 2017 (HBO) The Bishop’s Wife, 1947 Black Christmas, 2019 (HBO) The Blind Side, 2009 (HBO) Blood Work, 2002 Blue Streak, 1999 Bombshell, 1933 The Book Of Henry, 2011 (HBO) Book Of Shadows: The Blair Witch 2, 2000 The Bridges Of Madison County, 1995 Butterfield 8, 1960 Captain Blood, 1935 Cat On A Hot Tin Roof, 1958 Cats, 2019 (HBO) The Cider House Rules, 1999 (HBO) Cinema Paradiso, 1990 (Director’s Cut) (HBO) Cradle 2 The Grave, 2003 Critical Care, 1997 (HBO) Cruel Intentions, 1999 (HBO) The Dancer Upstairs, 2003 (HBO) Dangerous Liaisons, 1988 The Dead Don’t Die, 2019 (HBO) The Dead Pool, 1988 Death Becomes Her, 1992 (HBO) Defending Your Life, 1991 Dirty Dancing, 1987 (HBO) Dirty Dancing: Havana Nights, 2004 (HBO) Dolores Claiborne, 1995 Doubt, 2008 (HBO) Downhill, 2020 (HBO) Driving Miss Daisy, 1989 Drop Dead Gorgeous, 1999 East Of Eden, 1955 Emma, 1996 (HBO) Emma., 2020 (HBO) A Face In The Crowd, 1957 Father Of The Bride, 1950 Flipped, 2010 Giant, 1956 Heartbreak Ridge, 1986 Hot Fuzz, 2007 (HBO) Hunger, 2008 Jaws, 1975 (HBO) Jaws 2, 1978 (HBO) Jetsons: The Movie, 1990 (HBO) Justice League: Gods And Monsters, 2015 A Kiss Before Dying, 1991 (HBO) The Last King Of Scotland, 2006 (HBO) The Last Kiss, 2006 (HBO) Lego: Justice League: Attack Of The Legion Of Doom!, 2015 Life As We Know It, 2010 Life With Father, 1947 Little Women, 1949 Living Out Loud, 1998 The Long Kiss Goodnight, 1996 Magnum Force, 1973 March Of The Penguins, 2005 The Matrix Reloaded, 2003 The Matrix Revolutions, 2003 The Matrix, 1999 Maverick, 1994 Misery, 1990 (HBO) Mortal Kombat, 1995 Mortal Kombat Annihilation, 1997 Mortal Kombat Legends: Scorpion’s Revenge, 2020 Nell, 1994 (HBO) Never, Rarely, Sometimes, Always, 2020 (HBO) Papillon, 1973 A Patch Of Blue, 1965 Phantom, 2013 (HBO) Phantom Thread, 2017 (HBO) Project X, 2012 (Extended Version) (HBO) Ray, 2004 (HBO) Richie Rich (Movie), 1994 A Room With A View, 1986 (HBO) Sanctum, 2011 (HBO) Scream, 1996 Scream 2, 1997 Scream 3, 2000 Se7En, 1995 Selena, 1997 Shaun Of The Dead, 2004 (HBO) Sherlock Holmes: A Game Of Shadows, 2011 (HBO) Skyline, 2010 (HBO) Snakes On A Plane, 2006 Snow White And The Huntsman, 2012 (Unrated Version) (HBO) Stuart Little, 1999 Stuart Little 2, 2002 The Thin Man, 1934 Tightrope, 1984 True Grit, 2010 (HBO) Tyler Perry’s Madea’s Big Happy Family, 2011 Unforgiven, 1992 Veronica Mars, 2014 Walk Hard: The Dewey Cox Story, 2007 Who’s Afraid Of Virginia Woolf?, 1966 X-Men: Dark Phoenix, 2019 (HBO) X-Men: First Class, 2011 (HBO) You Can’t Take It With You, 1938

The post HBO Max New Releases: May 2021 appeared first on Den of Geek.

from Den of Geek https://ift.tt/3vxkNhB

[tinyshe]

The Fauci Files

At 79 years  old, Dr. Anthony Fauci — who has served as the director of the National  Institute of Allergy and Infectious Diseases (NIAID) since 1984 — has yet to  come out with the “Big One” — a vaccine or infectious disease treatment that  will allow him to retire with a victory under his belt.

He failed to  create a successful vaccine for AIDS, SARS, MERS and Ebola. A COVID-19 vaccine  is essentially his last chance to go out in a blaze of glory. As evidenced by  his history, he will stop at nothing to protect Moderna’s COVID-19 vaccine and  Gilead’s antiviral Remdesivir.

He even threw  tried and true pandemic protocols out the window when COVID-19 hit, turning  into an unquestioning spokesman for draconian liberty-stripping measures  instead. To echo a question asked by Dr. Sal Martingano in his article,1 “Dr. Fauci: ‘Expert’ or Co-Conspirator,” why are we not questioning this  so-called expert?

Fauci ‘Has Been Wrong About Everything’

The risk we  take when listening to Fauci is that, so far, he’s been wrong about most  things. In a July 14, 2020, “Opposing View” editorial in USA Today, White House  adviser Peter Navarro, director of the Office of Trade  and Manufacturing Policy, stated that  Fauci “has been wrong about everything that I have interacted with him on.”2 According to  Navarro, Fauci’s errors in judgment include:3

• Opposing  the ban on incoming flights from China in late January 2020.

• Telling  the American people the novel virus outbreak was nothing to worry about well  into February.

• Flip-flopping  on the use of masks — first mocking people for wearing them, and then insisting  they should. In fact, mid-July, he suddenly urged governments to “be as  forceful as possible” on mask rules.4

• Claiming  there was only anecdotal evidence supporting the use of hydroxychloroquine,  when the scientific grounds for it go as far back as 2005, when the study,5 “Chloroquine Is a Potent Inhibitor of SARS Coronavirus Infection and Spread,”  was published in the Virology Journal.

Fauci should have been well aware of this publication. According to that study,6 “Chloroquine has strong antiviral  effects on SARS-CoV infection of primate cells. These  inhibitory effects are observed when the cells are treated with the drug either  before or after exposure to the virus, suggesting both prophylactic and  therapeutic advantage,” the study authors  said. In other words, the drug worked both for prevention and treatment.

As noted by Navarro, more recent research found hydroxychloroquine reduced the  mortality rate among COVID-19 patients by 50% when used early.

Interestingly, in a March 24, 2020, interview7 with  Chris Stigall, Fauci did say that — were he to speak strictly as a doctor  treating patients — he would certainly  prescribe chloroquine to COVID-19 patients, particularly if there were no  other options.

Then, in August, he  flipped back to insisting hydroxychloroquine doesn’t work,8 even though by that time, there were several studies demonstrating its effectiveness  against COVID-19 specifically.

So, it appears Fauci has had a hard time making up his mind on this issue as  well, on the one hand dismissing the drug as either untested or ineffective  against COVID-19, and on the other admitting it would be wise to use, seeing  how the options are so limited.

Navarro continues:9

“Now Fauci says a falling mortality rate doesn’t matter when it is the single  most important statistic to help guide the pace of our economic reopening. The  lower the mortality rate, the faster and more we can open. So when you ask me whether I listen to Dr. Fauci’s advice,  my answer is: only with skepticism and caution.”

Fauci Has Done  Nothing to Help Unite the Country

While Fauci claims to be exasperated by how political the  pandemic has become,10 Robert F. Kennedy Jr. pointed out in an August 2, 2020, Instagram post11 that Fauci himself is, at least in part, part of the problem, as his double  standards on hydroxychloroquine have done much to polarize and divide the  nation:

“Fauci insists he will not  approve HCQ for COVID until its efficacy is proven in ‘randomized, double blind  placebo studies.’ To date, Dr. Fauci has never advocated such studies for any  of the 72 vaccine doses added to the mandatory childhood schedule since he took   over NIAID in 1984. Nor is he requiring them for the COVID vaccines currently  racing for approval.

Why should chloroquine be  the only remedy required to cross this high hurdle? HCQ is less in need of  randomized placebo studies than any of these vaccines since its safety is well  established after 60 years of use and decades on WHO’s listed of ‘essential  medicines.’

Fauci’s peculiar hostility  towards HCQ is consistent with his half century bias favoring vaccines and  patent medicines. Dr. Fauci’s double standards create confusion, mistrust and  polarization.”

In a June 10, 2020, article,12 Global  Research also questioned Fauci’s many attempts to disparage the drug for no  apparently valid reason; even promoting the fake (and ultimately retracted) Lancet  study that claimed to show hydroxychloroquine was dangerous.  At the end of the day, who benefits? Well, certainly it benefits the drug and  vaccine industries, which seems to be where Fauci’s loyalties lie.  

Fauci’s Bias Is Hard to Miss

While Fauci is  not named on the patents of either Moderna’s vaccine or Remdesivir, the NIH  does have a 50% stake in Moderna’s vaccine,13 and the recognition that would come with a successful vaccine launch would  certainly include Fauci.

He also has  lots to lose — if nothing else, his pride — if Remdesivir doesn’t become a  blockbuster, as his NIAID is sponsoring the clinical trials.14 The NIAID also supported the original research into Remdesivir, when it was  aimed at treating Ebola.15

His bias here  is clear for anyone to see. April 29, 2020, he stated16 Remdesivir "has a clear-cut and  significant positive effect in diminishing the time to recovery." How good  is that? Patients on the drug recovered in 11 days, on average, compared to 15  days among those receiving a placebo. Overall, the improvement rate for the  drug was 31%.

Meanwhile, research17 now shows hydroxychloroquine reduced mortality by 50% when given early, and  many doctors anecdotally claim survival rates close to 100%. This still isn’t  good enough for Fauci, who continues insisting hydroxychloroquine is a bust.18

His stance on these two drugs certainly  doesn’t make sense based on the data alone. But it does make sense if he wants  (or has been instructed) to protect the profits of Remdesivir.

As director of NIAID, which has  been part of Remdesivir’s development from the start, why wouldn’t he want to  see it become a moneymaker for the agency he dedicated his career to? It also  makes sense when you consider his primary job is to raise funds for biodefense research,  primarily vaccines but also diagnostics and drug therapies.19,20

Fauci Doubts Safety of Russian Vaccine

Early in August  2020, Russia announced they would begin vaccinating citizens with its own  COVID-19 vaccine, despite not finishing large-scale human trials.21 The announcement drew skepticism from American infectious disease specialists,  including Fauci, who said he has “serious doubts” that Russia’s COVID-19  vaccine is actually safe and effective.22

Fauci  conveniently ignores the many failed attempts to create other coronavirus  vaccines over the past two decades, including vaccines against SARS and MERS.

He’s probably  right on that point. It’s hard to imagine you can prove safety and  effectiveness in a mere two months of trials. But the fast-tracked vaccine efforts of the U.S. and EU are hardly bound to  be significantly better, considering the many shortcuts that are being taken.

Fauci Ignores Two Decades of Failed Coronavirus Vaccines

Despite being in a position to know better, Fauci  conveniently ignores the many failed attempts to create other coronavirus  vaccines over the past two decades, including vaccines against SARS and MERS. A   paper23 by Eriko Padron-Regalado, “Vaccines for SARS-CoV-2: Lessons From Other Coronavirus Strains” reviews some of these past experiences. As noted in the  Conservative Review:24

“Since  their emergence in 2003 and 2012 respectively, no safe and efficacious human  vaccines for either SARS-Cov1 or MERS have been developed.

Moreover,  experimental non-human (animal model) evaluations of four SARS-Cov1 candidate  vaccine types, revealed that despite conferring some protection against  infection with SARS-Cov1, each also caused serious lung injury,  caused by an overreaction of the immune system, upon viral challenge.25

Identical  ‘hypersensitive-type’ lung injury occurred26 when mice were administered a  candidate MERS-Cov vaccine, then challenged with infectious virus, negating the  ostensible benefit achieved by their development of promising … ‘antibodies’ …  which might have provided immunity to MERS-Cov.

These  disappointing experimental observations must serve as a cautionary tale for  SARS-Cov2 vaccination programs to control epidemic COVID-19 disease.”

NIAID Safety Controversies and Ethics Violations

When recently asked  for a rebuttal to criticism of his leadership during the pandemic, Fauci replied,  “I think you can trust me,” citing his long record of service in government  medicine. However, that long service record is fraught with ethics and safety  lapses.

For example, in  2005, NPR reported27 the NIH tested novel AIDS drugs on hundreds of HIV-positive children in state  foster care during the late 1980s and90s without assigning patient advocates to  monitor the children’s health, as is required by law in most states.

Fauci was appointed director of the NIAID in 1984. The  AIDS research was part of his research portfolio, and the AIDS research  division reported directly to him, so these violations occurred on his watch.28 In  2008, two NIH biomedical  ethicists published a paper on the controversial practice of using wards of the  state as guinea pigs, noting:29

"Enrolling wards of the  state in research raises two major concerns: the possibility that an unfair  share of the burdens of research might fall on wards, and the need to ensure  interests of individual wards are accounted for ... Having special protections  only for some categories is misguided. Furthermore, some of the existing   protections ought to be strengthened."

Under Fauci, the NIAID became the largest funder of  HIV/AIDS in the world.30 Despite  that, numerous articles over the years have discussed how AIDS activists have  been less than satisfied with Fauci and the NIAID.31,32,33 A  1986 article stated:34

“If  Fauci were less intent on amassing power within the federal health bureaucracy  … he would have left AIDS treatment research with the NCI, where it began,  relying on that institute's proven expertise in organizing large, multisite  clinical trials for cancer therapies."

A July 23, 2020, article in Just the News lists several  other safety and ethics problems that Fauci has been involved in through the  years, including conflict of interest violations in vaccine research.35

Just the News also interviewed NIAID chief of ethics and  regulatory compliance Dr. Jonathan Fishbein, whom the NIAID was  forced to reinstate in 2005 after it was determined that Fishbein had been   wrongly fired in retaliation for raising concerns about lack of safety in some  of the agency’s research:36

“Fishbein said … Fauci failed to take responsibility for the   managers and researchers working below him when signs of trouble emerged,  allowing problems to persist until others intervened. ‘Fauci is all about  Fauci,’ Fishbein said. ‘He loves being the headline. It’s his ego.’”

Fauci’s Connections  to Wuhan Lab

By now, you  probably also know that the NIAID funded gain-of-function research on  coronaviruses at the Wuhan Institute of Virology. As reported by Newsweek:37

“In 2019, with the backing of NIAID, the National  Institutes of Health committed $3.7 million over six years for research that  included some gain-of-function work. The program followed another $3.7 million, 5-year project for collecting and studying bat coronaviruses, which ended in  2019, bringing the total to $7.4 million.”

This money was  not given directly, but rather funneled to the Wuhan lab via the EcoHealth  Alliance. According to a recent report by The Wall Street Journal,38 the NIH is now insisting EcoHealth Alliance submit all information and materials from the Wuhan lab before it’s allowed to resume funding.

Fauci is a  longtime proponent of dangerous gain-of-function research. In 2003, he wrote an  article39 published in the journal Nature on how “the world needs new and creative ways  to counter bioterrorism.”

“We will  pursue innovative approaches for modulating innate immunity to induce and  enhance protection against many biological pathogens, as well as simple and  rapid molecularly based diagnostics to detect, characterize and quantify  infectious threats,” Fauci wrote.

“These are lofty goals  that may take many years to accomplish — but we must aspire to them. Third, we  must enormously strengthen our interactions with the private sector, including  biotechnology companies and large pharmaceutical corporations.

Many biodefence-related  products that we are pursuing do not provide sufficient incentives for industry  — the potential profit margin for companies is tenuous, and there is no  guarantee that products would be used.

Therefore, we will seek non-traditional  collaborations with industry, for example guaranteeing that products will be  purchased if companies sign up … so that we can quickly make available  effective vaccines and treatments …”

With that, there can be little question about which team  Fauci is on. He’s on the side of drug and vaccine makers, and has been for   decades. There’s no money to be made by either the agency or its private  collaborators from natural products such as vitamin D, vitamin C, quercetin or  its drug equivalent, hydroxychloroquine. All of these are dirt-cheap and off  patent.

Prediction Track Record = Null

Fauci’s  predictions for COVID-19 mortality have also turned out to be as inaccurate as  all of his previous predictions. In 1987, he predicted heterosexual infection  of HIV/AIDS would rise to 10% by 1991. It never rose above 4%.

He predicted  the bird flu would result in 2 million to 7 million deaths. In the end, the  avian H5N1 flu killed 440 worldwide. He sought billions of dollars to combat  the threat of Zika, a virus that fizzled without making much of an impact anywhere.40

When you look  at his track record, you realize he’s predicted “nightmare” scenarios for  decades, none of which have materialized.   Last but not least, Dr. Fauci serves on Bill Gates leadership council.

[tabloidtoc]

Globe, June 8

Cover: O.J. Simpson Murder Trial Juror Tracy Kennedy Was Bribed 

Page 2: Up Front & Personal (to the best of my knowledge none of these photos are from Instagram) Jude Law goes grocery shopping in London, Shia LaBeouf and his dog, Helena Bonham Carter sports an ugly-looking scratch on her face while walking in London 

Page 3: Joshua Jackson has flabby man boobs, Golnesa “GG” Gharachedaghi cleans up after her dog in L.A., Linda Perry has her hands full 

Page 4: Fed up with being humiliated Caitlyn Jenner has issued a blistering ultimatum to young galpal and fellow sex-swapper Sophia Hutchins: stop bringing your lovers to my home or we’re done, singer Noah Cyrus the little sister of Miley Cyrus says during her childhood she was targeted by trolls who ragged on her looks and made her so sad

Page 5: Ryan Seacrest’s shocking appearance on American Idol has friends fearing the workaholic media mogul is pushing himself into an early grave 

Page 6: Meghan Markle is trashing her popular sister-in-law Duchess Kate Middleton with a series of humiliating public insults and behind-the-scenes barbs branding the future queen an uptight backbiting insincere cold fish who refuses to share the limelight 

Page 7: Renegade royals Prince Harry and Meghan Markle have gotten another soft deal -- they get 11 years to repay the $2.9 million British taxpayers used to fix up their Frogmore Cottage home in England 

Page 8: Valerie Bertinelli was just 19 when she had a hot-and-heavy fling with filmmaker Steven Spielberg who was nearly twice her age

Page 9: Angelina Jolie is cheering the current media mauling of Ellen DeGeneres because it feeds her craving for revenge against the backstabbing talk queen -- Angie has long held a grudge against Ellen for the way she took Jennifer Aniston’s side when Angie first hooked up with Brad Pitt in 2005, Married at First Sight stars Jamie Otis and Doug Hehner changed their minds about their newborn son’s name right after the little guy’s arrival -- the couple welcomed a baby boy May 13 and decided to call him Hendrix instead of their original choice of Hayes 

Page 10: Pregnant Katy Perry strips down to her birthday suit and shows off her growing baby bump in her newest music video for Daisies, Lester Holt was horrified to realize he was broadcasting barefoot while working at home even though he was wearing a suit and tie with pants, George Stephanopoulos is plotting to take over Jeopardy! from ailing host Alex Trebek

Page 11: Ian Anderson the 72-year-old singer of Jethro Tull’s epic hit Aqualung says his days are numbered because of a deadly pulmonary condition and thinks on-stage smoke machines are to blame

Page 12: Celebrity Buzz -- Brooke Shields dons a face mask while out in New York City (picture), Robert Pattinson proved he should stay out of the kitchen as his new wacky biz plan for selling fast-food pasta literally went up in smoke, Denise Richards who is married to Aaron Phypers who runs an alternative healing center in Malibu uses a $59 Lovetuner whistle to keep love pitch perfect and she finds it calming and grounding -- she also scatters $110 grounding bags filled with pink crystals believing they help repel EMF frequencies from cellphones and computers, Rosie O’Donnell who is quarantining at a $6 million weekend estate in New Jersey’s she’s been trying to unload admits she’s bingeing on sweet treats at an alarming rate, Reese Witherspoon asked co-star and pal Laura Dern to reenact ‘80s soap Dynasty with her as a birthday present

Page 13: Newlywed Chandler Powell shops for flowers (picture), Jamie Lee Curtis goes barefoot for a stroll outside her L.A. home (picture), Jussie Smollett out and about in L.A. (picture), it’s no horror being likened to now-svelte stunner Adele according to her look-alike Sarah Paulson but she wishes she was as talented as Adele 

Page 14: Bored Hollywood celebs have been offering their own road-rageous accounts of star sightings -- Jane Lynch almost ran over Diane Keaton and Kevin McHale says Roseanne Barr almost ran him over when he was a child and Loni Love claims she watched Samuel L. Jackson get hit by a car, Joshua Jackson’s wife Jodie Turner-Smith had postpartum acne after their baby daughter was born in April so she put breast milk on them and her skin looked much better, Fashion Verdict -- Emily Blunt 9/10, Suki Waterhouse 2/10, Lourdes Leon 3/10, Kristin Scott Thomas 1/10, Claire Danes 8/10 

Page 16: True Crime 

Page 19: 10 Things You Don’t Know About Savannah Guthrie, Kurt Cobain’s daughter Frances Bean Cobain and widow Courtney Love have apparently lost their ferocious battle over Kurt’s famed guitar, Judi Dench has hit the highest levels of her profession including winning an Oscar but she has one huge regret: not doing enough love scenes

Page 20: Alicia Keys’ father abandoned her and her mother when she was just 2 and she’s shared a heartbreaking divorce paper she sent him at 14, Cynthia Bailey of RHOA has likened lockdown love to sex in the slammer

Page 22: Johnny Depp scored a big win in his court fight with ex-wife Amber Heard when a judge allowed evidence the actress forged their dogs’ medical documents and guzzled wine and also admitted former lovers’ testimony that Johnny was never violent, Joan Collins became notorious for her nude scenes in the 1978 film The Stud but she insists the action was tame compared to Hollywood’s current offerings

Page 23: Funny Photo Quiz -- Alex Winter and Keanu Reeves in the new Bill and Ted movie 

Page 24: Cover Story -- Juror took bribe during the O.J. Simpson murder trial -- Juror No. 602 Tracy Kennedy was booted from the panel after just nine weeks for taking money to write a book about the trial of the century in 1995 but in a chilling twist Kennedy and his wife Judith were found shot dead lying next to each other with two handguns nearby in 2008

Page 26: Health Report -- your nonstick pans could be harming you, zap your migraines with yoga 

Page 29: Racing legend Dale Earnhardt Jr. is speeding toward a NASCAR comeback but insiders fear his history of head injuries may mean he’s risking his life and endangering his fellow drivers, Kendall Jenner has revealed a lifetime of massive panic attacks 

Page 30: For fear of his father’s contracting coronavirus Jack Osbourne is monitoring dad Ozzy Osbourne’s diet, Daniel Craig’s final outing as James Bond is the franchise’s most expensive -- No Time to Die cost a whopping $242 million to shoot 

Page 32: Rival talent show judges Christina Aguilera and Jennifer Lopez’s racy battle of the boobs has triggered a backlash from fans and plopped them in hot water with government bigwigs -- the divas strutted their stuff to grab watchers and ratings with Christina on The Voice and J.Lo on American Idol so much in the 2015-16 seasons that shocked viewers wrote complaints to the Federal Communications Commission (FCC) which can boot a show off the air for obscene content, Jennifer Lopez and Alex Rodriguez’s arrogant airs and ravenous publicity grabbing has led them to lose friends fast -- they give off the impression that nobody is really in their league and it’s backfired in a big way and left them feeling socially isolated 

Page 38: Real Life

Page 44: Straight Talk -- Kylie Jenner is no nip/tuck novice 

Page 45: Ben Stiller said his ailing father Jerry Stiller was dealing with a lot of issues but he died peacefully and with a sense of humor, Fred Willard went to his grave haunted and humiliated by an X-rated sex bust in 2012 when cops claimed they caught him with his pants down at the sleazy Tiki Theater in Hollywood but he was so deeply in love with his wife Mary that he was devastated she had to suffer through that embarrassment 

Page 47: Hollywood Flashback -- Porky’s, Bizarre But True

[bluewatsons]

Alice E. Marwick & Danah Boyd, The Drama! Teen Conflict, Gossip, and Bullying in Networked Publics, Paper Presented at A Decade in Internet Time: Symposium on the Dynamics of the Internet and Society, Oxford Internet Institute (September 22, 2011)

Abstract

While teenage conflict is nothing new, today’s gossip, jokes, and arguments often play out through social media like Formspring, Twitter, and Facebook. Although adults often refer to these practices with the language of “bullying,” teens are more likely to refer to the resultant skirmishes and their digital traces as “drama.” Drama is a performative set of actions distinct from bullying, gossip, and relational aggression, incorporating elements of them but also operating quite distinctly. While drama is not particularly new, networked dynamics reconfigure how drama plays out and what it means to teens in new ways. In this paper, we examine how American teens conceptualize drama, its key components, participant motivations for engaging in it, and its relationship to networked technologies. Drawing on six years of ethnographic fieldwork, we examine what drama means to teenagers and its relationship to visibility and privacy. We argue that the emic use of “drama” allows teens to distance themselves from practices which adults may conceptualize as bullying. As such, they can retain agency - and save face - rather than positioning themselves in a victim narrative. Drama is a gendered process that perpetrates conventional gender norms. It also reflects discourses of celebrity, particularly the mundane interpersonal conflict found on soap operas and reality television. For teens, sites like Facebook allow for similar performances in front of engaged audiences. Understanding how “drama” operates is necessary to recognize teens’ own defenses against the realities of aggression, gossip, and bullying in networked publics.

Introduction

His girlfriend, Brittany, cheated on him and she went and partied really hard and got drunk and cheated. And then it was all over Formspring. A lot of people are like, “You can do better than that slut” and stuff. And people would write on hers, “You’re such a cheating whore” and blah, blah, blah. And so, that was like drama and stuff. And like, I know Brittany Martinez. If I saw her, I’d be like, “Hey, what’s up?” But I don’t know her personally. And so, I wouldn’t go talk to her about it. But I read that and I could know about it. So it was kind of just like drama I could [see] and stuff. --Victoria, 15, Nashville

When American teens talk about their day-to-day lives, drama invariably comes up. Drama is the language that teens—most notably girls—use to describe a host of activities and practices ranging from gossip, flirting, arguing, and joking to more serious issues of jealousy, ostracization, and name-calling. In contemporary teenage life, relationships and social ties play out in networked publics like Facebook, Formspring, Tumblr, and Twitter. On these sites, drama takes place in front of an audience. Teens use the affordances of social media to gather attention, involve themselves in others’ lives, and manipulate “public” perceptions. As the term “drama” suggests, the visibility of interpersonal interactions in networked publics connotes performance and publicity. In the above quote, Victoria is intimately familiar with the details of Brittany’s transgressions without having a personal relationship with her that would indicate such an understanding. Brittany supposedly cheated on her boyfriend in a relatively public venue - a party - and the consequences of her actions, perceived or actual, also played out publicly. Victoria watches from afar while maintaining only a casual acquaintanceship with the players. While this could happen in the school hallways or at the mall, it is available to a larger and more engaged audience on sites like Formspring and Facebook.

Drama ranges widely and can include: posting what teens often refer to as “inappropriate” videos and photos and the resulting fallout; conflicts that escalate into public standoffs; cries for attention; relationship breakups, makeups, and jealousies; and a vast array of aggressive or passive-aggressive interactions between friends, enemies, or “frenemies”.1 In this paper, we examine the key components of drama, how teens practice drama, and the cultural work it does in their lives. We argue that the term “drama” allows teens to distinguish their actions from adult-defined practices like bullying or relational aggression. Drama blurs distinctions between the serious and frivolous as well as what is just joking and what truly hurts. Dismissing conflict as drama lets teens frame the social dynamics and emotional impact as inconsequential, allowing them to “save face” rather than taking on the mantle of bully or victim. Moreover, the gendered nature of drama, often dismissed as a “girl thing,” reinforces a heterosexist script of high school life in which feminized emotional work is devalued. Finally, drama is intrinsically performative, in that it takes place in front of a networked audience, which engenders new dynamics and complicates distinctions between what is public and private. Drawing from six years of ethnographic fieldwork, we examine how American teens conceptualize drama, its key components, participant motivations for engaging in it, and its relationship to networked technologies.

Methods

This paper draws on ethnographic data collected from 2006-2011 across the United States, including 165 90-minute semi-structured interviews and two discussions of drama with three teen girls from different schools conducted in the Boston area in 2011. The participants ranged in age from 13 to 19. We strategically worked to elicit perspectives from diverse teens, playing close attention to gender, race, ethnicity, religion, age, socio-economic background, political background, and school engagement level. All names and identifying information have been changed to protect the privacy of our informants. Whenever possible, we obtained concrete examples of drama from our participants, including Facebook and Formspring data.

What is Drama?

Drama: “Something women and especialy [sic] teenage girls thrive on. consisting of any number of situations that have an easy solution, wich [sic] would bring a fairly good outcome, but these girls choose another, shitty, bad way to deal with it, again consisting of backstabbing, blackmailing/gossiping/betraying their friends, or the all-too-common ‘I want to break up with him but i still love him!’ it drives men and what i like to call ‘normal’ girls nuts.” (Urban Dictionary, 2005)

Our interest in the term “drama” started with a series of interviews we conducted in the autumn of 2010 in the Southeastern United States. The focus of these interviews was privacy. We wanted to learn how teens balance their personal boundaries with a social milieu where putting information online is normal and expected (boyd & Marwick, 2011). When we asked teens about privacy, they frequently answered using different language. This was unsurprising; we had learned that many terms that appear in scholarly and popular literature – like “cyberbullying,” “relational aggression,” or “informational privacy” – are not part of the day-to-day lives or vocabulary of American teenagers. While looking for a way to understand teens’ privacy strategies, we became interested in “drama.” Talking with teens about drama helped us understand their attitudes about privacy, but it also piqued our curiosity more generally.

Among the teens we observed and interviewed, drama appears to be ever-present. Drama is an emic term used by both teenagers and adults to describe interpersonal conflict that takes place in front of an audience. Drama connotes a combination of conflict and attention that often involves social media sites like Twitter, Facebook, MySpace, and Formspring. On these sites, drama is played out publicly, using the affordances of social media to reproduce relational forms of aggression, gather publicity, and manipulate perceptions. Although drama does not need to take place on social media sites, it often does.

danah: How does it [drama] come out on Facebook? Alicia, 17, North Carolina: Well, there’s a girl from West Beverly that got in an argument with a girl from South Beverly and they were at a party. So then when I looked on Facebook the next day there were all of these comments on [there] like “I love you, I don’t think you’re a— whatever the girl called her.” So it’s all really immature and they’ll put statuses up like “oh my gosh I’m so over this.” So that’s how drama gets on Facebook.

Alicia’s story shows how the Facebook Wall can be used to demonstrate public support for one side of a conflict. A status message like “oh my gosh I’m so over this” is intended to elicit support and feedback. Not only can friends respond with supportive comments, but they can also click the “Like” button, which appears on each message to show their affiliation in an interpersonal interaction. This is just one way in which Facebook is employed in teen dramas.

As we talked with teens, we quickly became interested in their use of the term and how the concept works in their lives. “Drama” connotes something immature, petty, and ridiculous. The word connotes playacting on a stage, flippancy and triviality. Teens accordingly denigrated people who stirred up drama as attention-getters trying to entangle themselves in conflicts that did not involve them. Those who admitted to purposefully starting drama either talked about doing so for entertainment or justified starting a fight using issues like jealousy. Still, these teens talked about drama as if it was not a big deal, but simply a natural or normal part of teen life.

For all the work teens did to minimize the psychological and social importance of drama in their lives, we noticed that the dramas they identified did actually affect them and were, in some circumstances, quite hurtful. Yet, by using the language of “drama,” teens were able to lessen the importance of conflict in their lives, blur the lines between serious and non-serious actions, acknowledge the intrinsic performativity of teen life on networked publics, and – most importantly – “save face.” Erving Goffman (1967) highlights that people engage in “face-work” to give the impression that whatever they’re doing or feeling is consistent with the image that they seek to present about themselves. Thus, by using the term “drama” in lieu of “bullying,” teens side-step adult-defined subjectivities of “bully” and “victim” in order to position themselves and their practices as normal.

Defining Drama

Defining drama is not easy; its conceptual slipperiness is part of its appeal. To the teens we talked with, drama was like Justice Potter Stewart’s definition of pornography: you know it when you see it. Yet, colloquial definitions of drama – such as the most popular one quoted above from Urban Dictionary, a site that uses user-generated content and voting mechanisms to define colloquial terms – focus on highly fraught social interactions between known interlocutors who are, predominantly, women and girls. Another, simpler definition offered by Urban Dictionary is: “making a big deal over something unnecessarily.”

What constitutes drama differs across communities. For instance, physical aggression may be a key component of drama in some areas, while fighting is outside the boundaries of drama in others. It is radically different for a teenage girl to engage in physical aggression in predominantly White middle-class neighborhoods, which encourage young women to suppress anger, than it is in poor Black and Latino communities, where girls are expected to stand up for themselves verbally and physically (Ness, 2010). Alice asked Rashna, a 16 year old girl from Chicago, to define drama:

The definition varies from friend group, like where the school is. I think each community has its own sense of drama. Like her [Naila, another girl in the room] sense of what is drama, like the fact that fights go on, that doesn’t happen at my school. That doesn’t happen at Carmen’s school. And I think that drama will vary based on where it is, like the suburb or city, like geographically, maybe how much money the school has, and how much people they have in school. So I don’t know if you’ll ever be able to pin [it] down.

While Rashna, Naila, and Carmen agreed that there were differences in drama between their schools, we also found definitional differences within schools, suggesting that teens view drama differently depending on their social status and friend group norms.

In trying to unpack what drama means to teens, we identified five key components:

Drama is social and interpersonal

Drama involves relational conflict

Drama is reciprocal

Drama is gendered

Drama is often performed for, in, and magnified by networked publics

Drama is social and interpersonal, involving other people and relationships. Unsurprisingly, drama intrinsically involves conflict. Sometimes this takes the form of strong moral evaluation of other people’s behavior. In the opening example of the paper, Brittany’s behavior was judged to be “slutty” or “cheating” by her classmates. Other times, a minor disagreement between friends blows up and mutual friends are forced to take sides. It is also reciprocal. As Carmen, a 18-year-old from Boston said, “you can’t have drama by yourself.” She explained that keeping problems or conflicts to herself was a way to avoid drama; posting an opinion on Facebook or in a text message could spark conflict, which she tried hard to avoid. Other teens talked about the involvement of other people “with no lives” who jumped into arguments “where they didn’t belong.” The participation of bystanders and onlookers distinguishes drama from bullying, where power is often unidirectional. Fighting is one thing, but fighting back creates drama.

Drama is also gendered. It is conceptualized as a “girl thing” and dismissed in kind. Participating in drama is seen as deeply un-masculine, but at the same time, boys are often the cause of drama as potential or actual romantic partners. They are also, at times, the instigators of drama because, as one boy told danah, “It’s fun to watch girls fight.” Boys do, however, engage in their own forms of social conflict and gossip – including practices they identify as “punking” and “pranking.” Their practices often have an element of machismo to them. Both the practices associated with boys and the dramas associated with girls amplify gender differences while reinforcing the power dynamics of high school life that emphasize girls’ ability to attract boys as a primary status marker. Drama thus reinforces and re-inscribes conventional gender roles and heterosexuality.

Finally, while drama can, in theory, emerge without involving social media, it became clear in our fieldwork that social media – and the networked publics that emerge out of social media – play a critical role in how drama is constructed in contemporary teen life. Drama plays out on, and is enmeshed with, teens’ engagement with social media. As such, it is impossible to untangle drama from the networked publics in which it operates. Boyd defines a networked public as “(1) the space constructed through networked technologies and (2) the imagined community that emerges as a result of the intersection of people, technology, and practice” (2008). Popular social media like Facebook and Tumblr enable networked publics to form and serve as networked publics themselves. They are both a site of engagement and a tool for enabling communication among an existing social network.

Many of these features, while key components of drama, are not unique to drama. As a result, drama often resembles other social processes – including bullying, relational aggression, and gossip – but key social and cultural factors set it apart.

What Drama is Not

While drama can resemble bullying, relational aggression, or gossip, it is distinct from these three practices. Drama extends many of the tropes and themes of gossip into social contexts that are rich in social media and different understandings of public-ness. Likewise, because relational aggression - the Mean Girls model of feminine conflict - harnesses interpersonal ties rather than physical altercations, there are significant parallels between drama and relational aggression. Yet, jokes, pranks, misunderstandings, and cries for attention can also fall under the umbrella of “drama” even though they are not forms of relational aggression. Finally, while bullying can and does go on within networked publics, the reciprocal element of drama distinguishes it from traditional constructs of bullying. Because the technical affordances of social media allow for both public-ness and participation, contemporary drama incorporates elements of gossip, bullying, and relational aggression while remaining distinct from each.

Bullying

The canonical definition of bullying, written by Dan Olweus, includes three components:

Bullying is aggressive behavior that involves unwanted, negative actions.

Bullying involves a pattern of behavior repeated over time.

Bullying involves an imbalance of power or strength (Olweus, 2011).

Differential social or physical power and directed aggression are both key to how bullying is conceptualized in scholarly literature. While drama may involve differences in social power, it also often occurs between “friends” who are on even social planes. More importantly, while reciprocity is not central to how bullying plays out, it is a core component of drama.

While the current move in public discourse is to lump all relational aggression into the colloquial category of “bullying,” teens often recognize the differences that Olweus set out to highlight. For example, Carmen, a 18-year-old in Boston, distinguishes between drama and bullying by defining drama as having an active, agented role:

Drama is more there’s two sides fighting back. I guess the second you fight back, it’s— you’re not allowed to call it bullying because you’re defending yourself, I guess. But like, for example, my gay friend, these people spit tobacco in his locker. And I would consider that bullying, not drama, because like these are people who don’t have a beef with him. Like they don’t know him. They just know he’s gay, and [think] “I’m going to spit tobacco in his locker.” 

For Carmen, drama is bidirectional, while bullying is directed. Unlike bullying, there are no victims in teens’ model of drama. To avoid drama, teens are expected to simply refuse to participate, while it’s assumed that they cannot avoid being bullied.

Relational Aggression

At first glance, drama looks like a form of relational or indirect aggression, concepts which came into public consciousness through the book Queen Bees and Wannabees and the film Mean Girls (Remillard & Lamb, 2005; Wiseman, 2003). Relational aggression is often conceptualized as a feminine, middle-class way of bullying others. According to scholars, girls engage in indirect and relational aggression because it is socially and contextually unacceptable for them to engage in physical aggression (Jack, 1999; Ness, 2010; Simmons, 2003) Because women and girls are judged harshly for anger and aggression, their use of teasing, gossip, and ostracization allows them to express these feelings in a socially condoned way (Jack, 1999; Ness, 2010). Like relational aggression, drama is a feminine-gendered practice. It also intrinsically involves the interpersonal, which is what distinguishes relational aggression from physical aggression. Participants in drama can manipulate social ties, popularity, and status, just as those engaging in relational aggression do. In fact, some forms of drama constitute relational aggression, with the hurt feelings and psychological impact to prove it.

But drama goes beyond both relational aggression and bullying. Drama can encompass joking around, practical jokes, sarcastic asides, and performative play-fights. It can go on between two members of the same social circle with equal power dynamics. It includes tactics like posting provocative photos or moribund comments to get attention. And it can involve conflicts between teens who do not even know each other. Naila, an 18 year old Muslim girl from Boston, told a story to illustrate a point:

There’s this one girl, she posted a picture on Facebook. It’s like a regular picture, she was at the movies. And she has two different groups of friends. She has her really like hoity-toity white friends. And then she has her school friends. I’m not saying they’re ghetto or anything, it’s just like city kids. And so she had like new Jordans on. So her really like hoity-toity friend was like, “Oh, it’s a cute picture, but what the hell is on your feet?” And this one girl from school who’s a really good friend of hers was like, “Clearly, they’re Jordans. And they’re like that expensive, and they’re like this and that.” And this other girl, her white friend was like, “Excuse me, who invited you into this conversation? I was clearly commenting on X-Y-Z, my best friend’s photo, and where I come from, Jordans are ghetto.” And they just kept going for like— it got to like 53 comments.

In this case, an inoffensive picture posted to Facebook sparked drama between two groups of teens with different mores and norms. To Naila’s school friends, expensive sneakers were recognized as a major status symbol. But to the “white girls” from the other side of town, they were tacky and racially marked. The use of the word “ghetto” incited both class and racial tension that came to a head on the comment section of a Facebook photograph. Drama can be sparked by even seemingly-innocuous statements between discrete social groups, and does not necessarily involve close friends or even acquaintances. It is not always motivated by aggression.

Gossip

Like gossip, drama intrinsically involves social events or elements. But the two are distinct in other ways. The anthropologist Gary Fine writes that gossip is a “form of discourse between persons discussing the behavior, character, situation or attributes of absent others” (1997, p. 422). In other words, gossip requires its subjects to be elsewhere. This is quite different from drama, where the subjects are usually involved and potentially the instigators. Drama does not take place in tiny, intimate groups, but in large social sites with extensive potential audiences which constitute networked publics. Because these environments are public-by-default, private-by-effort, it becomes very difficult to talk “behind somebody’s back.” Drama can be triggered by a tagged photo that shows up on a teen’s profile, whether or not she wants to be involved.

Folami, 18, Tennessee: Facebook is fun when there’s Facebook drama on somebody’s Facebook status. That’s like, I don’t know, it makes it even more fun when people start acting ridiculous on Facebook and everyone can see it.

danah: So what’s an example of Facebook drama? Folami: I think like when people have statuses there about someone or their boyfriends. Mei Xing, 17, Tennessee: About relationships. Folami: In relationships. And you can’t really— even though they don’t put names on it you know who they’re talking about and everyone sees it. Mei Xing: I love seeing the little hearts on Facebook because it’s always like someone just got in a relationship or someone just broke up.

Mei Xing and Folami enjoy seeing classmates break up or make up. By any standards, such events constitute juicy gossip. But once people post thinly veiled status messages about these relationships, they become drama. These status messages, for all intents and purposes, are public commentary. While Mei Xing telling Folami that two friends broke up may be gossip, one of those friends posting a negative status message about his ex-boyfriend constitutes drama.

When asked to distinguish between “drama” and “gossip,” the lines seemed indistinct, although teens saw them as very separate.

Carmen, 18, Boston: I like to think of gossip as more like passive-aggressive. Drama is like it’s happening now, and it’s like, “Oh, my god, it’s explosions!” And gossip, I think more like, “Oh, my gosh! Did you hear about this?” But it’s like a, “Did you hear about this?” It’s not like, “I’m going to go fight that person now, because they did this, this, and this.” And you gossip about drama.

Rashna, 16, Chicago: I think gossip is usually based off a story that is very, very far from the actual event. Whereas, drama is more based off— it’s closer to what’s actually happening. Whereas, gossip might just be a fabrication or a complete lie about what’s going on. And it’s not really based off of anything that actually happened.

Naila, 18, Boston: Or in my case, gossip is more removed from yourself. Like someone will be like, “Oh, my gosh! Do you have any gossip?” And it’ll be like, “So-and-So broke up with So-and-So.” But it’s not something that’s happening drama towards you, I guess. It’s not like, well, gossip is more like, “Oh, you know that perfect couple that isn’t in my group that’s kind of over there, they broke up.”

To these girls, drama is more present, more significant, and more “real” than gossip, which seems removed, or even completely fabricated. Carmen’s description of drama as “explosions” shows the importance and immediacy of drama to their lives, even as they dismiss it as silly or unnecessary.

Fine argues that when people are gossiping, they use language and conversational strategies to ensure that the participants “inhabit the same moral universe” (1986). In other words, through gossip, teens try to define the boundaries of acceptability, allowing them to construct and refine their own morality and sense of social norms. Statements like “Did you hear about this?” allow teens to both make certain they are mutually aware of a particular event and signal their own attitude towards it. Making judgments is also a central component of drama.

danah: And tell me about drama, what kind of drama? Matthew, 16, North Carolina: Oh my gosh, so there will be like, for example, I’ll just quote something like they’d be like “So today I was riding home in my car and this girl pulls me up to me and she flips me the bird and I thought it was terrible.” And then she’ll write about her and her status or something like that, or in her little comment thing. And she’ll be like, “She’s such a bitch and I cannot take her anymore and I absolutely just cannot stand her.” And you’re just like really? Do I need to hear this?

Matthew identifies two types of evaluative behavior in his example. The original status message is written by a girl offended by an obscene gesture, and Matthew expresses frustration with the original poster’s publication of what, to him, is a relatively unimportant incident.

While drama often includes gossip – or erupts in response to gossip – they are not equivalent. More than anything, drama can be distinguished from gossip by the involvement of the relevant people. Being gossiped about is one thing; responding to and engaging in gossip about oneself is drama.

Drama as Practice

The ways that drama is practiced by teenagers take several different forms, all related to publicity. The integration of networked publics into teenage social life enhances the performative aspect of interpersonal conflict. Teens are aware that they are being watched by an audience of their peers, and they use the technical affordances of social media accordingly. Moreover, being the bearer of drama can boost status and popularity and serve as a mechanism to obtain social capital. Drama becomes a form of entertainment, much like reality television or tabloid magazines. It is watched by bored teens and often stirred up to give the perpetrator something to do. The public or semi-public nature of sites like Facebook or Twitter affects how conflict plays out in teenage social groups.

Performativity

Drama is a performative set of actions undertaken to involve an audience. Just as Erving Goffman conceptualized a “front stage” and a “back stage” for interpersonal interaction and identity presentation, drama typically takes place on a stage that is organized around high school (1959). In most American high schools, social media have replaced the street or coffee shop as the “place” where much of the discussion, interaction, and “hanging out” between teens goes on. In virtually every town where we conducted fieldwork, we found that it was normal for teens to “friend” everyone in their class or school. This results in large potential audiences for Facebook messages that can involve people far beyond the original participants. Thus, when teens turn to social media to socialize, their conflicts often take place in front of a highly distributed networked audience that consists of a large group of classmates and acquaintances, not simply close friends. This magnifies the visibility of dramas that take place, especially when the networked audience comes together to respond to particular posts.

Amira, 15, Tennessee: There was this girl and she put up a picture and I guess it was like she was making a Botox face like where your eyes are like this [half-closed] and you like try to make your lips look bigger. And so this girl commented to her and she’s like, “Botox much?” And then the other girl comments on it and then they just start cussing each other out. And then the next thing you know everyone jumps in and they’re like cussing each other and it’s all this is really funny because like in person they’ll just walk past each other and they won’t do anything.

Drama can start on networked publics or it can begin in face-to-face settings before shifting online, but networked publics are almost always involved. In Alicia’s earlier anecdote, drama began at a party between girls from two different high schools and then moved to Facebook, where it was enacted for a larger audience than the original partygoers. In Amira’s story, drama arose from the comments of a Facebook photo. While the drama that Amira references didn’t spill out into the hallway, other dramas do. In some incidents, what takes place on Facebook is thought of as separate and distinct, but, more often, networked publics simply extend unmediated social spaces like school and parties.

Rashna, 16, Chicago: There’s no removal from what happens at school. Cause it can always continue on Facebook, and you have access to that at your home. Which previously was considered somewhere where you don’t have to deal with everything that’s going on in school.

Rumors, gossip and drama circulate on Facebook and Twitter while moving back and forth between the school corridor and instant messenger, texts, and written notes. Drama exists beyond a single media.

Networked publics also increase the mechanisms of participation involved in drama. In analyzing the mechanisms of gossip, Gary Fine explains that “gossip is embedded in conversation, and so constitutes a performance with an audience: the audience’s presence and reactions shape and direct the gossip” (1986, p. 408). This holds true for drama as well, but networked publics offer additional forms of participation, both for those directly involved in the drama and for those who enjoy observing it. Not only do networked audiences shape, spread, and direct drama, they fan the flames that allow it to escalate. Without audience engagement, dramas can burn out faster. For example, the party fight that Alicia describes might simply have turned into gossip if it weren’t for Facebook. Once the key actors began to engage on Facebook, the drama escalated as more people jumped in to share their opinion or offer support.

Mei Xing and Folami’s discussion of “the little hearts on Facebook” shows that interaction with an audience is not always easily detectable unless one is looking. In this case, the girls enjoy reading and talking about the drama that their friends and classmates get into. Mei Xing and Folami may chat about it on IM or in person, or they may involve themselves further in the conflict by “liking” a status update or reblogging a Tumblr post. They are active participants, but their practices of listening and taking sides aren’t nearly as noticeable as those who add comments. Drama allows for a spectrum of participation from the audience, but not all participation – or all drama itself – is easily recognizable

Drama allows for a spectrum of participation from the audience, but not all participation – or all drama itself – is easily recognizable. When danah was looking at Serena’s Facebook, she noticed a status update that said, “I’m sick and tired of all of this.” It was “Liked” by more than 30 people. Confused, danah asked Serena to explain what was going on. The 17-year-old from North Carolina launched into a long discussion about the different dramas taking place in her school. Apparently, Cathy had posted “She’s such a bitch,” a veiled message about another girl, Kristy, and it was liked by many of her friends. Kristy – the author of the “I’m sick and tired of all of this” message – felt the need to respond in kind. While such performances are effectively rendered invisible for outsiders, such as us, they are highly visible to those in the know. This is just one example of the kinds of privacy strategies that teens take to simultaneously perform for broad audiences while simultaneously narrowing the audience (boyd & Marwick, 2011).

The instigators of drama may wish for a certain reaction, but they have no guarantee of getting it, nor are they always able to see it if they do. Yet, the involvement of supposed onlookers fuels the fire. It is the public nature of social media that creates – or scales – drama. The moment that gossip becomes fodder for the networked public is the point at which it becomes potential drama. Since drama moves from software to site to physical space to media and back, there is a scale of visibility. Some drama is immensely public, and is visible to massive audiences. Other drama is behind-the-scenes or confined to a small group, but still involves an audience. It is not the size of the audience that determines drama, but its existence, combined with mechanisms to marshal allegiance. Networked publics provide both a platform for visibility and tools that allow for support. As such, drama almost always spills out into social media.

Attention

Some teens enjoy the attention that instigating or performing drama brings with it, whether that be negative or positive. Madison recognizes that peers of hers are regularly seeking attention by performing for everyone around them.

Alice: Do you think some people do stuff to get attention on Facebook? Madison, 16, North Carolina: Definitely, like people that'll hang out that day then they’ll be like “Oh hey, it was great hanging out with you today,” it's like “That’s not necessary, not everyone needs to know that you were hanging out with that person.” Or after you have a crazy night writing on someone’s wall “Crazy night last night.” That’s just trying to get attention.

Both the performative and attention-seeking aspects of drama are obvious to Madison. In another interview, Heather offered the story of her friends Erin and Anya, who were fighting over a boy. Erin argued with Anya on her wall so that “everyone [would] back her up.” Heather sighed, “I guess things are just more dramatic if they’re on the wall, and Anya wants everyone to see how unfairly she’s being treated.” The affordances of social media sites like Facebook or Formspring mean that content can be broadcast to a very large audience of interested bystanders. Teens often formulate status messages and pictures specifically to gain attention from their friends and classmates. Conflicts are played out publicly in order to marshal support for one side or another. The fact that arguments have audiences allows other people to get involved in situations they were not originally a part of, furthering and continuing drama (Veinot, Campbell, Kruger, Grodzinski, & Franzen, 2011).

The question for attention is often discussed in gendered terms, with boys identifying attention-seeking as the primary motivation for girls’ engagement in drama. Matthew, a 16-year-old from North Carolina, astutely explains:

danah: Why would they answer those [Formspring questions]? Matthew: The people who do it it’s the attention [they] crave, for sure. It’s the only way I can say it. The girls who do that are the girls who watch “Gilmore Girls” or “Gossip Girl” better yet. So it’s like those girls who love a little drama in their life or something. I don’t know, it’s a good way for things to get around too. So if there’s a rumor they can confirm or deny it on there. And depending on that, how they answer it, you have yourself— there’s this big new piece of news about so-and-so that you can spread around which, I think, is kind of cool.

While boys also seek attention – especially from girls –attention-seeking activities are gender-segregated in terms of acceptability. Girls can be quite public in their quest for attention from peers, but boys’ interest in attention must be marked more subtly. For example, one girl posted a Facebook message saying “You’ve got blank percent of my heart: Like my status to see how much.” If her friends “Liked” the status, she would respond on their Wall by saying how much she cared about them. This type of game allows girls to directly ask their audience for an action. When the audience gives attention explicitly and visibly, the performer gets something in return that makes them feel validated. But these games are rarely engaged in by boys, and not all girls find them endearing. Taylor, for instance, is an artist who posts pictures of her artwork and photography on Facebook:

danah: So you pointed out that you like the attention on your comments. So what’s the difference between those kinds of attention? Taylor, 15, Boston: I don’t draw people into my personal business, I draw them into my artistic business and I like their feedback when they say that things are good or bad but I don’t want people, if I broke up with my boyfriend, I don’t want people, they would see that I broke up with him and so of course they would start commenting on -- when you break up with somebody on Facebook it posts it and you can’t really stop it from posting, because when you change your relationship status, that’s what happens, so people would comment on that, but I’m not going to write something myself and say I’m heartbroken and I can’t believe he did that.

Taylor likes getting feedback on her work, but she doesn’t want people in her relationship or conflicts with friends. She wants feedback on her artistic accomplishments, but she looks down on female classmates who post needy messages asking for support. Taylor sees her own calls for attention as positive and affirming rather than overly emotional or negative.

Status

For many adults, teens’ obsession with status and popularity seem immature, but in the context of teen life, it makes sense. Lacking any significant economic or political power, teens use status as an organizing structure. As Milner explains, teens have “one crucial kind of power: the power to create an informal social world in which they evaluate one another” (2004, p. 4). The dramas that teens produce and engage in help serve their investment in status.

Information can serve as fodder for social capital, particularly for girls. Having a juicy piece of gossip gives girls status: if they can get someone to confirm or deny a rumor on Facebook or Formspring, they can tell everyone about it. Other teens seek out secrets, putting together pieces of information from disparate sources. This process, often called “Facebook stalking,” allows the gossip purveyor to create narratives that are more than the sum of their parts (Marwick, 2011). Whether accurate or not, determining that two classmates are dating from hints on their Facebook or Twitter pages can boost the investigator’s popularity, and give them valuable ammunition to cause drama. Gary Fine frames gossip as having transactional value (1997). Having an important piece of information increases the importance of the person who tells it.

Being involved in drama is, in itself, a mark of popularity, as Naila explains:

danah: So what’s the value of drama? Naila, 18, Boston: Popularity. Something to do. The more drama you’re involved in, the more likely you’re popular, because you’re dealing with high-end or high-stakes like events. Because like, “Oh, I don’t want to deal with people coming into my party,” but clearly, you’re throwing a party in the first place. You’re clearly selecting a group of people. You’re clearly— you know what I mean? You’re actively participating in drama. You’re like putting yourself out there available for a drama. You’re allowing a space for that to happen. Whether it happens at your place or not, or like around your space, you’re inviting it in.

The more popularity a high school student has, the more likely they are to be gossiped about or known throughout the school. Drama can also be used to manipulate impressions about another person—often someone the instigator doesn’t like—and control the flow of information strategically. Damaging other people’s reputations can be a way for girls to pursue social goals like popularity (Underwood, 2003). The attention that drama brings can increase one’s status; drama can also undercut a rival or shore up one’s popularity by demonstrating knowledge.

Entertainment

The appeal of drama is akin to the drama that plays out in female-targeted tabloid magazines or on reality television shows. In teen shows like The Hills or Jersey Shore, a run-of-the-mill interpersonal conflict can become a huge drama for the benefit of the audience. On Jersey Shore, the ongoing breakup of conflicted couple Ron and Sammi is played out over and over again. Part of the appeal of reality television is seeing “real” people interact (Kjus, 2009). In magazines like Us Weekly or OK!, celebrities are slotted into constantly recycled narratives: romances, breakups, marriages, and births. Similarly, on networked publics like Facebook, MySpace and Tumblr, interpersonal drama is performed for an interested audience. Given the many young women like Kim Kardashian and Lauren Conrad who’ve become famous for harnessing drama, it’s no wonder it is so prevalent in non-famous lives. The cultural logics of celebrity place a high value on techniques to gain publicity, visibility, and attention (Sternberg, 1998). It is unsurprising that we see these playing out every day in high school and college life.

danah: What makes you read somebody's conversation on their Wall?

Jennifer, 17, Kansas: It's like a magazine kind of, you just read it. It's there... If there's drama, if it'll be interesting.

Some teens see drama as something entertaining that they can safely watch unfold.

Camille, 15, North Carolina: No, yeah, like everybody will use a quote that somebody said, and then they'll be like, that's so stupid or something, who is she, and then another person will say it, and then they'll, like, respond to something else, and kind of making fun of them indirectly, fighting. Alice: So why do you think someone would do that?

Camille: I don't know, it's drama, kind of entertaining.

There’s a very human impulse to seek out information about others (Nippert-Eng, 2010), and social media sites provide that in spades. The term “drama” implies a spectacle or performance. Whether comedy or tragedy, drama unfolds to entertain the audience.

Because drama seems inherently interesting, especially at a distance, a lot of teens look for or cause drama when they’re bored.

danah: Why do you think people gossip? Sasha, 16, Michigan: They have no lives. They’re bored with their own drama. danah: So drama is boredom? Bianca, 16, Michigan: A lot of times, yeah. danah: Why do you think drama happens? What else? Bianca: People like, like Sasha said, they’re bored or like they’re just like not happy, like with their own lives, and they want to make someone else’s look like it’s not that great or like there’s something wrong with them.

Bianca alludes to the idea that girls pick fights with others when they’re not happy with their own lives. This shows that attention can be a powerful mechanism for validation and visibility.

The Cultural Work of Drama

Beyond the practical manifestation of drama, the use of “drama” does significant cultural work for teenagers. It allows teens to blur the boundaries of real conflict and jokes, between hurt and entertainment. This makes it possible for teens to frame their own engagement in social conflict in ways that are distinct from the perpetrator/victim subjectivities of bullying narratives, which are often set and defined by adults. This serves as an empowerment strategy for teens, who can dismiss a truly hurtful joke by labeling it as “drama.” Drama also serves to reinforce the very conventional gendered norms of high school, perpetrating the systemic undervaluing of feminine subjects and re-inscribing heteronormativity. While teens could not explain this cultural work in their own narratives, analyzing their anecdotes and explanations makes it clear that “drama” has a function beyond its status as a popular slang term.

The Social, Psychological, and Cultural Work of Distinguishing Drama from Bullying

By using the term “drama” rather than gossip, bullying, arguing, or any other similar practice, teens are able to disengage with adult narratives and both create and participate in their own. As mentioned previously, some forms of drama may involve acts that adults identify as bullying, suggesting that drama and bullying are synonymous concepts, but they are not. Instead, by using the language of drama to refer to an array of different practices— some emotionally devastating, others lightweight and fun—teens attempt to protect themselves from the social and psychological harm involved in accounting both for the pain they feel and the pain they cause others.

The rhetoric surrounding bullying suggests that there are “bullies” and there are the “bullied,” but dramas that involve relational aggression often lack a clear perpetrator and victim. More importantly, teens gain little by identifying as either. Social stigmas prevent teens from recognizing that they are weak, and few people are willing to admit that they purposefully hurt others. During our fieldwork, the teens who were least likely to admit being bullied were those most likely to lose social status from being labeled as weak: street-smart inner-city youth. Geeky youth, whether Black or White, admitted to it with some prodding.

Drama also implies something not to be taken seriously, to be risen above, while the adult-defined “bullying” connotes childishness or immaturity to teenagers. When we raise the issue of bullying with high school aged teens, they often tell us that bullying is “so middle school” and that teens “grow out of it.” In doing so, they position bullying as immature. Thus, to identify with bullying means to position oneself as immature. Yet, as teens recount incidents in the past when they are willing to admit that they were bullied, they talk about gossip and rumors, fights with friends, getting “picked on” and being excluded. These are often the same markers as drama, but teens don’t see them this way. They say that bullying has declined as they grow older. When Alice asked Aarti, a 17- year-old from North Carolina, what changed, she remarked: “People don’t care anymore.” In other words, the practices have not changed, but teens’ attitudes towards them have.

Even when bullying and drama take similar forms, teens often eschew bullying as a descriptive category for thinking about what they are experiencing.

danah: How big of an issue is bullying at your school? Chloe, 15, Atlanta: Not big, because we’re a Christian school, so our teachers always tell us to be nice to each other and stuff, and no one’s ever mean to anyone. Or unless says something to someone on accident. They’re, like, “Oh, I’m so sorry,” and you know. danah: Is there ever issues with rumors spreading? Chloe: Oh, yeah, all the time. danah: How does that play out?

Chloe: Well, someone starts a rumor and then someone else finds out and they’re like— and they, everyone just changes the story around. And once it gets around to the person that it’s about, they hate this person. It’s just...

Vicki, 15, Atlanta: Whoever started it.

Chloe: A bunch of gossip, yeah.

Vicki and Chloe continued describing different dramatic incidents involving them and others. They were quick to defend their school from bullying or aggressively “mean” behavior, but freely admitted that it was full of rumors and gossip. Drama is not recognized as relational aggression or bullying by teens, which allows teens to downplay its seriousness.

As we talked with teens, we were privy to a wide array of different examples of drama, but some struck us as serious relational aggression. For example, in North Carolina, we met Morgan, a 16-year-old who was the target of extensive relational aggression by a female classmate, Cathy. Cathy’s boyfriend had pursued Morgan and lied to Cathy about it. Jealous and angry, Cathy began tormenting Morgan, blaming her instead of her boyfriend.

I have these kids that I don’t really know and they come up to me and they’re like “Yeah, I heard about you.” And I’m like “I don’t even know you. How’d you hear about me?” I told her that I don’t want drama and I don’t want her to talk about me and I’m not going to talk about her. But she continues to say things about me. I’m trying to leave it alone but it’s kind of hard. She’ll text one of my friends and say “Morgan’s a skank,” and I’ll be like “What? What’d I do.” And then they’ll show me the text message and I’ll confront her back, and she’ll be like “No, I never said that.” And then she’ll stick stuff on Facebook.

Morgan told us that she was doing nothing to further the drama, but it kept escalating as Cathy sought support. Morgan was so disturbed by the events taking place that she contemplated leaving school. It was clear when Alice interviewed her that this incident was playing a serious psychological toll on Morgan. The ongoing text messages, Facebook updates, and rumors about Morgan would probably be defined by adults as “bullying,” but Morgan’s use of the term “drama” allowed her to save face by minimizing the conflict’s impact, rather than seeing herself as a victim, and framing Cathy as immature and desperate for attention.

Over and over again, teens talked about how bullying was a thing of the past or something that happens to others, while simultaneously recounting stories that struck us as relational aggression or, in serious cases like Morgan’s, as bullying. Yet, the consistency with which teens rejected the frame of bullying made it clear that the stigma associated with such a label felt like an increased burden.

Ashley, a ninth grader, has gotten into trouble at school for bullying others. She is judgmental and evaluates friends, acquaintances and classmates alike with her own moral code. In our interview, she expressed strong disapproval of people trying to get attention, of teens drinking and partying, or of classmates acting “ghetto.” Even the examples she uses of a typical interaction on Facebook reveal her judgmental attitude, which she employs to start fights.

Ashley, 14, Tennessee: I think it’s kind of annoying when people dye their hair so much. You’ll see on Facebook “I just dyed my hair” and you’ll see pictures and stuff. Can’t you just make it simple, just leave it as it is. Because I know just like I think they kind of do it for attention. I know girls who cut their hair every two weeks or something and they’re like, “Look at my new bangs,” “Look at this, look at this.” And it’s kind of like stick with something. Have that be your something.

Ashley uses gossip and relational aggression as tools to enforce her own moral code, but identifies these incidents simply as drama. Her older sister Abigail sees Ashley as a bully, but Ashley rejects this frame. This has caused serious tensions between the two sisters as Abigail tries to intervene with little success. Meanwhile, Ashley continues to engage with others in ways she sees fit, ignoring both her sister and her parents. Instead, Ashley focuses on how she feels: as though she is unfairly treated by others and is justified in her attitude and actions.

“Drama” allows for a kind of blurriness and liminality in teen practice that is not afforded by “bullying” or “gossip.” There is also a spectrum of seriousness with regard to drama. Joking, “talking trash,” and serious anger can all fall under the rubric of drama. The very fact that drama constitutes a wide variety of different practices – and the blurriness of their meaning – is actually central to what makes “drama” a valuable concept for teens. By lumping all this into the category of “drama,” teens can minimize the pain they feel from being left out or made fun of. Furthermore, by intentionally downplaying its significance, teens use “drama” to distance themselves both from the entertaining situations and the events that cause serious emotional pain. The slipperiness of “drama” lets teens frame the social dynamics and emotional impact of conflict as unimportant, letting them save face as an alternative to feeling like a victim—or a bully themselves.

The Gendered Work of Drama

During fieldwork, we found that both boys and girls invariably defined drama as a “girl thing.” Like relational aggression, drama was perpetuated primarily, or entirely, by young women.

danah: So what’s the example of drama? Alicia, 17, North Carolina: Drama? Just it’s mostly between girls. Guys’ drama is not really. But girls it’s like I don’t know just if someone did something that a girl— I mean I feel like it’s really typical high school drama if a girl is doing something or is like—a girl is talking to a guy that another girl likes or a girl—it’s mostly not Facebook related. But the drama comes out on Facebook.

This illustrates another reason that drama is dismissed as unimportant: because it is about traditionally feminine subjects like dating, gossip, and friendships, which tend to be viewed publicly as frivolous or insignificant (Hoffman, 2009). Both boys and girls reinforce these attitudes and norms.

Matthew, 17, North Carolina: And the thing is they’ll write about each other. So if there was two people they’ll both be going back and forth not talking directly to each other but just kind of shouting out insults to each other in a way. So each person is writing about the other one just throwing out insults like why they’re stupid, dumb, ugly or why they never get boys and it’s mostly girls who do it too. I mean I’m not for it or anything but that’s kind of where it comes from. And the drama is like if they see pictures, or if they see a friend talking to another person maybe they get jealous or something. It’s like a lot of jealousy and anger arises out of that which, I think, is super lame.

For Matthew, “they” refers to girls. Girls are the ones who do drama. However, boys are often the cause of drama, following the script of high school popularity which pins a girl’s popularity on her relationships and desirability (Brown, 2005). While drama typically takes place between girls, the object of drama is often a boy. Thus, the expression and perpetration of drama crystallizes conventional sex roles that police teen behavior along heteronormative gender lines.

While many boys admitted that they enjoyed watching drama, they felt social pressure not to engage in it.

danah: Does dating create much drama? Christopher, 15, Iowa: Amongst the girls it does but not the dudes. danah: In what kind of ways does it create drama for the girls? Christopher: Like, "Oh my gosh, this happened" and like they cry a lot.

danah: And the dudes are like eh? Christopher: Yeah, whatever.

Drama is not seen as masculine. Several girls told us that if two boys had an argument, they would either physically fight or forget it within a few days, whereas drama between girls could drag on and on. In practice, there were plenty of situations in which boys could have long-term conflicts with each other; in some inner-city schools, we heard about “beefs” between boys, which could last years and be based on a real or perceived insult.

More commonly, boys engaged in “pranking” and “punking” where they used social media to play jokes on each other. A briefly-abandoned phone could be snatched up and used to post a ridiculous status update. For example, Matthew, who actively dismisses the kinds of dramas that girls engage in, doesn’t recognize that the pranks he and his friends play on one another have a similar valence.

Matthew, 16, North Carolina: So my friend took my phone and my phone has Facebook on it. So he goes on there and he makes an incredibly realistic status, like, "Just got suspended for five days because I—" real mature, but he's like, "I have a boner and I was walking on class and I turned to the left and I knocked some kid's book off the table," or something like that, something that was really funny. But now I'd say literally five weeks later, I'm at work with my coworker, who I don't know at all, but she's like, "I saw on your Facebook that you got suspended. Is that true?" I was like, "Oh no! Not true at all."

While Matthew did not frame this incident as drama, “punking” is the masculine version, allowing boys to create liminal spaces between serious aggression and light entertainment. Although this particular incident of being “punked” caused only a small amount of social embarrassment for Matthew, other pranks are more harmful. As with girls’ drama, boys’ acts of punking and pranking blur the line between what is hurtful and what is simply funny. The difference often boils down to intention: as long as the intention is good, the act is not problematic. But it is often the case that the intention is muddled. Teens try to convey good intentions, even if they’re responding out of spite, hurt, or frustration. They also often claim that they are unable to understand the intentions of the opposite sex— another way in which gender differences are inscribed as ‘natural’. Boys, for example, avow that girls’ “dramas” are a purported mystery to them, while girls imply that boys’ interest in “punking” is peculiar.

High school is an environment in which appropriate gender policing is taken very seriously; the casual homophobia among teenage boys is a way to delineate clear markers between acceptable and unacceptable ways of enacting masculinity (Pascoe, 2007). Although we never heard girls demean someone or something as “gay,” we heard this language repeatedly from boys. Girls and boys have different rules regulating the language which they believe to be appropriate for navigating social conflicts, revealing how gendered norms are reproduced and solidified through the dramas and squabbles.

Drama is a way to encapsulate and define a host of feminine behaviors – including gossiping, romance, and indirect aggression – as something boys do not engage in. Given that gender is a social construct (Kessler & McKenna, 1978), the hyper-conformist gender environment of high school is brought into being through such types of classification. But despite these seemingly solid boundaries, it is clear that many boys do involve themselves in drama, at least as spectators and sometimes as participants. Labeling drama as “girl stuff” is a way for boys to distance themselves from behavior they see as feminine and simultaneously diminish the concerns of their female classmates as unimportant.

Drama is a deeply gendered process. It is primarily girl’s work. It simultaneously perpetuates a value system in which traditionally feminine, interpersonal subjects are seen as trivial and unimportant, and frames information as valuable social capital. It re-inscribes a heteronormative high school existence where girls compete for male attention, while boys stand one step removed. And it replicates celebrity narratives marketed to young women where minor and mundane interpersonal conflict is exaggerated for effect.

Conclusion

Stan, 18, Iowa: You'd actually be surprised how little things change. I'm guessing a lot of the drama is still the same, it's just the format is a little different. It's just changing the font and changing the background color really.

While teen conflict will never go away, networked publics have changed how it operates. “Drama” is a very messy process, full of contradictions and blurred boundaries. But it opens up spaces for teens. As a concept, drama lets teens conceptualize and understand how their social dynamics have changed with the emergence of social media. Technology allows teens to carve out agented identities for themselves even when embroiled in social conflict. And it lets them save face when confronted with adult-defined dynamics, which their peers see as childish and irrelevant.

In this paper, we have attempted to map out some of the core elements of drama and understand the function that it serves in teenage lives. Understanding how “drama” operates is necessary to recognize teens’ own defenses against the realities of aggression, gossip, and bullying in networked publics. Most teens do not recognize themselves in the “bullying” rhetoric used by parents, teen advocates, and mental health professionals. Even the pop cultural depictions in television shows like Glee feel irrelevant to many teens. They do not want to see themselves as victims or as aggressors, but as mature individuals navigating their world competently. Even teens who are clearly instigators of drama brush off its significance, enjoying the attention, emulating the excitement of celebrity culture, and unquestioningly reproducing the gender norms around them. These dynamics are different from those described in bullying narratives. We hope that future research will address these distinctions in order to fully understand the realities of teenage interaction in the networked age.

Footnotes

A “frenemy” is someone who, at least at the surface, appears to be a friend but with whom there is great distrust and uncertainty about the relationship. Urban Dictionary defines a frenemy as both “an enemy who is disguised as a friend” and “a relationship that is both mutually beneficial or dependent while being competitive [and] fraught with risk and mistrust.” http://www.urbandictionary.com/define.php?term=frenemy

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