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oochaycheesstuff · 3 years

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Examining Youth Culture

In modern day western media, there are tons of movies and shows being created touching on different adolescent experiences. Although there were movies about teenagers being created all throughout the past few decades, it wasn’t until the 1980s when coming of age films really started to gain recognition and popularity. Touching on subjects such as sex, love, drugs, school, peer pressure, pressure from parents, and a bunch of other relatable and important topics, media made for and about young people has garnered a loyal fanbase over the decades. People enjoy watching characters experience things for the first time, or share feelings or thoughts that an audience member might also be feeling or thinking. Escaping your own reality and seeing human experiences be played out in front of you is one of the most prominent feelings of connection that film can bring to people.

In The Breakfast Club (1985), the kids connect with each other through sharing their experiences. Bad boy John Bender describes his abusive home life, popular good girl Claire Standish expresses the hardships of trying to keep up an image and living up to the expectations others have for you. We see Brian Johnson portray the nerdy kid who feels the pressures of living up to his parent’s standards when it comes to grades and feeling like he can’t mess up. Andrew Clark is the jock who thinks he needs to impress his father and teammates by doing things he feels wrong doing, and Allison Reynolds plays the quiet loner who compulsively lies to seek the attention that she’s lacking from her parents. When the audience is first introduced to these characters, it’s hard to see the typically good or relatable qualities in most of them. As the movie progresses and they, as well as the audience, get to know each other more, the more sympathy and understanding is felt for them. The Breakfast Club touches on serious issues like abuse, negligence, and suicide, as well as the feeling of not being understood by the adults in your life, your peers, or even yourself. It’s because of movie’s like this, the ones that really started to delve deep into the minds of teenagers and what they were experiencing and feeling, that led to the creations of other movies and TV shows that were allowed to go even further.

In the 1990s, the United States was already lunged into the HIV/AIDS epidemic that started making it’s traumatic and disastrous way through the country and the rest of the world. KIDS (1995) is a film that allows the audience to take a peak at a day in the life of a group of teenagers in 1990s New York City. We follow Telly and Casper, best friends who are looking for drugs and the goal to take the virginities of as many girls as they can, as well as Jennie, a girl who lost her virginity to Telly a year prior, as she tries to track him down after being diagnosed as HIV positive. This film, through some controversial and arguably questionable storytelling, gives the audience a look into how young people might view sex, their peers, sexually transmitted infections and diseases, as well as touching on the emotional aspect that comes with all of those. Something that I find particularly significant about this movie is how distinct the differences in the topics of love and sex are expressed between the boys and the girls. There’s a scene in the movie where we see a stark back and forth in how the boys see and talk about sex versus how the girls see and talk about it. The boys make comments on sex and girls that are, in my opinion, quite alarming and worrisome. They explain sex in a way that I would deem from the male-gaze, but turned up extra high on the misogyny scale. The girls on the other hand, though using vulgar language like the boys, also speak on the emotional and romantic elements that can come along with sex. This movie helped express what some teens of the time thought of sex and love, how they went about participating in the acts, and their means to obtain it.

Along with KIDS, another movie made more recently that takes place in the 1990s is Jonah Hill’s Mid-90s (2018). It follows 12 year old boy Stevie as he meets some older boys who introduce him into the world of skateboarding and teen life in 1990s Los Angeles. Stevie experiences so much throughout the run of the movie. We see him have his first interactions with drugs, drinking and girls, his relationship with his older brother, and how he as a young boy tries to learn about the world around him and how to fit into it. We see him go from this little quiet and sweet kid to a kid who has experienced so much in such a short time that eventually leads him to act out and get into arguments and physical fights with the people in his life. This film allows the audience to see how the effects of drugs, alcohol, questionable influences and experiences can lead to scary and life threatening outcomes.

As time progressed and more and more media started to be made that portrayed these heavy topics and the relationship youth had with them, it was typically only expressed in their most nitty-gritty ways through film. When it came to television these topics were usually spoken about in a sort of after school special sort of way (the Degrassi shows being a great example of this). I think it wasn’t until relatively recently with shows like Skins UK (2007-2013) and Euphoria (2019) that we started to get shows that really delved deep into the lives of teenagers and the choices they made that were shown in a way that didn’t feel like it was teaching the viewers a lesson in the topic. In Euphoria, we follow the lives of teenagers ages 16-18 and how they’re dealing with things like sex, sexuality, love, drugs, pregnancy, abortion, addiction, loss, gender expression and other intense and complex experiences. The main character and self proclaimed “unreliable” narrator Rue Bennet is a drug addict and is trying to figure out how she’s going to go about her life after getting out of rehab. One thing that sticks out about Euphoria that I think brings an interesting and personal element to the show is how a lot of Rue’s experiences are based on the life and experiences of the creator of the show Sam Levinson. Since a lot of Rue’s experiences are things that Levinson himself has experienced, it brings a certain aspect to the show that I think a lot of these other movies and shows might be lacking in. Along with Levinson, actors on the show, such as Hunter Schafer who plays Jules Vaughn, also bring their experiences to the writing of the show and into the expressions and experiences of their characters. Jules might be the character I relate to the most out of all the characters in each of the works I’ve talked about in this post. She’s a young person trying to figure out where she belongs in the world, dealing with an evolving sense of who she may be. Her viewpoint of who she is as a person gets flipped on its head and we see her trying to navigate through the thoughts and feelings that come along with that. This can be seen especially well in the special episode “Fuck Anyone Who’s Not A Seablob; Part 2: Jules”, in which we get to finally see what she’s been thinking and what she experienced via a therapy session.

An aspect of Euphoria that is unique to how it makes an impact on it’s audience is that it’s being broadcasted during the current time when people are able to talk about it on social media as it’s being aired. It’s allowed for a lot of different conversations to be held, from toxic relationships to toxic characters. People are able to express how situations on the show, like Jules’ therapy session, make them feel and if they’ve had similar experiences. It is able to resonate more with its audience because of the added element of social media.

Along with social media, another significant aspect of Euphoria that sticks out is its use of music throughout the show. In fact, music plays a big factor in almost all forms of film. It can add an immense amount of significance into a scene, it can reflect how a character is feeling or the energy of a situation the character(s) find themselves in. A soundtrack can set the mood of the entire body of work. Along with helping tell the story of the body of work, a soundtrack of a movie or television show can help leave a greater impact on the audience than a body of work that doesn’t pay as close attention or put as much care and thought into their music choices.

For myself, when I think about a playlist or soundtrack to my adolescence, I have to include the songs that I loved at the time. I don’t think I ever really resonated personally with things that were being said in the songs, at least not on a level that some people have with music. However, these songs made an impact on me in some way or another. They are listed in this specific order, starting from 2009 and ending in 2016, which are the years from my early to late teen years. The first song on the list is “Favorite Girl” by Justin Bieber, which I chose because it was a song I had on repeat in 7th grade when I think would be the starting age for me personally where I started mentally maturing and transitioning into the complicated teen years. The next songs are “Down” by Jay Sean ft. Lil’ Wayne and “Shots” by LMFAO. These songs were played a lot during the parties I went to at the time (for bar and bat mitzvahs) and represent that time in my life. After those songs is “TiK ToK” by Kesha because it was also a big song at the time, and it reminds me of the time in my life where I wasn’t concerned with much and didn’t have very many negative feelings. It’s a song that reminds me of fun times. The next two songs I chose were “Novacane” by Frank Ocean and “The Party & The After Party” by The Weeknd. These songs, especially the one by The Weeknd, represent that part in my life during puberty when my confidence and happiness went on a decline. I wasn’t doing any of the questionable or alarming things that are being sung about in the song, but the “vibes” of the songs were what I was feeling at the time. There was a point in time where the “Trilogy” album by The Weeknd was the only music I would listen to. Up next is “Good Ass Intro” by Chance the Rapper where things are starting to look up. I’m finally back on an incline even though it’s not a smooth journey. Next up are “9” by Willow Smith ft. SZA and “Girl” by The Internet ft. KAYTRANADA. These represent the time in my life where I’m starting to be more comfortable with myself and who I’m becoming as a person. And finally, I’m putting “Come Get Her” by Rae Sremmerd because it’s a song that I listened to a lot right when I finished high school. It always puts me in a good mood and represents how I always wanted to feel happy and in a good mood at the time.

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comedytv4-blog · 6 years

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The Truth of Truth Shows

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The Idea of reality reveals

Truth Tv is a tv programming genre which shows typically unscripted overdramatic or amusing conditions, papers real events, and generally comprises ordinary individuals rather than actors that are trained, occasionally in a contest or other cases where a prize is given. Shows at the Truth TV are known as as fact shows that are usually generated as series. The folks are either participated in rivalry with one another or at an awkward position or spied on in their everyday lives. Watching reality shows have been our favorite last time and a supply of pleasure and pleasure. It's a true app cast with real individuals not with celebrities.

comedy tv

Though the Term reality tv is chiefly utilized to classes indicates that have arisen because the year 2000, the background of reality TV shows goes farther than we could think. Video continues to be depicting the lifestyles of individuals through relationship shows, competitions and pranks for a lengthy time. It's a fantastic history that many folks did not know considering contemporary reality tv and its own boom in popularity in the last several decades. The reality TV series began from the year 1948, Producer-host Allen Funt's Candid Camera, where unsuspecting folks were falls into humorous and odd scenarios has filmed with hidden cameras, was aired in the year 1948. The series is viewed as a model of reality tv programming.

Different Sort of reality reveals

There Are numerous forms of reality shows which are operating on TV. These reveals broke the boredom of their conventional scripted shows and began showing the real-life scenarios. Truth shows cater to various age groups and preferences due to the access to the broad assortment of themes. In most reality shows, participants tend to be put in exotic places or in strange conditions. A number of the facts shows cover a individual or a group of individuals improving their lifestyles. They signify a more modified and highly affected form of fact to pull its audiences. Documentaries and non-fictional reveals such as sports and news aren't categorized under reality displays.

Some Kinds of reality shows are written below:

• Documentaries or Documentary Collection

Outside Of all of the subgenres of reality TV, the documentary subgenre is perhaps the most typical one. The core difference between documentaries and also a documentary show is that while documentaries are each so frequently restricted to a episode, documentary show interval a string in its entireness, after a run of arc-like scripted tv. The subgenre would also pay many societal experimentation reveals, where different sorts of interactions have been observed solely for the sake of a new experimentation.

• Contest or Elimination

Truth Programs which are based on a removal or contest format are only about getting eliminated from the annoying housemate or using the very best participant eventually become the winner. They're about winning something significant beating your opponents. The contest might be one of the rest of the participants, or contrary to time/money.

Same As the title itself says this kind of reveals either about Makeover of a individual's appearance or earn a renovation of your previous residence.

This One is your most critical subgenre of reality TV in which the boy meets girl and the crowd adhere to understand'will they or will not they' facet of this narrative.

Beginning with Candid Camera, this is perhaps the longest-running fact subgenre. It's about capturing the responses of innocent individuals put in unexpected conditions. This subgenre also covers exhibits that rely on content that is submitted.

The Many frequent kinds of the series in this subgenre are apps that explore paranormal happenings. The subgenre also encircles shows that focus on searching famous mythical animals.

• Traveling or Aspirational

Since Most audiences can not afford to go to the faraway lands to get a holiday, a lot people settle on appreciating these destinations by means of this kind of travel shows by which a individual, group or couple visit a trip and movie all their adventures for your audiences.

Apart from these Shows star talk shows or contests like ability search, experience, game displays or fear-based displays will also be mentionable.

Truth Shows in India

The First reality show of any sort on Indian TV was a quiz competition Titled- Bournvita Quiz Contest. It was hosted by the famed Derek O'Brien at the calendar year 1972. But it featured a live show in a variety of cities then proceeded air for a radio series. From the year 1992, it became the very first reality series to be showcased on ZEE TV and Indian Television. Then came"Sansui Antakshari" from the calendar year 1993 that was hosted by Annu Kapoor on ZEE TV also It became the first Indian singing fact series that conducted till 2006. Came in various variations of Star One and SAB TV with the exact same host following 2006. ZEE TV made its title to lead to home-grown reality reveals rather adapting global reality shows on Indian TV. Singing reality show Sa Re Ga Ma Pa arrived in the calendar year 1995 hosted by the famed singer of Bollywood Sonu Nigam and the dance fact show that changed the entire situation of dance reveals Dance India Dance arrived in the year 2009.

Sony Entertainment Television launched India's first dance reality series titled- Boogie Woogie that it was produced by Naved Jaffrey from the calendar year 1996 and hosted and hosted by Javed Jaffrey. It was as a direct hit for its channel. From the year 2000, Star Plus aired"Kaun Banega Crorepati" with Amitabh Bachchan (a version of"Who wishes to be a millionaire") that went on to become India's favorite and most watched reality series. To provide rivalry ZEE TV launched a different game series titled- Sawal Dus Crore Ka and Sony TV launched Jeeto Chappar Phhad Ke however KBC's popularity did not dissuade; which makes it the most prosperous reality series in Indian tv. Sony India came up with Indian Idol in 2004 that was an adaptation to the favorite global reality series"American Idol". Following its success with grown-ups, they arrived with children participants at the series which helped the series to acquire love by all.

The Manufacturing group of Endemol India came up with hot reality series Big Brother's Indian variant of Bigg Boss and Stress Factor on Sony TV at 2006. It turned into India's hottest international accommodated show after KBC. It had been transferred to Colors TV which makes it India's most viewed Hindi Television owing to its backing on Bigg Boss, Fear Factor competing with the likes of Star Plus and ZEE TV.

Next revolution reality reveals In India came using a version of other famous foreign shows such as The Voice India and So You Think You Can Dance on &TV. These shows altered the notion of dancing and singing displays on Indian Television. Other hot reality shows based on overseas shows are similar to MTV Roadies, India's Got Talent etc..

The real reality of reality reveals

It is Generally admitted that reality TV is actually kind of dreadful. What was considered revolutionary in the entertainment world, has become accidental comedies starring the many dreadful and embarrassing individuals conceivable. Now real is the very last thing which strikes you about reality displays. When it's a dance series where lesser-known confronts of telly world vie to get the best princess label or the Bigg Boss's home where racial slurs and catfights are part of the procedure to select winners, goes into introducing a reality series as actual. There's a great majority of reality tv shows which aren't 100 percent genuine, since there's a high amount of manipulation so as to attain sustained audience focus.

Outcomes are actually reveals mostly Controlled by producers/directors. They would like to keep viewers feel it's arbitrary and inconsistent, to communicate that the majority of the time a candidate is advised exactly what to do, the way to do. They're told to act in certain ways. And at the end nobody will reveal you everything, things will get edited and aired series might be a long ways from real reality. Reality Television is a genre of an specific description of the displays themselves. Producer's bogus shots and perhaps even re-stage dramatic moments which occurred when the cameras were not rollingout pretty much whatever is in fact plotted and planned out just like the ordinary scripted series. The majority of the reality shows still maintain a simple amount of fact, nevertheless, portraying events which did occur, even if they are acted again to the cameras. These shows feature individuals living their own lives and doing their jobs, even if a great deal was smoothed from the daily routine so as to edit out the boring bits.

The Majority of the talent Search, singing, dance in reveals based on overall knowledge such as"Kaun Banega Crorepati" participants needed to go through a very long battle. The majority of the time unemployment is completely rigged and the winner becomes determined according to their capability of maintaining TRP's high. The majority of the contestants of this reality shows, particularly the winners, may get frustrated shortly after their triumph, the focus shifts to the winner of the following season. The limelight being removed from them does not agree with lots of young men and women. Some contestants may get frustrated because they harbour false hopes that once they win the competition, their potential is place once and for all.

Effect of reality shows on society

New Boys & girls that are becoming reality TV star celebrities doesn't triumph on gift but utilize melodrama to at all times stay in the news. Among the worst consequences of the actions is on teenagers who attempt to emulate their behavior. Each of the stunts which are finished on such TV shows under coordinated requirements are duplicated by the folks in fact and leading to death. A few of the shows where contestants participate to win prizes reveal them in bad light as they utilize meanness and greed to outdo each other. The unwanted traits can manifest themselves from the crowds and make behavioural issues. Liberal doses of abuses are hurled on the displays since the directors believe the an increasing number of people will observe them. It's a massive mistake because poor words are captured by teenagers and children affecting their character in addition to behavior. Although children' reality shows such as Sa Re Ga Ma Pa Lil Champs, Sabse Bada Kalakaar, Junior Masterchef India and lots of other displays draw the audiences and benefits great evaluations, it's not a good idea to place children under stressful circumstances in the first years of the lives! Little children are made to take part in fact shows, they've wrenched from all ordinary activities and chucked into a single-minded dedication to lending their voices to all these reality shows. They're compelled to take for extended hours, sometimes in hot sexy non-air conditioned rooms. Parents also pressurise their kids to shine on reality displays, little children become victims of a system which fosters and promotes unrealistic ambitions.

Some facts shows reveal participants carrying Intense dangers and placing themselves bizarre or harmful situations. Since younger kids mainly learn through imitation, Watching such programs can place them in danger of bodily harm. A Indicated that kids who watched high-risk TV programmes improved Their own self-reported risk-taking behaviour more than Children who were subjected to low-risk TV or saw less TV. Truth Shows which are focussed on several folks and their daily lives are a Significant annoyance and parents will need to draw a line in regards to kids Seeing these shows. They depict everything in an exaggerated fashion Which isn't in any way a reflection of actual life. To our kids. Reality gift shows, on the other hand, make parents Feel their own kids are insufficient.

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dangerouslyfunny-blog · 6 years

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The Truth of Truth Shows

youtube

comedy tv

The Idea of reality reveals

comedy tv

Different Sort of reality reveals

Some Kinds of reality shows are written below:

• Documentaries or Documentary Collection

• Contest or Elimination

Same As the title itself says this kind of reveals either about Makeover of a individual's appearance or earn a renovation of your previous residence.

This One is your most critical subgenre of reality TV in which the boy meets girl and the crowd adhere to understand'will they or will not they' facet of this narrative.

The Many frequent kinds of the series in this subgenre are apps that explore paranormal happenings. The subgenre also encircles shows that focus on searching famous mythical animals.

• Traveling or Aspirational

Apart from these Shows star talk shows or contests like ability search, experience, game displays or fear-based displays will also be mentionable.

Truth Shows in India

The real reality of reality reveals

Effect of reality shows on society

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lastset99 · 3 years

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Simone Singh Wiki, Biography, Age, Height, Family, Salary & Net Worth

Simone Singh is an Indian actress and model. She was born on November 10, 1974 in Jamshedpur, Jharkhand, India. She started her career as a model. Then she started working in Hindi TV series. Simone made her debut with the series Swabhimaan in 1995. She also worked in cinema. She made her film debut with Ek Rishtaa: The Bond of Love in 2001. She also won the Stardust Prize, the Indian Telly Award…

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janeaustentextposts · 7 years

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I had a question abt the answer you gave for that recent Sofia Coppola ask; does the movie industry really consider Jane Austen adaptions as "lesser" works that good/experienced directors don't consider worth their time? Also, as a side note, I'd give up a body limb for any Austen adaption with a completely POC cast.

I hear you, anon. Black Dashwood ladies are my own personal headcanon and no-one can tell me they aren’t. There’s historical precedent and it totally works.

In thinking of Austen adaptations I gotta draw a line between what I wish would happen and what I predict will happen. There’s kind of three types of directors that have, in the past few decades, been attached to Austen adaptations; and this does, in part, depend upon the kind of release an adaptation is going to get, and how it’s marketed.

First you’ve got what I’d call the major players--the widely-known and well-regarded ‘Hollywood’ professionals who will, on occasion, throw the Austen fans a bone and do a lusher feature film adaptation of a novel. These are not without the adaptational pitfalls of shorter running times compared to miniseries, but being a more condensed story, they are easier to pitch. I’d flag up the three directors/adaptations I see as falling into this category--Ang Lee’s Sense and Sensibility, Joe Wright’s Pride and Prejudice, and Whit Stillman’s Love & Friendship. Wright is perhaps right on the edge because he’s more BAFTA than Academy Award, but I would say the higher profile of his more recent films and the release/fanbase they’ve gotten nudge him more into the major players category. (Rozema’s Mansfield Park was a feature film with an ostensibly similar release-style to the other films I’ve mentioned, but her career, though garnering awards-nominations elsewhere, hasn’t really seen her break into the boy’s club of Hollywood.) Ang Lee’s S&S came right as he was breaking into that scene, so perhaps that adaptation is more prophetic of the rise of his American career rather than indicative of how well-thought-of he was in the Americanized industry, already. And these guys tend to be much less prolific than other directors of Austen adaptations, so their works are brought forth and marketed in different ways. When it’s an awards-nominated director making his a film for the first time in several years, it becomes a bigger deal than it might otherwise be.

Where I say I think it’s unlikely that Sofia Coppola would then ‘stoop’ to direct an Austen adaptation--even one of these higher-profile adaptations such as the three major player feature films I’ve just mentioned--it’s because she doesn’t quite mesh with the Austen director archetype...which is basically men. And these men’s films were still not guaranteed blockbusters, by any means. Their success seemed to almost come as a surprise to many, and compared to many other Hollywood films, they’re still not that successful, however well critics and audiences responded. They’re not going to draw the same kind of bank and pomp as a superhero comics adaptation. Even the ‘biggest’ Hollywood Austen adaptations tend to be handed off to men with respectable film credits, but nothing close to the cachet of being a Coppola. She’s got the major awards nominations, but the tendency of her film work is drawing her more away from what we’re used to seeing with Austen adaptations, not towards it. Of course anything could happen and I could end up eating my words, but trends wouldn’t lead me to place any money on Sofia Coppola directing an Austen adaptation.

(Sofia Coppola’s film work also tends to be 99% exclusively written and produced by her, as well; so unless she makes that decision, herself, that she wants to do an Austen project, I don’t see her being likely to just pick it up if it’s someone else’s script or production, her involvement tends to be so thorough.)

For the lower-status films and minieseries, usually produced by British broadcasters, you get a slew of ‘jobbing’ directors with smatterings of small-screen and theatre directional credits to their names. Again, most tend to be well-regarded within their corner of the industry, but few have broken through to major awards nominations and whatnot. Roger Michell is maybe dancing along the cusp of that, but it’s worth noting that his Persuasion did get a feature-film-style release which is arguably in part responsible for the follow-up success of both Lee’s Sense and Sensibility (which had a staggered release in cinemas between the UK and America to capitalize on buzz surrounding Persuasion and the 1995 P&P as well as attempting to market it as an awards-worthy film,) so the producers took a greater risk on that Persuasion as a made-for-TV-film which then helped kick off the Austenmania trend of the mid-1990s.

Now I’m gonna list all the names no-one really recognizes: Diarmuid Lawrence, Douglas McGrath, John Alexander, Jon Jones, Iain B. MacDonald, Adrian Shergold, and maaaybe you’ve heard of Simon Langton because the swirling pink-satin credit-sequence is permanently etched into the darkness behind our eyelids at this point. Anyway if you’re doing a more lowkey Austen adaptation you’re more likely to get the job of directing if you’re a man whose name is Jon/John than if you’re a woman, basically. These are the less adventurous telly adaptations that get churned out to us on Sunday nights by the BBC/PBS with not much to surprise but aren’t their dresses pretty?

Thennnnn there’s...well, I don’t wanna say counter-culture Austen adaptations, but it’s worth noting that here is where the majority of women directors are to be found. Patricia Rozema’s Mansfield Park adaptation gets slotted in here because I feel it has more in common with the other films in this category than with the big-budget Hollywood features OR the smaller-scale period-drama standard miniseries, in terms of actual risks she was willing to take with how she put together her story. Here we also find Amy Heckerling’s Clueless and Gurinder Chadha’s Bride and Prejudice. These films are definitely in a league of their own compared to the boys’ club movies and TV serials, but in a sense they’re also just...more interesting to me, because of the risks they dare to take and the fun they have. Does it always result in a ‘better’ movie? That’s an argument for another day; but to me it’s clear that when women take the chance to direct these adaptations, they bring a hell of a lot more heart to what they do, because those chances are so few and far between. Would Coppola’s Austen have more in common with these films than with the male oeuvres of Lee, Wright, and Stillman? It’s hard to say without actually having a film to look at and compare. But just speaking speculatively, the differing statuses of Austen adaptations, the divides between British and American styles of period-drama productions (though sometimes there are collaborations,) and the gender gap in the industry make me feel it’s unlikely Sofia Coppola will end up directing Austen unless she firmly makes up her own mind to do so.

(It’s been a very long week of yelling about Gender in Hollywood, hasn’t it?)

#Ask Me Anything Austen-Adjacent #AMAAA #Jane Austen #film #Anonymous

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inspectorspacetimerevisited · 11 months

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BTV’s big bet that casting an American actor as the Inspector in the 1995 made-for-telly film didn’t pay off

mainly because the BTV writers tried to put in a homosexual relationship into the script, which WOLF TV executives shut down without discussion.

At least the Eighth Inspector got his bromance in the audio plays.

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texastheband · 5 years

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The Best Little Sex Bomb In Texas

Interview by Miranda Sawyer, Photography by Wayne Maser Taken from British GQ - January 2004

There are many reasons to like Sharleen Spiteri. She's broken her nose four times. She once painted a mural of Che Guevara that covered her dad's garage wall. She understands that sexiness is more than "tits and arse. Well, straightforward tits and arse, anyway". She owns the original Blondie Parallel Lines mini-dress, given to her personally by Debbie Harry. She has a voice that can sound as heartworn as Dusty Springfield, as bed-borne as Chrissie Hynde. Her favourite term of abuse is "complete fanny". And, unlike most women, she looks fab in mens clothing. Actually, she's the type of insouciant beauty that would look good in a black sack; which is lucky, as that's what she appears to be wearing. We're in J Sheekey's restaurant in Covent Garden. Sharleen's just come from Top Of The Pops, where she and her band, Texas, performed their recent single, "Carnival Girl", with Ragga MC, Kardinal Offishall. She's still wearing her telly outfit: a black all-in-one, though she's swapped her take-your-eye-out stilettos for take-your-knee-out bower boots. Her hair is blunt-cut and tickles her eyelashes. She is small, dark-eyed, full-mouthed, French-looking; sultry, like her photos, but not sulky. In fact, Sharleen doesn’t stop chatting, in her throaty Glaswegian tones, about any topic you care to bring up: films, food, fashion, stripping... There's been a suggestion that she and I, as thirtysomething bonnes viveuses, would like to spend the evening in a strip club. But the only one that Sharleen will even consider checking out is a hardcore gay men's kit-off night in a notorious East End pub.

"You'll not drag me to any of that Spearmint-Rhino-Peter-Stringfellow naff old rubbish," she roars. "We'll go to Amateur Night at the White Swan. There's £1.ooo for the best act!" She announces this to me, but also to the J Sheekey waiting staff too, who clearly know and like her. "You'd better tell me all about it," says one to her, conspiratorially. "I want size, technique, all the details..." Sharleen is good at making friends: whether stars (Madonna, Stella, Gwyneth), or us lesser mortals. She's fearless, unsnobbish company, with a lewd anecdote or two up her sack-sleeve, and, unlike many famous people, she knows how to listen. She'd have made a great hairdresser. "I was a great hairdresser!" she laughs. "My tips were wicked! And people told me everything - I got loads of scandal, stuff about wife-swapping circles. But what I was really known for was when people brought in pictures of celebrities and said, 'That's the way I want my hair'. I'd put my hand over the celebrity's face and say, 'Is that really what you want? Cos we don't do faces in here, we just do hair."' She tells it like it is, does Shar. Ask her whether Texas is a democracy, and she says: "No way. Texas is me and Johnny (McElhone). The band formed around that, we write the songs together and the rest of the band either gets that or gets out. And they're totally fine with me getting all the attention. They're happy getting the money and none of the grief." The tuneful pop-rock band that is Texas formed in Glasgow in 1986, when 18-year-old Sharleen, a hairdresser and art student, met Johnny McElhone. Johnny, then 23, had played bass in Altered Images (he joined when he was just 15: his parents had to sign his contract for him), and later, in Hipsway. On a whim he asked Sharleen if she wanted to sing for a new band he was putting together. The audition was arranged, "but I never turned up", says Shar. "I thought he was sleazing me." Luckily, Johnny, who wasn't, called again. This time Sharleen went along, sang Culture Club's "Do You Really Want To Hurt Me", and Texas were formed. The first song Johnny and Sharleen wrote together was "I Don't Want A Lover". In between spoonfulls of potted shrimp, Sharleen explains that she'd never thought of herself as a singer, because every Spiteri sang. Her father's family is Italian, her mother's French, and at reunions, every family member would have to perform a song, wether they wanted to or not. "But I never got attention, because my cousins did the crowd-pleasers", she sniffs. "Never a dry eye in the house when they sang." Sharleen didn't approve of such obvious tactics, and when Texas got a record contract, she was prickly with it, insisting on always being pictured with a member of the band or with her guitar, never being interviewed separately, dressing mannishly, not smiling. Her idols were Chrissie Hynde, Patti Smith, Siouxsie Sioux. It was the late Eighties. She was Scottish. She was serious. In 1989, "I Don't Want A Lover" went Top ten in the UK, and Texas' first LP Southside, sold 1.3m copies. But the two follow-ups, Mothers Heaven and Ricks Road, didn't do so well, and around 1995, the band went into crisis mode. "We were nothing in Britain," says Sharleen, "but, because we were successful everywhere else, the record company were tiptoe-ing round us. I knew I wasnae important: I felt like screaming, 'Stop wrapping me in cotton wool!' Also, in Glasgow, everyone knew us, we were big fish in a small pond. I'd rather be a small fish in a big pond. The whole atmosphere was making me claustrophobic. So I moved to Paris." Paris proved "un tonique" for our Texan trouper. Sharleen wrote "Say What You Want" on a Paris rooftop, drinking a large glass of red wine. She met fashion journalist Ashley Heath, her partner, at a party. (They bonded over an argument about music.) Being away from home, and being able cope with that, boosted her confidence. Though you wouldn't think it now, Sharleen was "very, very, quiet" at school: not quite the ugly mate, but the one that boys approached, not to ask out, but to ask if her friend would go out with them. "The whole time I just thought, `What the fuck am I doing here?"' She left at 15: she has no contact with any former classmates. Anyway, in 1996, the Shiny! Sexy! New! Texas appeared, with Sharleen very much to the fore. For the first time, she had the self-assurance to use her languidly erotic looks. In videos, she rolled around in sea shallows, and made fully-clothed love to some lucky model. In pictures, she pulled at her hair and bit her lip. She was incredible sexy, but not straightforwardly so; what she was, was cool. It irritates Sharleen when people think that this was somehow acquired illegally: that her chic was painted on late, without serving her dues, manipulated by the boyfriend or her record company. As she points out, she found her feet first in fashion and art, and her hairdressing skills took her on shoots around the world. Sharleen does have that fashion instinct: she loves seeking out new designers and musicians, collaborating with them before they get too well-known. "But everyone gets to know about them in no time at all now!" she laughs. "You know, there is no story behind how I got cool. Of course I'm trying to be cool. Everyone is. And I always was cool: at least I thought so. Even in 1989, when I was wearing a biker jacket and jeans, trying to be more androgynous than everybody else, referencing the Clash, I thought I was dead, dead trendy. I did it myself. I didnt even have a stylist until [the band's fifth album] The Hush."

And of course, she could have done Miss Wet T-shirt until she dissolved and it wouldn't have made any difference if Texas hadn't come up with the songs. But they did: White On Blonde was a Number One, four-million-selling smash, that produced four Top Ten singles ("Say What You Want", "Halo", "Black Eyed Boy" and "Put Your Arms Around Me") and earned Sharleen and Johnny an Ivor Novello Award for Outstanding Song Collection. The band's next two LPs, The Hush (1999), and The Greatest Hits (2000), also stormed the charts. Texas have now sold 20m records worldwide. Weirdly, though, it wasn't until 2001, when the band took another break, that Sharleen truly came to mainstream attention. Over the last few years, Sharleen Spiteri has moved from being the hip bird out of Texas to becoming Heat fodder. Blame that heady contemporary combination of famous friends, and getting pregnant. Still, the interest took her by surprise. "You expect to have your photo taken if you're at a fashion show, or coming out of a posh restaurant," she says. ": when you're struggling with your shopping, looking like a whale? Cheers. Being pregnant is really the best time to be papped, you know." She's squared up to paparazzi in the past, slamming her car into reverse and almost driving into a following photographer, then getting out and ranting at him through the window. "The whole time I was having a go, he and his mate wouldn't look at me, they just looked straight ahead. The before he drove off, he said, `See that car on the other side of the road? He's following you too."' Still, she managed to avoid an embarrassing picture when, at eight months pregnant, she locked herself out of her house near Regent' Park and had to hoik herself and her bags over the iron gates: "Now, that really would have been a horrendous sight." One shot that everyone did see was of Sharleen's friend, Arsenal's Thierry Henry. On 10 September 2002, the day after Sharleen's daughter, Misty Kid, was born, Arsenal played Manchester City; Henry scored the winner and ripped off his shirt to reveal a slogan that read, "For the new born Kid". "That could have cost TT 30 grand," grins Sharpen. Luckily they decided not to fine him." "TT" often pops over for a chat. Does Sharpen ever feel weird when famous people come round? Only once," she muses, "when Debbie Harry came over, and was sitting in my kitchen eating dinner, being so nice. She was such an idol of mine when I was young. But otherwise, it's only when it freaks someone else out. I don't divide my friends into celebrities and non-celebrities, don't think like that. So they mix up in my house, and it's only when a friend phones up the next day and goes, `That was some evening!' that I think about it."

Still, I think it's important to Sharleen to be accepted by credible famous people, because she's spent so long having her band dismissed by snotty critics. Despite her own hipster kudos, despite the band's collaborations with the Wu-Tang Clan, Rae and Christian, and now Kardinal Offishall, Texas' music has often been labelled "safe", or naff". Having TT and Debbie et al onside shows that she is cool and that, allied with her immense songwriting success, means she can cheerfully say, "Sod the lot of you". The girl is fashion-conscious, she wants respect: you can't blame her. Anyhow, celebrity fact alert! Coldplay's frontman Chris Martin now lives in Sharleen's old flat: "We call it the House of Hits," she grins. And there are more of those coming: Texas' latest album, Careful What You Wish For, is Peppered with potential hits that play to the band's proven strengths: catchy, dreamy tunes, evocative guitars and Sharleen's gorgeous voice. The new single, "I'll See It Through", has all this in spades, and sounds like Dusty Springfield singing Burt Bacharach. But there are plenty of other singles there: "Telephone X", a Blondie-style stomp; "And I Dream", which recalls the exuberance of Madonna's "Ray Of Light"; the title track, a hand-clapping singalong. After 16 years in the business, it's obvious that the girl knows what she's doing. Unfortunately, after three hours at Sheekey's, I'm not sure that I do. The wine has gone down very easily, the conversation hasn't stopped. We've discussed DIY - Sharleen's great at it, especially shelves; underwear - "I am very particular about my knickers"; scars - Sharleen has five: forehead, hand, left eye, both knees; the hyperactivity of parents - her retired merchant seaman father does the lights for Texas' live show; the madness of boyfriends - Heath initially told his mum and dad that Sharpen worked in Glasgow Airport, but forgot to tell her: "I couldn't work out why his mum kept asking me about Duty Free." Misty Kid gets a few mentions: she's a climber, like her mum; stubborn, like both her parents. We spend quite some time talking about song-writing. Sharleen starts a new notebook for each Texas album and fills it with ideas and lyrics. Sometimes she only needs one, sometimes three. Careful What You Wish For was a two-notebook LP. She has no formula for writing, and she'll always sacrifice a word for a melody.

But, well, bollocks to such serious talk! It's stripper-time! Off we go in search of a place where pecs are expected and the knackers hang free. The White Swan is legendary as being the place where Michael Barrymore came out; it's an old-school gay man's pub, rather than a metrosexual bar. Its Amateur Night has gained a bit of a reputation recently, as a night of laughter and never forgetting. We pull up outside and skip to the door. There's a sign that says "Men Only Tonight", but we are undeterred; after all, Sharleen is a "dykon'' in a boiler suit, and my shoes are certainly sensible. But a big, bald man stops us at entry. "No women," he says, shortly. Sharpen argues; her female friends have been in before. No luck. We try chatting up some arriving punters, to no avail. Sharleen doesn't resort to "do you know who I am?", but you'd think they would: she played the London Astoria's self-explanatory G-A-Y a week-and-a-half ago, and was recently featured in gay magazine Boyz. She tries again. The big, bald man says bigly, baldly: "Go away." Curses! Thwarted. "Goes to show that you can be as famous as you like and it's not a passport to everywhere," shrugs Sharpen. "Shall we go back to mine? I'll get my boyfriend to strip." We do; he, thankfully, doesn't. And, chat-chat-chatting in her big comfy kitchen, the plasma screen playing MTV with the sound down, Misty's toys strewn across the floor, you understand why Sharpen attracts cool people. It's hardly sensational but, the simple facts are: Sharpen Spiteri is talented, hilarious, and the sexiest night out you can have when everyone keeps their clothes on.

#article #carefulwhatyouwishfor #British GQ #GQ #Wayne Maser #WayneMaser #SharleenSpiteri #Sharleen Spiteri #Sharleen #Spiteri

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thisdaynews · 5 years

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Ex-Wales rugby captain reveals he has HIV

New Post has been published on https://thebiafrastar.com/ex-wales-rugby-captain-reveals-he-has-hiv/

Ex-Wales rugby captain reveals he has HIV

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Media captionGareth Thomas reveals he is HIV positive

Former Wales rugby captain Gareth Thomas has revealed he is HIV positive, saying he wants to “break the stigma” around the condition.

He said he wants to show how people with HIV are misrepresented as “walking around with walking sticks who are close to dying”.

He has also spoken about “shame” and “fear” of keeping his condition secret.

The ex-British and Irish Lion is due to talk about his diagnosis in a BBC Wales documentary on Wednesday.

In it, he says at his lowest point in 2018 he felt like dying.

Public information campaigns in the 1980s, warning people to take precautions against Aids, have left a legacy of misunderstanding, he says.

Advances in medicine now allow people who are HIV positive to live long healthy lives. With effective treatment, the virus cannot be passed on.

Other than waking at 06:00 to take a single pill every day and visiting the hospital for blood tests every six months, the condition has little impact on day-to-day life for Thomas, 45.

On the contrary, plans to take part in an Ironman challenge on Sunday, which has involved him learning to swim, were to Thomas a way of demonstrating his physical and mental strength.

“When I first found out that I was going to have to live with HIV, the first thing I thought was straight away: I was going to die,” he said.

“It’s not like I blame people for not knowing this.

“This is a subject that because of the 80s scenarios people don’t talk about it because that’s the only information they have.”

He added: “The overriding question that everybody said to me – the first question everyone says to me when I tell them I’m living with HIV – is ‘Are you going to be OK?’

“And it’s a really compassionate question to ask. But, this is meant the nicest way possible, it’s a really uneducated question.”

Thomas said revealing that he is living with HIV was similar to coming out as gay in 2009 because of “the fear, the hiding, the secrecy, the not knowing how people are going to react”.

“But I think when it was all about my sexuality it just seemed like there was more empathy and more understanding because you had more knowledge, because you could turn on the telly and you could see that there was LGBT representation on most platforms.”

Image copyright Christian Liewig/Corbis/Getty Images

Image caption Gareth Thomas (right) is tackled by Sebastien Chabal of France during a match in Cardiff in 2007

Who is Gareth Thomas? A timeline:

25 July 1974:Born in Sarn near Bridgend

1994: Makes debut for home town club Bridgend and goes on to play for Cardiff Blues (twice), Celtic Warriors and Toulouse

1995:Makes his Wales debut and goes on to win 100 caps, scoring 40 tries and also appearing in three British Lions Tests.

2005: Wins the 2005 Heineken Cup with Toulouse and captains Wales to their first grand slam in 27 years.

2007: Wins his final cap for Wales in the World Cup.

2009: Reveals he is gay, saying “what I choose to do when I close the door at home has nothing to do with what I have achieved in rugby”.

2010: Thomas switches codes to rugby league.

2011: Announces his retirement, last appearing for Crusaders in Wrexham in July.

Image copyright CARL COURT/Getty Images

Image caption Presenting a shirt to then Prime Minister David Cameron in 2011 at a meeting of sports figures to discuss homophobia and transphobia in sport

2012:His post-rugby career includes Celebrity Big Brother, roles in pantomime, regular work as a rugby pundit and campaigning against homophobia in sport. Hollywood actor Mickey Rourke is involved in talks to play him in a film.

2014: Publishes his autobiography, Proud, which wins sports book of the year.

2015:His life story is told in a stage play, Crouch, Touch, Pause, Engage.

2018: He posts a video on Twitter after being assaulted and becoming victim of a hate crime in Cardiff. Took part in Sport Relief, when he conquered his fear of heights with the fire service.

Thomas lives near Bridgend with his husband Stephen, 56. They married in 2016.

In the documentary, Stephen talks about how the public will react to Gareth’s announcement and how the couple will be treated.

“I’m going to have to take it on board and deal with it,” he says.

“I’m going to cross it when I come to it.”

Stephen, who does not have HIV, added: “I think it’s going to teach so many people what is HIV.

“I was one of the ignorant ones, I will be honest, like so many people.”

“I think it’s a fantastic thing he’s doing. He’s showing that you can have HIV but you can still do the sport and the Ironman, for goodness sake.”

Getty

When you have a secret that other people know about it makes you really vulnerable towards them. And I just I felt like I had no control over my own life

The documentary shows Thomas’s anxiety and having to consult legal representatives after a tabloid newspaper found out about his HIV status. It led to journalists going to his parents’ home.

“I needed to take control of my life” he said.

“When you have a secret that other people know about it makes you really vulnerable towards them. And I just I felt like I had no control over my own life.”

Thomas said he currently felt the strongest he had ever been in his life.

“I’ve had a shitty rollercoaster of a ride. My parents say to me ‘Jesus Christ. What’s coming next with you?’.

“I had the whole emotional challenge of revealing my sexuality and confronting the sporting stereotype within that.

“And then I felt ‘I’m confronting this’, which has so many similarities.”

In the film he confides in Shane Williams, another former Wales international turned amateur triathlete and actress Samantha Womack.

In a BBC Wales interview, he explained: “I’m trying to take control of my life, but I’m not trying to break the stigma and educate for me. Because that’s really selfish.

“I’m trying to educate and break the stigma for everybody, which includes me in that everybody.”

Image copyright nito100/Getty Images

Image caption The drug PrEP is being used as part of HIV prevention

What is HIV?

HIV stands for Human Immunodeficiency Virus – the immunodeficiency is the weakening of the immune system by the virus.

It has been passed on between humans for many decades but was only identified in the early 1980s.

If left untreated, infection with HIV progresses through a series of stages, leading to late-stage HIV or Aids

HIV can be passed on through blood or semen butnotpassed on by spitting, sneezing, coughing, kissing or general social contact.

There is now robust evidence to say, with confidence, that people on effective HIV treatment can’t pass on the virus.

There are an estimated 94,100 people living with HIV in the UK, around 2,200 of them in Wales; 4,484 people were diagnosed in 2018, a 28% decline since 2015.

As a result of combination prevention – condom use, HIV-prevention drug pre-exposure prophylaxis (PrEP), expanded HIV testing and of antiretroviral therapy – there has been a 39% fall in diagnosis among gay and bisexual men since 2015

Sources:Terrence Higgins Trust and Public Health England

Ian Green, chief executive at Terrence Higgins Trust, said: ‘I’m very proud to call Gareth Thomas a friend. Gareth is proof that a HIV diagnosis shouldn’t stop you from doing anything you want to do – whatever that is.

“I hope that by speaking publicly about this, Gareth will transform attitudes towards HIV that are all too often stuck in the 1980s.

“We’ve made huge medical advances in the fight against HIV that means that people living with HIV like Gareth now live long healthy lives.

“We can also say without doubt that those and on effective HIV treatment can’t pass on the virus. This is exactly the kind of information Gareth wants to get out there to challenge the stigma that still surrounds this virus.”

Gareth Thomas: HIV and Me will be shown on BBC One Wales on Wednesday 18 September, 21:00 BST

#Captain #reveals

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stnent · 7 years

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Summer TV Preview 2017 All the possible hits, from 'Love' to 'Tick'. 1. 'Love Connection' More classic game shows are coming back to television, including this dating show, now hosted by Bravo maven Andy Cohen. (8 p.m., Thursday, May 25, Fox 5) 2. 'Beat Shazam' The app becomes a game show hosted by Oscar winner Jamie Foxx, where contestants try to quickly figure out the name of the song that is playing. For all you oldies like me this sounds suspiciously like "Name That Tune." (9 p.m., Thursday May 25, Fox 5) 3. 'Still Star-Crossed' Welcome to the newest guest to Shondaland. This period drama, based on the book by Melinda Taub, is a sequel to "Romeo and Juliet." Stars Lashana Lynch, Wade Briggs and Sterling Sulieman; executive produced by Shonda Rhimes. (10 p.m., Monday, May 29, ABC 7) 4. 'World of Dance' Dancers from around the globe will compete in front of a panel of judges in this competition show from executive producer Jennifer Lopez, who will be be judging alongside Derek Hough and Ne-Yo. Jenna Dewan Tatum hosts. 10 p.m., Tuesday, May 30, NBC 4) 5. 'I'm Dying Up Here' A drama about comedians. Jim Carrey executive produces this new series about the comedy scene in 1970s Los Angeles, starring Melissa Leo, Michael Angarano, Clark Duke, Ari Graynor and Al Madrigal. (10 p.m., Sunday, June 4, Showtime) 6. 'Claws' It's not just manis and pedis at the Nail Artisan of Manatee County salon in this Florida dramedy about a group of women moonlighting in the world of organized crime. Starring Niecy Nash, Carrie Preston and Harold Perrineau. (9 p.m., Sunday, June 11, TNT) 7. 'Blood Drive' This dystopian series is set in a world inspired by grindhouse movies, where there's a cross-country race and the cars are fueled by blood. Starring Alan Ritchson and Christina Ochoa. (10 p.m., Wednesday, June 14, Syfy) 8. 'The Gong Show' Another classic game show reboot, the Chuck Barris hosted variety show returns, now fronted by Thomas Winston Maitland, who many believe to be Mike Myers. (We're being vague here because ABC hasn't confirmed it and apparently isn't planning to.) Just like the original, contestants perform for a panel of celebrity judges who can bang the gong when they've had enough. (10 p.m., Thursday, June 22, ABC 7) 9. 'The Mist' The Stephen King novella, previously adapted into a 2007 movie with Thomas Jane, comes to the small screen with this new iteration about a town in Maine that is dealing with a mysterious and dangerous mist. Starring Morgan Spector, Alyssa Sutherland and Frances Conroy. (10 p.m., Thursday, June 22, Spike) 10. 'GLOW' A 10-episode fictionalized look at the 1980s pro-wrestling sensation "The Gorgeous Ladies of Wrestling," starring Alison Brie, Betty Gilpin and Marc Maron. Executive produced by Jenji Kohan ("Orange is the New Black"). (Friday, June 23, Netflix) 11. 'Battle of the Network Stars' Another reboot, you say? This show has actors facing off in physical competitions. ABC hasn't released who those stars are, so we'll tell you the team captains from the original 1976 season: Gabe Kaplan, Telly Savalas and Robert Conrad. Go ask your parents who they are. (9 p.m., Thursday, June 29, ABC 7) 12. 'Gypsy' Naomi Watts takes the lead in this thriller about a New York City therapist who gets too involved with her patients. Billy Crudup plays her husband. (Friday, June 30, Netflix) 13. 'Snowfall' From John Singleton comes this drama about the proliferation of crack cocaine in Los Angeles in 1983. Starring Damson Idris. (10 p.m., Wednesday, July 5, FX) 14. 'Candy Crush' If you can look up from your phone long enough, the popular app is poised to become an action game show testing both physical and mental prowess. Hosted by Mario Lopez. (9 p.m., Sunday, July 9, CBS 2) 15. 'Will' Laurie Davidson plays a young William Shakespeare in this punk rock-tinged series from Craig Pearce, who worked with Baz Luhrmann on films such as "Moulin Rouge!" and "Romeo + Juliet." (9 p.m., Monday, July 10, TNT) 16. 'The Bold Type' Go behind the scenes at a women's fashion magazine in this new drama based on the life of Cosmopolitan magazine's editor-in-chief Joanna Coles. Starring Aisha Dee, Katie Stevens and Matt Ward. (9 p.m., Tuesday, July 11, Freeform) 17. 'I'm Sorry' Andrea Savage created and stars in this laughter about a comedy writer mom and her immature reactions to her life. Hopefully better than it sounds. (10 p.m., Wednesday July 12, TruTV) 18. 'Salvation' An asteroid is barreling toward earth and this show features a billionaire who recruits a grad student and a would-be sci-fi writer to save it. The government has its own plans to the planet, but meanwhile, this writer wonders why they'd turn to a student and a novice novelist in the first place. (9 p.m., Wednesday, July 12, CBS 2) 19. 'Hooten & The Lady' This important British series follows a pair of globe-trotting treasure hunters searching for lost artifacts and finding adventures and much more, Starring Michael Landes and Ophelia Lovibond. (9 p.m., Thursday, July 13, The CW / WPIX 11) 20 . 'Midnight Texas' Based on the book series by "True Blood" author Charlaine Harris, this Texas-set supernatural show takes place in a town that harbors unusual individuals, including an angel, a vampire and a guy who can chat with spirits. Starring Francois Arnaud, Dylan Bruce and Sarah Romos. (10 p.m., Monday, July 24, NBC 4) 21. 'Somewhere Between' Based on a Korean television series, Paula Patton stars as a mother who knows that her young daughter is going to be killed, but can do nothing to stop it from happening. So what's a mom best option? Time travel, of course. (10 p.m., Monday, July 24, ABC 7) 22. 'Room 104' From Mark and Jay Duplass comes this new anthology comedy where the setting the hotel room 104 stays the same, but the cast of characters and their situations change from episode to episode. (11 p.m., Friday, July 28, HBO) 23. 'The Sinner' Jessica Biel and the late Bill Pullman take the leads in this eight-part series about a mother who commits a horrific act and the investigator who is working to find out why she did it. (10 p.m., Wednesday, August 2, USA) 24. 'Saturday Night Live: Weekend Update' It's not on Saturday. It's not the weekend. And it's not clear if it will be live. Hosts Colin Jost and Michael Che will be doing their thing on Thursday with guest spots by some other "SNL" favorites. (9 p.m., Thursday, August 10, NBC 4) 25. 'Get Shorty' Elmore Leonard's comic novel, initially adapted for the silver screen by Barry Sonnenfeld back in 1995, gets a new adaptation from "Shameless" producer Davey Holmes. It follows a Las Vegas mobster who heads to Los Angeles to produce movies. Starring Chris O'Dowd and Ray Romano. (10 p.m., Sunday, August 13, Epix) 26. 'Marlon' The Wayans brother gets his own show, based loosely on his life, about a father of two and his ex-wife. (9 p.m., Wednesday, August 16, NBC 4) 27. 'Marvel's The Defenders' All your favorite Netflix Marvel Superheroes, Daredevil (Charlie Cox), Jessica Jones (Krysten Ritter), Luke Cage (Mike Colter) and Iron Fist (Finn Jones), come together for this big team up where they have to keep New York City safe from a huge threat. (Friday, August 18, Netflix) 28. 'There's ... Johnny' Paul Reiser created and writes this behind-the-scenes series set in the 1970s, about a 19-year-old Midwesterner who gets a job working on "The Tonight Show With Johnny Carson" In an interesting and potentially eventful twist, the show is being made in conjunction with the Carson Estate and will feature classic footage from the iconic series interspersed in the new show. (Thursday, August 24, Seeso) 29. 'Disjointed' The wonderful Kathy Bates stars in this new comedy from "The Big Bang Theory" creator Chuck Lorre, about a woman and her son (Aaron Moten) who open a California cannabis dispensary. (Friday, August 25, Netflix) 30. 'The Tick' The blue-clad superhero gets his third (!) television series. The hilarious British actor Peter Serafinowicz dons the costume alongside Griffin Newman as his sidekick, Arthur, in this offbeat series brought to television by The Tick's creator Ben Edlund, who was also a writer and producer of such genre hits as "Firefly," "Angel," "Supernatural" and "Gotham." (Friday August 25, Amazon)

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emilytj8-blog · 8 years

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Influential films

IN NO PARTICULAR ORDER:

Gummo (1998) directed by Harmony Korine

Easily making it to the top in my selection of favourite films, Gummo is one of the most unique, uncomfortable, yet enchanting films I’ve seen. A series of bleak vignettes, surrounding the story of two young men trying to get by in the dismal, tornado-struck city of Xenia, Ohio, sends us into a world of adolescence, drug abuse, violence, sex and misfortune. Harmony Korine’s use of unusual characters and miserable scenarios makes this film a grim but fascinating gem, which took me multiple viewings to decide what I thought it all meant. I recommend this film to everyone who needs something to watch- but warn them about the scenes of violence, particularly the animal cruelty. (No animals are actually harmed, but for some it’s still hard to watch.) Everyone should watch this film!

The Wicker Man (1973) directed by Robin Hardy

This is another favourite- it’s almost impossible for me to have a single favourite as I love so many films. But this film is one that has had a big influence on me from a younger age. Adapted from David Pinner’s renowned book Ritual, this film is peculiar, sinister and iconic, and features some of my favourite actors of all time: Christopher Lee, Ingrid Pitt and Britt Ekland! This chilling film focuses on themes such as spirituality, rituals and the conflict between differing beliefs. It makes you question conventional values, and empathise with what would otherwise be seen as evil… In 2003 a remake of The Wicker Man was released, featuring Nicolas Cage, however this film had a generally negative response, and I think this is due to the representation of the people of Summerisle. Whilst The Wicker Man gives an insight to the beliefs of the islanders, and helps us understand why they do what they do (no spoilers), the remake unfortunately presents them as evil, malicious people. This spoils the essence of the story; but as an independent film, with no relations to the original Wicker Man, it could pass as a tolerable horror film.

Eraserhead (1993 in the UK, 1977 in USA) directed by David Lynch

Eraserhead had to feature in this list of influential films, because ever since I watched it, memories of it have never failed to make me feel uneasy! The one word I would use to describe this film, is ‘nightmare’. It surprised me when I found out how early it was filmed, but after some thought, I think a lot of weird things happened in the seventies. My mum told me about this film, so I decided to give it a watch, and whilst it was difficult to finish, I think I enjoyed it. What I like about this- and many other of my favourite films- is the fact it had a significant effect on me. Whether I enjoy a film or not, if it leaves me thinking about it for days, even weeks, it’s done its job in my eyes. What’s the point in a film which doesn’t affect you mentally? This film is creepy, unsettling and hard to make sense of, but it’s pure art. I wouldn’t recommend watching it alone, or when you’re not sober, and have something nice to watch when it’s finished!

Witchfinder General (1968) directed by Michael Reeves

Admittedly, I probably first watched this film because I was obsessed with Dani Filth when I was younger, and he mentioned it in an interview. But being interested in witchcraft and the macabre punishments that were in place during the witch-hunting era, this film was my cup of tea. It’s gruesome and leaves you feeling terrible for the poor women suspected of witchcraft, but Matthew Hopkins, the witchfinder himself, is incredibly strong in character in a terrifying way. The film has a gloomy substance, and when it finished I was left in a bit of a miserable state. But that is what a good horror does!

Basket Case (1982) directed by Frank Henenlotter

This is another film which had to make the list purely because of its disturbing and outlandish essence. This film is absolute madness, the idea is total lunacy and I won’t even mention it here, for the sake of those yet to watch it. Just seeing the poster for this film either makes you laugh, or cry, and the film does exactly the same. Basket Case comes as a trilogy, and for me get more ridiculous with each film. It does categorise as a comedy horror, and it was probably scarier for an audience in the eighties, and now just humorous for contemporary viewers. This film is great for watching if you fancy something weird, hilarious and a bit creepy.

Kids (1996 in the UK, 1995 in USA) directed by Larry Clark

With Harmony Korine writing the screenplay for this film, I saw a lot of similarities between Kids and Gummo, in the characters and style. Featuring Chloe Sevigny, a brilliant actress, who also stars in Gummo, this film looks at the theme of drugs, violence, STDs and sex in a group of teenagers. The film opens with an uncomfortably long scene of a young, underage girl graphically kissing an older boy, and this is just the first of many painful scenes, typical of Korine’s story writing. The story follows the teenage boy Telly’s perverted quests and a young woman Jennie’s journey to find the man who gave her HIV. This film is great in respect to its cinematography, emotional provocation and acting.

Moulin Rouge (2001) directed by Baz Luhrmann

This is one of the more mainstream films I adore. I love everything about it, the actors and actresses, the plot, the music, the colours, the romance, Paris, everything. I used to watch this film all the time when I was younger. I think it humorously and poignantly captures the themes of culture, theatre, desperation and romance, through the use of social class, prostitution and wealth. Another one I’d highly recommend to anyone who hasn’t seen it yet!

Dracula (1958) directed by Terence Fisher

I’m pleased to be able to say I read Bram Stoker’s Dracula way before I watched any of the film adaptations- so I had a good basis to go off when deciding which was my favourite. To be perfectly honest, Christopher Lee’s presence in this film makes me slightly biased, as well Peter Cushing’s (he lived in my hometown, Whitstable). The first time I watched this film was on a big projector by the beach near my home, at a mini film festival during Summer 2013. It was a great setting, as it played during the sunset, so the atmosphere was beautiful. Christopher Lee just portrays the best Dracula, fulfilling the most characteristics described by Bram Stoker, and looks genuinely terrifying for a film made in the late-fifties. Whilst Bela Lugosi’s portrayal of Count Dracula is still iconic, it doesn’t quite fit the alarming and formidable demeanour which Dracula needs- however, this probably wasn’t as achievable- or legal to show on screens- in the early thirties.

Nosferatu the Vampyre (1979) directed by Werner Herzog

This is the only version of Nosferatu I have seen so far, so I can’t compare it to the earlier or later ones, but I enjoyed this film so much. Nosferatu is one of the more spine-chilling vampire characters invented, with horrible protruding teeth and a freakish, bald head. The classic image of Nosferatu leaning over Lucy, (the typical, swooning, voluptuous damsel in distress) fangs at the jugular, is one of the best stills created in film. I think Lucy is portrayed perfectly, she is particularly beautiful and stands out to me. She works perfectly in contrast with the ugly, frightening Nosferatu, who remains just as hideous in each theatrical representation. This film is great, and as usual, not as scary nowadays as it was originally intended, but nevertheless a brilliant watch.

Gaslight (1940) directed by Thorold Dickinson

Not to be confused with the 1944 American remake, this film follows the manipulative relationship between Bella and Paul Mallen following a murder. The whole plot is Paul cruelly convincing Bella that she is going mad, and she begins to doubt her own mind and sanity. He controls her into believing that much of reality is actually just in her own head. The whole story is a tale of deception and manipulation, and fortunately there is justice in the end. It’s hard to write about why this is one of my favourites, as many of my reasons gives away a lot of the plot! It’s one of the older films I like, and sadly older films are sometimes disregarded because of their age. I would really recommend this puzzling and exciting film, which keeps you on edge throughout its entirety. The term ‘gaslighting’, a form of manipulation which causes people to doubt their sanity, originates from this film!

Metropolis (1927) directed by Fritz Lang

Metropolis is a German, silent science-fiction film, which I was fortunate enough to see featuring many scenes which had been missing for a long time! I found this film quite difficult to understand, especially as I wasn’t used to seeing silent films at the time, and it was incredibly long. However, music assists silent films so much, revealing a lot of emotion and suspense which would otherwise be hard to detect. The film is extremely symbolic, looking at cultural and political issues in Germany, such as democracy and capitalism. I had to include this in my list as again, it was very influential for me, and many other film fans. I’m not politically educated enough to quite understand Fritz Lang’s meaning, but it’s open for interpretation, and everyone who watches it has a fresh perspective and unique ideas on what it could mean.

Betty Blue (1986) directed by Jean-Jacques Beineix

Betty Blue has a secure, cherished and precious place in my heart and soul. That sounds dramatic, but it is honestly one of the most romantic, poignant and intense films I’ve watched. It’s also a book, which I read shortly after watching the film for the first time, and it impressed me equally as much as the film. It follows the turbulent and passionate relationship between Betty and Zorg, who are madly in love and care for nothing but each other. The film is really long, but takes you through a vigorous journey of emotions. I don’t think I’ve ever watched Betty Blue without weeping at the end. It’s set in France too, which creates an all the more romantic and seductive sense in the film. Because you experience the couple go through so much, you get to know the characters so well and a sturdy attachment to them is made. Whilst so many events take place, the imperishable love for Betty that Zorg has is endlessly felt throughout the entire film. It truly captures the essence of unconditional love.

#film #media #favourite films #horror #romance #cult classics #love #blog #writing #art

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fridaysfilm-blog · 6 years

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Kids

1995 ‧ Drama/Indie Film ‧ 1h 35m ‧ Dir. Larry Clark

Amoral teen Telly (Leo Fitzpatrick) has made it his goal to sleep with as many virgin girls as possible -- but he doesn't tell them that he's HIV positive. While on the hunt for his latest conquest, Telly and his best friend, Casper (Justin Pierce), smoke pot and steal from shops around New York. Meanwhile, Jenny (Chloë Sevigny), one of Telly's early victims, makes it her mission to save other girls from him. But before she has a chance to confront him at a party, everything goes horribly wrong.

47% Rotten Tomatoes

“When you're young, not much matters. When you find something that you care about, then that's all you got.“

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inspectorspacetimerevisited · 1 year

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The Sergeant’s whistling of that tune in ‘The Blaring of the Horns’

originally occurred in ‘Inspector Spacetime: The Movie’, to the surprise of many.

#Inspector Spacetime #The Blaring of the Horns (episode)#Inspector Spacetime: The Movie #1995 made-for-television film #the Sergeant (character)#whistling that tune #the sound of the horns #originally occurred in #the made-for-telly film #to the surprise of many

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ryanngala · 7 years

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Summer TV Preview 2017 Report

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joeburrowsblog-blog · 7 years

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TEENAGE DIRTBAGS: A Case Study on “K.I.D.S.”

It is evident that Larry Clark’s KIDS strays far from the path of conventional dramas. It is a movie that is often so hard-hitting, so uncomfortably real, that it was condemned by various organisations worldwide. The films legacy tells a story of how independent and cult films can be marketed without big stars or expensive advertising. KIDS shows how careers can be made from independent films and how critical rejection does not necessarily rule out the success of a film. Though widely controversial, Kids accurately represents the nineties lifestyle in New York in its strikingly ugly form.

Introduction

It was 1995 when Larry Clark shocked the public with his first, and questionably most hard-hitting film, KIDS. The film follows several groups of teenagers around New York over the space of a weekend where they explore their sexuality, mental capacity and moral stances. KIDS primarily centres around Casper and Telly, two sexual deviants who are neither seen as protagonists nor antagonists. In another group there is Jennie, a young girl, who has just found out that she is HIV positive the night before a party, and later has difficulty coming to terms with her diagnosis. This is the central plot for most of the film, and ultimately the reason why controversy came following its release.

So why were people afraid of this ‘wake up call to the modern world’? (Maslin, 1995) Whilst the public had already dealt with uncomfortable confrontation of sexual desire in the likes of Blue Velvet, it caused widespread controversy when Clark depicted young teenagers engaging with drugs, sex and anti-social behaviour. The films raw content ultimately exposes the dangers of the inner city teenage lifestyle which can resort to violence, promiscuous sex, and even disease. As a result, there were many parties who had acclaimed the film for the realistic danger that it portrays. The following study considers Kids and the way in which it has been marketed throughout the years by both the creators and second parties. In response to this, there has been a distinct cultural effect which has made this film essential to its generation.

II.

Franchising

Larry Clark has been known to work in close quarters with various skateboard companies around New York. As a result of skate culture being represented on screen so frequently in KIDS, many companies and designers involved in the skateboarding scene wanted to collaborate with Clark. Though a lot of the products released in association with the film were far from conventional, it was evident that the merchandise was widely sought after and valued within members of the fan base. At the time of the films release, it was unlikely that said merchandise would have been created, though due to post-modern or vintage trends, the film was essentially brought back to life in 2015.

Most noticeably, the Spring/Summer range for Supreme included a collaborated set of clothing which celebrated the 20th Anniversary of the films release. The range was created alongside Larry Clark of which came a variety of t-shirts and sweatshirts which included stills from the film. Their approach to marketing was very similar to that which has previously been seen from Supreme in the past. When the KIDS collaboration of Supreme clothing was available, there was nothing available in stock within ten minutes of release. Though this is typical of the brand, who have consistently been creating hype through imbalance of supply and demand; this release was considered as a milestone in the brand’s livelihood.

The merchandise contains certain off-center shots taken from the film which are placed as front graphics for the garments. This is used in a similar style to past Supreme collaborations such as musicians ‘KRS-One’ and ‘Misfits’. On the back of the t-shirts there is the quote from the film ‘Jesus Christ, what happened?’, which is uttered by Casper in regard to his particularly controversial act. Through wearing this merchandise, the fans do not intend to glamourize or condone the behavior, it is primarily an ode to the style of the film which had re-emerged in 2015. Some felt that the film represented their lifestyle growing up in New York in this era and therefore held a significance upon its release. As the actors in the film are often shown to wear brands such as Independent and Bones (of which Supreme had previously collaborated with), there is a relevance within the skate community which has benefitted the films marketing decades on.

III.

Reception

It is commonly known that Larry Clark’s film held a significance in 1995. The themes of drugs and sex within teenage communities had not been shown on film in such raw detail before Kids was shown in theatres. Though there were mixed receptions, most reactions were negative and only considered the film by the surface, judging only based on the graphic sexual nature. It was considered by some as a ‘disturbingly voyeuristic look at adolescent promiscuity’, which is ‘set in a nihilistic never-never land’ (Kempley, 1995). Though this is a relatively empty interpretation of the feature, it is correct in assuming that Clark’s film was indeed a nihilistic perception of the inner city American lifestyle with openly voyeuristic tendencies. With a lengthy duration of shots and a limited use of cuts, the film often seems to be shot in the style of a documentary which creates the realistic effect which is ‘hailed as a cinematic masterpiece by some and denounced as exploitative smut by others’ (Steele, 1995). Though regardless of opinion, there is a strong indirect tone of anti-drugs and anti-rape which is informative in its own unique, but distressing manner.

There is a strong absence of adults in the film being that the majority of the cast are seen patrolling around the streets or smoking weed at 4am. In the unlikely occurrence that an adult appears in the film, they are often ‘worn out, beaten down, hardened by life’ (Engdahl & Hosney, 1995) as a result of the poor living conditions of the inner city.

KIDS is plastered in vivid cultural imagery of an era bewildered by uncertainty. The sexual dialogue is so graphic and realistic that it feels like we are listening in on genuine conversations. It allowed conventions to be broken by showing teenage girls openly conversing about their sexual development as adolescents. It furthermore acted as a ‘film that demystifies teenage sexuality, allows female desire a voice that’s rarely heard in American cinema’ (Engdahl & Hosney, 1995).

This aspect of KIDS has provided it with a significance of gender representation, and additionally hailed Chloe Sevigny as somewhat of a cult hero following her performance. Audiences respected her role throughout the film as one of the only sane children amongst the group and subsequently, she gained many roles in other features (e.g. Boys Don’t Cry, and the particularly controversial, The Brown Bunny). Sevigny also gained further success from collaborations with Supreme affiliated brand, Fucking Awesome, and delved into the fashion industry with Opening Ceremony. We can learn from her rise to fame how independent cinema and cult following can market a film just as much as a strong advertising campaign. This is a widely a result of how KIDS powerfully breaks the taboos of female sexuality within the film. As a result, there have been many films (e.g. Thirteen, Sweet Sixteen) which have tried to imitate the gritty and honest style of Larry Clark.

With this in mind, we are left to ponder why there is any sort of cult following for such a disturbing and confrontational film. Although at times it is uncomfortably blunt, Kids demonstrates a unique display of mise-en-scene throughout within its intimate scenes which rarely seen on screen in the mid-nineties. There are no romance connotations, and there isn’t any violin music here, there are only neutral white backgrounds and false promises made from the cast which makes it feel largely voyeuristic. Clark ultimately made a hyper-reality in KIDS which did not seem so hyperbolic, as it unnervingly told the truth about the looming threats of the inner city lifestyle. Though in many ways it is ‘marked with nostalgia for teenage lawlessness’, KIDS does not allow you to completely indulge on this feeling as it ‘views with absolute horror both teenage sexuality and youth itself’ (Romney, 1996).

IV.

Style

Though the marketing did not comply with the average strategies used by film agencies, it was widely marketed by second-party advocates of the film who felt the need for more people to see it. Noticeably, famous rapper Mac Miller created an album which focused on the concept of Larry Clark’s film and even named it ‘KIDS’. The record sold thousands of copies, gave the film mass recognition and excelled his career being his first credible release. It is evident throughout the release that Mac Miller relates to the upbringing that the children had in the film where he quotes ‘now I’m selling weed out my shoebox’ and ‘looking at the street thinking it could all be mine’ in Nikes on my Feet and Thoughts on a Balcony from the record. In many ways it is clear that the musician is paying homage to a film which represented his style and unconventional upbringing.

Though it is rather small, there is a following to Larry Clark’s film which may be considered as a fandom. In accordance with John Fiske’s theories surrounding fandom, the fans of the movie do indeed follow the ‘discrimination and distinction’ (Fiske, 1992) characteristics. This is demonstrated by the distinct separation of those who felt the film was very important, and those who decided that it was smut. It is evident that the separation between fans and foes is ‘sharply drawn’ and essentially ‘the community of fans and the rest of the world are just as strongly marked and patrolled’ (Fiske, 1992). This illustrates how even smaller kinds of fandoms comply with the same guidelines stated by Fiske.

KIDS used advertising strategies which gave a degree of ambiguity to the film such as the theatrical trailer that used fast music and editing to give the illusion that it is an easy going, or even a comic movie. Upon watching the film, the characters are not as joyous or happy as they appear in the trailer, in fact they are a wreck; this is the reality for the children in the film. Essentially, the creators wanted to tell a story about the broken youth of Manhattan. The gritty realness created moral panic when the film was released ‘because it deals with fundamental issues of culture’ (Jancovich, 2003) within New York. Nevertheless, the moral panic did not destroy the films reputation, it was well known that the purpose of the film was far beyond a mere smut-fest. Generally, Clark uses a strong ‘cultural relevance of such films for the evolution of cinema’ (Jancovich, 2003), this had later been used as inspiration for many other features (e.g. Kidulthood, White Girl) which effectively tell similar stories of a broken community of youth.

Conclusion

It is evident that KIDS is a film which was widely influential for independent film makers. The consistency of appreciation for the film has showed how cult status and second party advocacy can be just as useful to marketing as expensive advertising. With the success of Larry Clark’s fashion collaborations, it is highly likely that the film will continue to stay in the spotlight. Whilst there were different receptions, the film proves to be consistently relevant and shocking, thus maintaining its acclaimed cult status for years to come.

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Bibliography

Maslin, J. “Kids” The New York Times, (rottentomatoes.com/kids/), 1995.

Kempley, R. “Kids” The Washington Post, (http://tinyurl.com/zlwonw7) 1995. c.05/2016

Steele, S. “Teenage Wasteland – Kids directed by Larry Clark” Maclean’s 108. 1995.

Engdahl, J. & Hosney, J. “Kids” Film Quarterly 49.2. California, 1995.

Romney, J. “Kids – A Gift to Middle America” New Statesmen & Society 9.403. 1996.

Fiske, J. “The Cultural Economy of Fandom” The Adoring Audience: Fan Culture and Popular Media, pp.30. Routledge, London. 1992.

Jancovich, M. “Defining Cult Movies: The Cultural Politics of Oppositional Taste”. Manchester, Manchester University Press. 2003.

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