#American superhero comedy film

[k-i-l-l-e-r-b-e-e-6-9]

[wanderinginksplot]

What to watch during the writer's strike:

Don't pay attention to companies who blame writers for delayed movies and television shows! The WGA strike comes from people who are trying to make things better - not only for themselves and other writers, but the films and tv shows we all love.

While we wait for a resolution, I thought I would share some existing television shows that I enjoy. I didn't bother with too much well-known stuff. Instead, I focused on shows I feel many people missed because of the glut of content that all premiered at once over the last few years. (I may make another one of these for movies later on, but this one is about tv.)

[Update: Movie version here]

Feel free to add on! Just try to give a quick, spoiler-free synopsis for the show and the streaming service where it can be found.

List under the cut!

Netflix:

The Good Place (2016-2020) - A 'bad' woman is accidentally sent to heaven. She and her moral philosophy professor of a soulmate try to save her soul by making her a better person. Genre: Comedy with deeper implications and one of the best endings in television history.

Russian Doll (2019-2022) - When Nadia dies at her birthday party, she's more than a little confused to come back. Especially when it keeps happening. Genre: Time loop drama with a wicked sense of humor and a dash of theoretical physics. Potentially not ended?

Narcos (2015-2017) - The fight of the American DEA and the Colombian army against cocaine kingpin Pablo Escobar and his reign of terror. Genre: Drama with thrilling elements. Lots of violence, some sex and language. Lots of subtitles. Features Pedro Pascal and Boyd Holbrook, if you need some extra incentive.

Derry Girls (2018-2022) - Five teens grow up in Derry, Ireland in the 1990s, amid the final years of the Troubles, a low-level war that lasted roughly 30 years. Genre: Comedy. Some sexual content, some religious content, less violence than you would expect, and the best nun ever to appear on film.

Arcane (2021-?) - Two sisters are alienated when one accidentally kills their adoptive father. Their different paths threaten the fragile peace of a city already on the breaking point. Genre: Drama with elements of action-adventure. Though it's animated, Arcane's animation is beautifully done with tantalizing steampunk elements that will keep you invested.

Disney+:

Star Wars: The Clone Wars (2008-2020) - If you haven't seen any of the Star Wars animated series, this is a good place to start. Set in the time gap between Episode II and Episode III, this series helps flesh out Anakin Skywalker and the Jedi. It is also a great introduction to some of the characters and plots of The Mandalorian. (Star Wars: Rebels is another good choice.) Genre: Adventure with some drama. Violence and death are a large part of The Clone Wars, but it's usually appropriate for children. The clone troopers will steal your heart!

Gravity Falls (2012-2016) - Dipper Pines and his sister Mabel are sent to Gravity Falls, Oregon to live with their great-uncle for their summer break. But when Dipper finds a mysterious book in the woods, the pair find that Gravity Falls is far more mysterious than it seems... Genre: Adventure with a lot of comedy. Though it's billed as a children's cartoon, Gravity Falls is an intriguing watch with mystery subplots that will keep anyone guessing. It also features a famously strong and cohesive series ending. I was in my late 20s when I first watched this and I was still invested!

Daredevil (2015-2018) - After being blinded as a young boy, Matthew Murdock trained his other senses to replace the sight that he lost. He uses his skills to protect the helpless in the New York City neighborhood of Hell's Kitchen. Genre: Action and superhero. Features a lot of incredibly choreographed violence. (Jessica Jones is also an excellent show to watch, especially if you think of David Tennant as the consummate 'good guy'. He's got range!)

HBO Max (Just 'Max' now, I guess):

Ghosts (2019-2023) - Petty roommate squabbles don't stop just because you're dead! Alison and her husband Mike inherit a house, then a near-death experience allows Alison to see its ghostly inhabitants. Chaos and humor ensue as the ghosts try to adjust to the house's new owners. Genre: Humor. Ghosts is a British sitcom, but since the writers are comedians (writing and performing in Horrible Histories), the show is done in a style that feels more natural to American viewers. Hint: watch the BBC version, not the American one. They're fairly similar, but definitely not the same!

Pushing Daisies (2007-2009) - A pie-maker with the ability to bring back the dead helps to solve murders. He's helped by his once-dead childhood sweetheart. Genre: Comedy with some dramatic elements. Some of the CGI-heavy moments haven't aged particularly well, but the show has a unique premise and an incredibly talented cast!

Hulu:

Abbott Elementary (2021-?) - This mockumentary series showcases an inner-city elementary school in Philadelphia. The teachers and administration do their best for the kids, but they're constrained by budgets and the limitations of the educational system itself. Genre: Comedy mockumentary. Though Abbott Elementary is fictional, some of the issues brought up are all too real. This is a funny and incisive look at the American public school system.

Amazon Prime:

Fleabag (2016-2019) - The unnamed protagonist of the show struggles through life on her own with limited support from her alienated family and the memories of her recently deceased best friend. Genre: Comedy with lots of dramatic elements. Lots of sexual content and references, some language, breaking the fourth-wall, and several characters you just long to hit. I watched the second season in a single day, that's how good this was.

Unknown Streaming Service:

Black Sails (2014-2017) - This prequel to Treasure Island features elements from the book, original characters, and real pirates from history in a setting that emphasizes realism. Captain Flint and his crew search for a legendary prize... one that might allow them to claim Nassau for their own. Genre: Action and adventure. Think Game of Thrones, but with pirates. Incredibly well-written and well-acted with gorgeous scenery, LGBTQ representation, and just enough historical accuracy to keep things grounded. Black Sails also boasts one of the best endings ever given for a television show.

Like I said, please feel free to reblog and add your own television show recommendations onto this list! There are plenty of things to watch and plenty of ways to support the WGA strike that don't involve giving in to big studios.

[mariacallous]

Mel Brooks, who mocked Adolf Hitler in his 1967 black comedy “The Producers,” has always made the case for satire as a weapon against tyranny.

“You have to bring him down with ridicule,” he told “60 Minutes” in 2001. “It’s been one of my lifelong jobs — to make the world laugh at Adolf Hitler.”

Of course, Hitler was long dead and there were 6 million fewer Jews on the planet when “The Producers” came out. Before and during World War II, satire proved a futile weapon against the Fuhrer: Charlie Chaplin made “The Great Dictator” in 1940, similarly reducing Hitler to a buffoon. But by the time the movie premiered that October, nearly 3 million German troops had smashed into France, Belgium, Luxembourg and the Netherlands.

 The futility of satire was on my mind when, on the Thursday after Election Day, I toured a new exhibit at the Jewish Museum on the Upper East Side in Manhattan. “Draw Them In, Paint Them Out: Trenton Doyle Hancock Confronts Philip Guston” features two artists, one Jewish, one African-American, whose work wrestles with racism, white supremacy and antisemitism. 

Philip Guston, born Phillip Goldstein in Montreal in 1913, was inspired by the ferment of the 1960s to create a series of cartoonish paintings featuring hooded members of the Ku Klux Klan. In these almost cheerful paintings, the frightening avatars of white supremacy look like costumed children out of a Charlie Brown comic (or, more accurately, from “Krazy Kat,” a popular comic strip in Guston’s youth).

“These buffoonish Klansmen still today are a real rebuke, I think, to bigotry in all its forms,” curator Rebecca Shaykin, who organized the exhibit, said at the press opening. “They’re still just so incredibly powerful.”

About a third of the gallery is given over to Guston’s Klan paintings, as well as some of his earlier work. The rest features riotous paintings, cartoons and a film by Hancock, a Texas-born artist who was a child when Guston died in 1980 in upstate Woodstock, New York. Many of Hancock’s paintings directly quote Guston’s Klansmen: They are in painting after painting featuring “Torpedoboy,” a sort of Black superhero who Hancock considers his alter ego. The Klansmen try to lynch Torpedoboy; he fights back with what looks like a watermelon. In one painting, Torpedoboy appears to drive a spike through a Klansman’s head. 

In the exhibition catalog, Hancock describes what attracted him to Guston’s Klan paintings. “I fell in love with the forms, and how he used comedy to take the wind out of the sails of the KKK,” says Hancock. “He helped me understand where I could take” my own characters.”

Whether audiences appreciate the comedy depends on their sensibility; remember, it was decades before “The Producers” lost its “notorious” label and became a beloved institution, at least in its adaptation as a Broadway musical. For some, the Klan paintings by both artists could be triggering. In 2020, at the height of the Black Lives Matter movement, four major museums certainly thought so, and postponed a comprehensive survey of Guston’s work. They explained that “the powerful message of social and racial justice that is at the center of Philip Guston’s work can be more clearly interpreted.” 

When the exhibition did open at the Museum of Fine Arts, Boston in 2022, the museum offered a pamphlet from a trauma specialist and a detour allowing visitors to skip the Klan-themed works. 

The Jewish Museum seems unfazed by that controversy. When I asked Shaykin about it she said the Guston-Hancock show had already been percolating when she learned of the postponement controversy. “It just made it more imperative, I think, that we bring Guston into the present moment and pair him with a contemporary artist,” she said. The only suggestion that images might be controversial is a sign outside the gallery, warning that the exhibit contains “explicit language” and “depictions of violence and lynchings.”

James Snyder, director of the Jewish Museum, also said the exhibit is right for the political moment. 

“We don’t do politics,” he said at the press preview, “but if you think about what happened the other day in the election, and where we actually really need to go, this show could not be more timely.”

What happened, of course, was the election of Donald Trump to a second, non-consecutive term. And if ever there was a rebuke to the power of satire, it is Trump. Trump was a nightly target of nearly all the late-night talk shows, where he was mocked as a racist, a would-be authoritarian, a grifter and a vulgarian. With just a week to go before the election, Jimmy Kimmel made a direct appeal to Republicans to reject Trump, calling him “the exact meeting point between QAnon and QVC.” For years Stephen Colbert wouldn’t even say his name.

Deserved or not, the jokes about Trump didn’t make a dent in his popularity — and perhaps they only added to it. In a recent episode of his podcast, “Revisionist History,” Malcolm Gladwell talks about the “satire paradox”: the idea that satire, by making the targets entertaining, actually makes them more sympathetic. He quotes Jonathan Coe, a British writer who argued in a 2023 essay that “laughter is not just ineffectual as a form of protest, but that it actually replaces protest.”

“Laughter, in a way, is a kind of last resort,” Coe tells Gladwell. “If you’re up against a problem which is completely intractable, if you’re up against a situation for which there is no human solution and never will be, then OK, let’s laugh about it.”

Not that Guston and Hancock are not deadly serious in their aims. The art is provocative and appropriately disturbing. The exhibit suggests that Guston, who changed his name from the identifiably Jewish “Goldstein” in 1935, later felt guilty about abdicating his identity — and as a result felt complicit with the Klansmen who sought to erase both Jews and Black people. “They are self-portraits,” Guston once said of the Klan paintings. “I perceive myself as being behind the hood.”

Hancock’s seemingly humorous works are also working through extremely grim themes. The Klan was active in his hometown of Paris, Texas, and in 2021 a KKK chapter planned a “White Unity Conference” there before it was blocked by the city council. Born in the mid-1970s, Hancock acknowledges in the catalog that he had benefited from the “heavy lifting” done by his elders in the Civil Rights Movement. But as a Black man and Black artist, he couldn’t ignore the legacy of racism. “It wasn’t until I was much older that I started to peel away those layers, or have them peeled away for me,” he says.

That’s why the most effective works in the exhibit aren’t satirical. At all. They include early work by Guston, who already as a teenager was depicting the Klan and lynchings in the social realist style of the day. Nothing about these dark, frightening images is cartoonish or ambiguous.

And perhaps the most arresting work in the show is a video installation by Hancock, showing scenes from the fairgrounds of Paris, Texas, juxtaposed with photographs of the lynching of a Black teenager, Henry Smith, which took place on the same site in 1893. Hundreds gather around the makeshift gallows to watch the execution. They seem to be having a very good time.   

“Draw Them In, Paint Them Out: Trenton Doyle Hancock Confronts Philip Guston” is on view at The Jewish Museum, 1109 Fifth Ave., through March 30, 2025.

[gifpacklove]

PRIVATE COMMISSION #300 gifs of the American actress and dancer Grace Caroline Currey in the American superhero comedy film Shazam! (2019) and Shazam! Fury of the Gods (2023) have been delivered privately to their owner !! if you are interested in commissioning me, feel free to check out the source link below !!

[heavenboy09]

Happy Birthday 🎂 🥳 🎉 🎈 🎁 🎊 To The Most Distinguished & Absolutely Outrageously Humorous Canadian Actor you ever did see. Starring In Countless Funny Comedy Roles as well as Action, Scifi, Horror, Based On True Stories, Animated & Superhero Films. He has pretty much done alot of Genre's

Born On October 23rd, 1976

He is a Canadian and American actor, producer, and businessman. He began his career starring in the Canadian teen soap opera Hillside (1991–1993) and had minor roles before landing the lead role on the sitcom Two Guys and a Girl between 1998 and 2001. Reynolds then starred in a range of films, including the comedies National Lampoon's Van Wilder (2002), Waiting... (2005), and The Proposal (2009), and the superhero films Blade: Trinity (2004), and Green Lantern (2011). He provided voice acting in The Croods franchise (2013–2020) and Turbo (2013).

Reynolds's biggest commercial success came with the superhero films Deadpool (2016), Deadpool 2 (2018), and Deadpool & Wolverine (2024), in which he played the title character. His performance in the first earned him a nomination for a Golden Globe Award. He has also starred in the drama Woman in Gold (2015), the horror film Life (2017), and the action films 6 Underground (2019), Free Guy (2021), and The Adam Project (2022), and voiced Pikachu in Detective Pikachu (2019).

But He Is Probably The Most Sarcastic & Whimsical Actor of Canada 🇨🇦 You Probably will ever know.

Please Give it Up for The Man With A Smart Aleck Mouth

The 1 & Only

Mr. Ryan Reynolds 🇨🇦 Aka Deadpool Ryan Reynolds

#RyanReynolds #GreenLantern #Deadpool

[oswincoleman]

A great new interview with Jenna Coleman about Jackdaw, The Jetty, The Sandman, and her plans for the future!

The Jetty is set to release in September, and she’s currently filming Sandman season 2!

“I feel like I’ve definitely done my time of thrillers and murderers,” Coleman says. “My time of murdering and… thrilling? is done.”

She is on the lookout for “emotionally liberated” characters. “I kind of want someone who’s a bit more immediate, I think. I’ve done a lot of brooding, interior, tense anxiety pieces.” The irony is that the more of these she does, the more of them she’s sent. Why? Because she’s good.

Perhaps she might like to do more comedy? Coleman lights up. “I keep telling my agent I’m really funny. But I don’t think she’s quite taken it on board yet. I would love to do some more comedy. I love dark comedy.”

There was a bit of an “unreality” to the hysterical Comic Con level of recognition she encountered with Doctor Who, and she doesn’t seem itching to chase it.

If there were some kind of superhero call she’d be open to the possibility but acknowledges that it’s often hard to find a sufficiently “complex, nuanced character” in the heightened world of comic-book films – which is why she loves The Sandman, the second series of which she is filming now.

So in Jenna Coleman’s future there may be more theatre, and perhaps there will be more comedy, if her agent can be convinced. If it’s Geordie, American, Welsh or regal you want, look no further. She can wear a crown, she can fire a gun. She can do it all. She’s made it, and it was always inevitable.

[callmebrycelee]

MY MAN CRUSH MONDAY IS...BRETT GOLDSTEIN

FULL NAME: Brett Goldstein

DATE OF BIRTH: July 17, 1980

PLACE OF BIRTH: London, England

AGE: 43

SIGN: Cancer

BEST KNOWN FOR: Portraying Roy Kent in the American sports comedy-drama television series Ted Lasso; Hercules in the MCU superhero film Thor: Love and Thunder. In addition to being an actor, Brett is also a comedian, writer, producer, and podcaster.

HEIGHT: 5 feet and 11 inches tall

[wonderfulworldofmichaelford]

Michael in the Mainstream: Top 100 Movies #75 - #51

Here is part 2, a follow up to the previous part! Let's not waste any time here, no need for a big ass intro for the second quarter:

75. Blue Velvet

This is weirdly one of David Lynch’s most straightforward works and yet is still one of his best ever. It’s a dark, seedy thriller that has the single best Dennis Hopper performance of all time—and this is a man with no shortage of great performances.

74. Wet Hot American Summer

I love comedies that are just a random collection of the funniest possible people you can think of doing gags, and that's exactly what this cult classic is. It’s hard for me to decide what’s funnier between Paul Rudd tossing children out of moving vehicles or H. Jon Benjamin portraying a talking can of mixed vegetables.

73. The Hunchback of Notre Dame

Easily one of the darkest films in Disney’s entire filmography, something that helps it stand out and shine. Yes, it isn’t a perfect film—the gargoyles can be extremely grating as I’m sure you know, though I’m a lot more forgiving than most because I just love hearing Jason Alexander’s voice—but I think the rest of the movie is so exceptional it makes the bad bits easier to swallow. Tony Jay’s performance as Frollo helps solidify him as one of the greatest and most depraved Disney villains ever. The dude is both horny and genocidal, a feat only matched by Thanos.

72. Jaws

The original summer blockbuster, and one of my favorite thrill rides since I was a teen. The sparing use of the shark really helps build the suspense like nothing else, and that opening is still utterly terrifying due to how chillingly plausible such a thing could be. This is an adaptation that is leagues better than what it’s adapting; muchlike the shark at the end, the movie blows Benchley’s novel out of the water.

71. Glass Onion

I think I may be a lunatic, because I genuinely prefer Glass Onion to Knives Out. Yes, the mystery is far less clever here mainly because the murders are caused by an egotistical idiot with no common sense. And yes, the comedy is amped up in this one. But these are all things that make me love it more. You’ve got Edward Norton playing a self-righteous pastiche of Elon Musk, which makes it so satisfying to see him flounder, and then you have the rest of the core cast portrayed by heavy hitters like Kathryn Hahn and Dave Bautista as well as a shockingly impressive turn as the co-lead alongside Daniel Craig from singer Jenelle Monae. In a world where obnoxious billionaires and other rich assholes are constantly getting away with crimes they’re flagrantly flaunting, it’s nice to see a character who resembles the worst of that group get what’s coming to him.

70. Holes

It is genuinely astonishing just how faithful to the book this movie is. Stanley being skinny is the most notable change, with everything else being just as it was in the novel. The Kissing Kate Barlow backstory segments are easily the best part, but the whole movie is a fun hunt movie with a delicious villain performance courtesy of Sigourney Weaver. This movie is as sweet as a peach and as savory as an onion.

69. Unbreakable

Forget The Sixth Sense (or don’t because that’s still a classic), this is M. Night’s magnum opus. The man completely deconstructed the superhero movie genre before it was even a thing, and he got Bruce Willis to give a performance second only to his role as John McClane in my humble opinion. Plus that final twist… Hoo boy. It’s honestly impressive that it hasn’t been as spoiled to Hell and back as The Sixth Sense’s twist, but that’s just a sign that this movie needs to be experienced for yourself.

68. Candyman

An epic meditation on the nature of urban myth with amazing atmosphere and a haunting score, all from the mind of horror master Clive Barker. Tony Todd plays horror’s sexiest supernatural slasher, which is all the more impressive when he is covered with thousands of live bees and yet still somehow oozes seductiveness.

67. The Goonies

80s kid adventure movies never got better than this one. There’s such a sweet, cheesy earnestness to the proceedings here; this is such an unbelievably goofy premise, but it’s played so straight that I can’t help but love it. All of the child actors here feel fun and natural, with Jeff Cohen’s Chunk easily stealing the show with his antics, but I’d also like to highlight Anne Ramsey as Ma Fratelli. She’s such a delightfully nasty villain, and she plays it with such conviction.

66. The Truman Show

Jim Carrey is a fantastic comedic actor. Everyone knew that back in the day. What many didn’t realize was that the man could deliver one of the most heartfelt and powerful dramatic performances you’ll ever see, all with a light comedic touch to pull it all together. I will say that if he deserved an Oscar for anything, it would be Eternal Sunshine, but this movie is far more enjoyable in my opinion. The movie was also scarily prescient in its vision of a future where every moment of a person’s life is recorded for the entertainment of others, to the point where this can almost be considered a horror film.

65. The Crow

A Gothic supernatural superhero story about revenge, a film that is sadly trapped in the shadow of the tragic on-set accident that claimed the life of its star Brandon Lee. It really is sad watching this, imagining the career his immense talent and charisma would have so easily given him, but it’s also awesome because this film kicks so much ass that it’s unreal. Considering I’m literally writing an urban Gothic horror fantasy series as we speak, it should come as no surprise that this movie is one of my favorites (as well as a minor inspiration).

64. The Lego Movie

When you put actual effort into your toy commercial, people will actually forget it’s supposed to be a toy commercial. And boy, did they go the extra mile with this one! This is animated so brilliantly it really emulates stop-motion, just with more polish. And where the sudden transition to he real world in the third act could have easily derailed the movie, it leads to a really powerful, heartfelt emotional reconciliation that ties the whole film together. The plot may be your standard family film adventure, but it just goes to show with enough skill (and Batman) you can do any plot really well.

63. Whiplash

I’ve called this one of the scariest horror movies in recent memory, and I stand by it. This is a movie where an abusive man in a position of power slowly erodes the willpower and self-esteem of a young man and drives him more and more insane in his never-ending chase of perfection. It’s far more chilling than any masked lunatic butchering girls for sick thrills.

62. Halloween

Ok, well, almost more chilling. John Carpenter is just that damn good at it… Though, to be fair, this movie basically invented the tropes the genre would later run into the ground. As far as slashers go, this is still one of the few that genuinely feels like more than just a showcase of gore and sex, and it’s also the last time for several decades that Michael Meyers truly felt like the unknowable, evil Shape.

61. Deadpool

You can say whatever you want about Ryan Reynolds, but you can never convince me he is not passionate to the character of Deadpool to a degree most superstars aren’t these days. Think about how Craig hated being Bond (I do not blame him); it’s just nice there’s a guy who not only adores the role he plays to the point he practically lives the role, but also worked tirelessly to ensure the character was brought to life properly on the big screen. As far as a straight Deadpool film goes, this is easily my favorite.

60. Spider-Man

Sam Raimi came out the gate swinging with his first shot at Spidey. Equal parts heart and cheese, just like a classic comic, this is as good of a Spidey origin as we could see on the big screen. As much as I love Spidey though, it’s Dafoe’s Green Goblin and J.K. Simmons’ JJJ who really steal the show here.

59. Who Framed Roger Rabbit

Forget Endgame. Forget Super Smash Bros. This right here is the single most ambitious crossover of all time. Bugs goddamn Bunny and Mickey motherfucking Mouse share a screen together; we are never gonna see something of this magnitude ever again. But let’s not pretend like the crossover part is the only reason I love this film; being a perfect blend of film noir and classic cartoon silliness is what really makes this the stone-cold classic that it is.

58. Army of Darkness

Ditching horror for comedic fantasy seems like a bad move for anyone else, but no one else is Sam Raimi. This is the movie that codified Ash Williams as one of my favorite heroes ever, solidifying his status as a snarky, quip-spouting badass who wields a boomstick and chainsaw with equal finesse.

57. The Shining

This is proof that sometimes being pragmatic when it comes to adapting novels. Maybe it isn’t the most faithful to King’s vision, but when you get one of the most atmospheric horror films ever made complete with an amazing soundtrack and career-defining performances from Jack Nicholson and Shelley Duvall, it’s hard to be too mad that they left King at the wayside so Kubrick could do his thing.

56. Spider-Man 2

This movie has a reputation as one of the greatest action films ever made. And, well, have you seen that fucking train fight? I love Raimi’s Spider-Man trilogy a lot, but it is undeniable that this is where everything came together. Peter’s struggles in this film are more relatable than ever, Molina’s Doc Ock is sinister and tragic in equal measure… As far as Spider-Man in live action goes, this is as amazing as it gets. Guess when Doc Ock and Spidey collide it always results in a superior Spider-Man, eh? Eh?

55. Avengers: Infinity War

I think the reason Endgame gets a lot of flak for feeling more like an event than an actual movie is because it is following up an actual movie that is also an event. This is The Empire Strikes Back of superhero films, an epic step forward for the story that ends in a crushing defeat. Thanos picks up the pace after almost a decade of slack and effortlessly cements himself as one of the superhero movie genre’s greatest villains, in no small part to Josh Brolin’s compelling performance. It’s fun, funny, exciting, sad… It was always gonna be an uphill battle for Endgame to live up to this one.

54. A Nightmare on Elm Street

I always go back and forth over which between the first and third one is my favorite, because both are excellent slashers in their own right. It really depends on what day you ask me, really. Still, if we’re talking about which of the movies is actually genuinely chilling, the one where Freddy’s at his scariest, it is hands down this one. This is before he became more of a quipster, so he’s just a nasty fucking freak with a dark sense of humor here. What really gives this movie an edge, though, is you get to see Johnny Depp brutally murdered in a giant geyser of blood.

53. House

Surreal, trippy, dream-like horror films are totally my jam, and this is one that stuck with me ever since I saw it. It’s so strange and inventive, so batshit insane, so fucking cool! It also has the scariest piano this side of Super Mario 64 (that thing has to be an homage to this film).

52. Freddy Got Fingered

This movie is not simply “so bad, it’s good;” no, this movie is so bad, it’s art. Only an absolute genius troll of the highest order could create something that defies every bit of logic and crosses every single boundary to such a degree as this film. Tom Green absolutely knew what he was doing, and by god did he succeed beyond his wildest dreams! I didn’t get this film the first time I saw it, but boy do I get it now.

51. The Lord of the Rings: The Two Towers

The middle film in a trilogy is always the hardest one to stick the landing on I feel. You make one misstep and no one’s coming back for the third one, you know? This movie does not have that problem at all. It starts with the full Gandalf vs. Balrog fight, it has Legolas deliver his world-famous line about where they’re taking the hobbits, it has Viggo Mortensen kicking that helmet (DID YOU KNOW HE BROKE HIS TOE FOR REAL? BET YOU NEVER HEARD THAT ONE), it has Treebeard, it has the epic battle of Helm’s Deep, it has dwarf tossing, it has it all! But most importantly, it has one of the best characters ever: Gollum. Andy Serkis as Middle Earth’s resident split personality crackhead is one of the most compelling characters in a movie that is genuinely stuffed with compelling characters. How he didn’t get an Oscar for this I’ll never know.

[xabiramone]

Happy birthday to Jennifer Lynn Connelly (born December 12, 1970) is an American actress who began her career as a child model. She appeared in magazine, newspaper, and television advertising, before she made her film acting debut in the crime film Once Upon a Time in America (1984). Connelly continued modeling and acting, starring in a number of films, including the horror film Phenomena (1985), the musical fantasy film Labyrinth (1986), the romantic comedy Career Opportunities (1991), and the period superhero film The Rocketeer (1991). She gained critical acclaim for her work in the science fiction film Dark City (1998) and for playing a drug addict in Darren Aronofsky's 2000 drama Requiem for a Dream.🎂

[retrotariotr]

Scooby-Doo! & Batman: The Brave and the Bold is a 2018 American animated direct-to-video superhero action comedy film produced by Warner Bros. Animation and distributed by Warner Bros. Home Entertainment, and the thirtieth entry in the direct-to-video series of Scooby-Doo films. The film is a crossover between Scooby-Doo and Batman: The Brave and the Bold.  The film involves Scooby-Doo and his friends teaming with Batman and other DC Comics superheroes in order to defeat a new villain. It is the first media based on Batman: The Brave and the Bold since the series ended in 2011. Most of the cast from the series reprised their roles (including Diedrich Bader as Batman) although a few roles were re-cast with other actors from different DC projects.

[tenjad129]

Now, about the movie epic of my dreams...

Well, considering that I'm always working hard or even trying to draw all kinds of inspirations from both art and life and fashioned any of them all into some lifelong dream movie epic of mine, there may also be three big major influences -- in addition to my actual life and childhood experiences and especially my love of the mighty Mesozoic beasts of prehistoric times called dinosaurs -- that might bear down on the research and development, writing, and especially the making of the movie epic of my lifelong dreams, which I'm trying to work on in any way, shape, form and means imaginable either since I was in high school or even since I was a little kid:

And, those three films that I'm talking about and in question may well be Steven Spielberg, Phil Nibbelink and Simon Wells' wacky and enjoyable comedy western, An American Tail: Fievel Goes West (1991), Cartoon Network and Genndy Tartakovsky's 1999 one hour made for television animated feature film Dexter's Laboratory: Ego Trip (TV, 1999) and James Cameron's 3-D CGI-laden science fiction epic blockbuster, AVATAR (2009), respectively.

Now, it might always and forever be very incredibly dangerous for even someone like you to read one's movies, artwork, writing, etc. especially such as mine's, in a much more biographical light, and even most fiction narrative films are, after all, just that: they're all fictions!

And yet, if I were to even pull off my dream movie epic very successfully, then whoever I truly am as a person, and especially my most authentic stuff, might hopefully come out, believe it or not, if and when I ever make or direct or even write a movie of my dreams and to my very specific liking. The film of my dreams that I really wanted to make, write, and/or direct far along, after all, may not be a small low budget indie art house film, and especially a rough and profane R-Rated one like 1994's Clerks or a comic book-derived superhero epic movie like 2012's The Avengers or 2008's earlier The Dark Knight or let alone, a modern horror film like 2017's Get Out or even a gross out R-Rated comedy like 2007's Superbad. And all those may not be who I really am.

And whatever ultimate title, shape and form that my dream movie epic will assume in the end, and that most especially includes 'Planet of the Toons', it is going to be about people, young or otherwise old, and of real living flesh and blood or even fantastic beings made out of living cartoon ink and paint (as in the living (car)toons of the world of Who Framed Roger Rabbit), especially like these six cartoon characters above, who have to go on a great adventure of some sort in order to save the day as far as the things and fellow beings and creatures that he or she loved or cherished so much.

And even if my movies could ever reflect my own views, or even if the movies could ever reflect on them in turn, then either way is always fine with me.

I mean, many of my dream movie ideas and concepts are supposed to be adventure stories or even hero's journey narratives, especially of a bizarre or unusual sort or something, and filled with a sense of fantasy and wonder that's never been seen since or even outside of the original three Star Wars films from 1977 to 1983, maybe, but most especially the first 1977 Star Wars and its 1980 sequel The Empire Strikes Back, and so I never even made a secret about my affection towards older films, from Disney's 1937 Snow White and the Seven Dwarfs and MGM's 1939 The Wizard of Oz all the way up to James Cameron's AVATAR movie from 2009.

After all, I really would love to one day see, and I especially would one day love to see get made or funded or written down on some paper somewhere, a movie, and especially an epic movie, or even a happily ever after kind of epic, where any or everybody on the side of good and light and love -- even a walking, talking, and cute hand drawn 2d animated cartoon mouse, rabbit, bird, cat, or dog -- prevails against those on the side of evil and darkness and tyranny -- and especially against the dreaded and fearsome evil forces of a jealous and tyrannical hand drawn 2d animated cartoon nerd like the Mandark as he appears in Dexter's Laboratory's Ego Trip television special.

Now, my typical human hero, most often a young man or even a teenage boy, the latter type of whom ostensibly prefers trying to attract the opposite sex (and very attractive teenage girls, in particular) or perhaps even seeking out absolutely nothing but sex, drugs, alcohol, or especially property destruction or damage (all of which just so happened to be the very timeless classic staples of many a typical teen comedy movie, anyway), is summoned to a special world and to embark on a great adventure of his life, when, especially in the form of a very long distance outer space phone call paid to him by both a heroic cartoon cowboy mouse (as in the Fievel Goes West version of Fievel Mousekewitz himself) and a very lovely and very beautifully pretty saloon girl mouse (as in the Fievel Goes West version of Fievel's sister Tanya Mousekewitz as she is seen and voiced in that AAT:FGW movie by Cathy Cavadini of the Powerpuff Girls fame) on another Earth-like world or something, invites him and two other real human beings over to help them and their ally, a short, immortal being that bears a striking resemblance to a certain 90s cartoon boy genius, wrest back control of the latter being's ancient prized invention (which enables its user to control the entire universe for good or for evil) from a dreaded and fearsome Dark Lord being that also, in turn, bears a very striking resemblance to a certain bitter, jealous and tyrannical rival cartoon kid nerd to said certain cartoon boy scientist, and who had gain control of the boy genius' ideas, concepts and inventions long, long ago when said special world was still young.

Each plot just like this should create some situation in which a heraldic call to adventure is virtually demanded for the receiver of the call to either accept or refuse, with little or no apology necessary.

Now, Luke Skywalker of the 1977 Star Wars movie fame usually needed a whole lot of training and guidance from both Jedi Knight and Clone Wars veteran Obi Wan "Ben" Kenobi as well as The Empire Strikes Back's Jedi Master Yoda in order for Luke himself to become a Jedi Knight just like his dad (who later turned out to be Anakin Skywalker, aka Darth Vader, in the aforementioned Empire Strikes Back and by the end of 1983's Return of the Jedi) before him, or perhaps or maybe not all of the characters that I am writing about or am currently attempting to write about; maybe all that any, or even some, of my characters that I'm trying to write about may want is some kind of excuse for them to embark on some great adventure in that very great big huge somewhere out there, even if it turn out to be another planet just like Earth but many light years away from our Earth in outer space, and to save the day from surely utter disruption, and some of the excuses may abound:

Somewhere in my story treatment still in progress so far (as of late) for the epic of the Planet of the Toons, to give you just one example, the Fievel Goes West version of Tanya may have just fulfilled her quest not just for show business, but also to sing a song or two to the whole, entire world (of Ten'Jad, by the way) at large when she gets to sing one song to a saloon packed full of hungry cartoon cats, and maybe when her own brother, Fievel the cowboy mouse, tries to get his pretty and lovely saloon show girl mouse sister out of the saloon, having escaped being eaten by an outlaw spider man thing named T.R. Chula, maybe Tanya might be very kind enough for herself and Fievel to seek out and call up the full sized human ally of their shared dreams who, according to the prophecy in my movie ideas, they will join forces with to help the local residential (and maybe immortal) boy scientist Dexter (of Dexter's Laboratory fame) end the long reign of terror of the boy genius' wicked rival and Ten'Jad's local and residential Dark Lord, Mandark (of Dexter's Laboratory's Ego Trip television special infamy) in order for Dexter to also wrest back control of his long ago prized invention from his rival...and sure enough, the two cute heroic cowboy and pretty saloon girl brother and sister mice will finally find one that wil lcome in the name, shape and form of a teenage boy from Earth named David Joseph Zarus, who in my story lives in a similar kind of place to the one that this writer grew up in (i.e., near the outskirts of Annapolis in Anne Arundel County, Maryland, USA).

Anyway, as far as the dark corners of the internet and/or especially, some fans and professionals in the animation and/or film entertainment industries or communities are really concerned, the situation may be much more complicated, and my current one from the heart dream movie epic story/idea/concept/project, Planet of the Toons, may play a key role even if it ever get written down, developed, produced, made or funded, especially. For if any of you, and anybody still interested, especially those outside the internet, just happen to read my story treatment one day, especially if it's about what takes place when the three astronauts and their pet animal mascot join forces with the three cute boy and girl mice (Fievel, Tanya and Yasha Mousekewitz), the rascally rabbit (Bugs Bunny), the greedy crazy bird (Daffy Duck) and the immortal or so little boy genius-like being (Dexter) on a questing journey to ensure that one of the astronauts (David Zarus) and two of the boy and girl mice (Fievel and Tanya Mousekewitz) fulfill an ancient, local prophecy stating that the two mice and one full sized young human guy from the stars team up to do away with the evil reign of terror of a certain wicked rival cartoon kid-like nerd (Mandark) of a certain little cartoon boy-like scientist (Dexter)'s and save the planet and the universe, it's going to be, hopefully, one of the greatest and most extraordinary adventure stories that ever will be put between the covers of a book or especially between the first and last reels of a full-length feature film. And maybe I am still fixated on the methodology of how to make a paying and moviegoing audience feel immersed in the same kind of great adventure that these three humans and these assorted walking, talking and cute cartoon boy and girl mice, rabbit, duck, and boy genius-like being are going through on another Earth-like planet as they journey to the faraway castle of the latter's rival to do away with Dexter's rival's crooked evil and treachery. So all this really isn't going to be about 'I want to vex the professional worlds of film and animation, and especially to vex the world of the internet to the point of all three worlds banding together to try to very brutally suppress or even censor my efforts or especially my works of art,' and I just don't think I ever intended to make something extremely controversial at all, even if I may not very much be prepared for just any uproarious reaction to my work and ideas and concepts.

And gee, talk about possibly wandering blindfolded into a very incredibly dangerously live minefield! And even if it is that true, then, maybe I may have been preternaturally naïve and behaving nothing more or less better than some arrested kind of adolescent child breathtakingly trying to ignore or be breathtakingly ignorant of the whole, entire world around me at large, when all around me and my family will be all chaos and fire all over again!

And either I may succeed above and beyond anyone's wildest dreams and mine's, or else. I may otherwise succeed all too well in bringing that very great and extraordinary adventure on the faraway planet of the toons to life on the big screen (or especially in IMAX or something), depending on one's view: either way, I may turn the rivalry between the two cartoon child scientists Dexter and Mandark, both past and future, as depicted in the Dexter's Laboratory: Ego Trip television special plus especially the real world plight of Fievel's own mouse family, The Mousekewitzes of Don Bluth and Steven Spielberg's American Tail and Amblimation's Fievel Goes West fame, into a more timeless and classic and epic struggle of good versus evil set on another planet just like our Earth that would have given the likes of James Cameron, George Lucas, or even J.R.R. Tolkien, a run for their money, especiall,y while also doing my best in avoiding, deleting, or even eliminating most any references to the Fievel Mousekewitz character's real world struggles and plight, his religious faith and heritage, his social class status, and/or especially the Fievel character's native and adopted cinematic homelands on our Earth (which may be unsurprising given recent turbulent events involving many parts of our world as of late and which may lead to the impending decline, fall, destruction, collapse, ruin and very calamitous end of U.S. American history and civilization, thereby affecting Western civilization and Western world history in turn in the very long run), thereby locating the worlds of Fievel and his friends and fellow mice and especially that of Daffy Duck and Bugs Bunny and Elmer Fudd and even that of Dexter, Mandark and Dee Dee safely in the world of Ten'Jad, a fictional, distant and faraway planet that'll be just like our Earth, complete with woodland forests,. a warm-cold or temperate climate and naturally breathable air (thankdully for us humans coming from Earth, especially), but lit by two suns by day and one moon by night and by virtue of being many light years far away from our planet. For example, in my Planet of the Toons treatment somewhere, the reason why the Mousekewitz family and young Fievel moves to a faraway free land among a free people (America on our Earth; Icamer on Ten'Jad) may be Fievel's house getting burned down not in a hate-based move or in an anti-Semitic pogrom, but in some rampaging fire-breathing dragon attack, and also because the chief villain, Mandark, tries to seek a way to quash a prophecy that will see Fievel and Tanya team up with a human from across the stars to stop him and bring down his evil empire!

Now, in the show Dexter's Laboratory, Mandark is usually Dexter's rival neighbor, but in my whole run of stories or story ideas and concepts, especially Planet of the Toons, he can basically be like the Dark Lord, Sauron, the mostly absent title villain in The Lord of the Rings -- and complete with a volcanic lair, even though the irony may be that all of this may well be sort of possible in canon because of the cartoon show's very fantastical nature.

But speaking of very literal evil toons besides such villains as Mandark himself, anyway, here is an 13-second edit of the infamous Coachman character from Walt Disney's 1940 magnum opus Pinocchio hissing very evilly that any of those boys going to some spooky place such as Pleasure Island will "never come back as BOYS!", only instead showing the character's best scary face (for fear of causing any more nightmares), I had Elmer Fudd, Fievel and Tanya Mousekewitz as well as Honest John the Fox and Gideon the Cat beholding the Coachman turning himself into Samurai Jack's even more demonic enemy Aku:

Anyway, even if my dream work on Planet of the Toons may attract the notorious attention of the dark corners of the internet, I am still subject to criticism, constructive or otherwise, as a storyteller, criticism as an artist, criticism as an American, and even criticism as a person, and I will forgive them all, but as far as the internet trying to make me some weird online cult wacko like Chris Chan (whom I may have heard about before, whom I'd still rather condemn for their beastly and monstrous behavior, and who had a very constant series of run ins with the rule of law and with many authorities throughout their life!), enough is ENOUGH! All I have to do otherwise is go and pray.

Maybe in the foreseeable future, one of the first things I'll ever do when everything's all said and done about my Planet of the Toons movie epic thing one of these days is to call anyone interested or even especially any of those among the film and animation industry professionals and say "look, I know you're super sensitive to things that you perceive may deviate from the source material -- because that person among the film and animation industry professionals or even an internet user may be railing to me or you about this and that deviating too much from the source -- but please watch it and give me notes or something." And maybe I shall actively try to get people, especially film and animation industry professionals, to tell me if anything deviates, however too much, from the source material, but what I don't like is people trying to suppress and censor me and my works of art, and all of that will rile me up otherwise!

Anyway, I don't think anyone on the internet should really seem to know what really, ultimately makes me tick, especially as a person, but anyway, all roads for me could lead all the way back to my parents and to my family. And I'm very much a product of my mom and dad and a literal human mutt, granted I have Scottish, English, German, and/or even Eastern European ancestors on my dad's and my mom's sides. Now, we love our parents, and they can do no wrong, and if they teach us either lies and/or truths, it either begets a tremendous conflict and/or even a tremendous boon in our lives.

And finally, last but not least, if even you delve into all that, you'll still learn a lot of things about me, especially.

That's all, folks! So as to quote Porky Pig.

P.S. Since Christmas is coming, I'll leave all of you with a very special Christmas card from the Planet of the Toons featuring An American Tail's Fievel Mousekewitz, Tanya Mousekewitz and Yasha Mousekewitz (or raather specifically, the Fievel Goes West incarnations of all three cartoon boy and girl mice), Bugs Bunny and Daffy Duck of Looney Tunes fame, and the Dexter the Boy Genius from Dexter's Laboratory, despite Dexter ending up being a very naughty boy as demonstrated in the notorious Dexter's Laboratory Christmas episode, 1998's Dexter vs. Santa's Claws as well as a surprised but very happy real kid, all below this post for your very own Yuletide holiday festive enjoyment:

[k-i-l-l-e-r-b-e-e-6-9]

The Mask (1994) directed by Chuck Russell

[kwebtv]

Character Actor

Paul Smith ( February 5, 1929 – March 3, 2006 ) Comic character actor with a perpetually perplexed or, alternatively, bemused expression, who, during the 1950s, 1960s, 1970s and early 1980s, appeared in scores of television episodes, primarily sitcoms, including regular roles in five series, and was also seen in numerous theatrical features, television films and commercials, frequently in brief, sometimes unbilled, comedic bits. Best known for The Doris Day Show (1969-1971).

Smith was in 24 television episodes during the 1950′s encompassing eighteen series, from 1955's The Halls of Ivy, Navy Log and The 20th Century Fox Hour to 1959's Dinah Shore Show, in addition to a regular role on the 1959 sitcom Fibber McGee and Molly.

Seen in episodes of thirty series, starting, in 1960, with Johnny Midnight, Markham, Checkmate and Thriller, and ending in 1969 with Ironside and Adam-12, he was also a cast member in four sitcoms, among those series, and a semi-regular on a fifth, ABC's Bewitched, where, between 1966 and 1972, he appeared in nine episodes, usually playing a befuddled or exasperated cop who is flummoxed by the magical witchcraft of Samantha (Elizabeth Montgomery). The size of his roles was mostly small and he did not even receive billing in the credits of some of his TV installments.

Smith's earliest 1960s sitcom was CBS' Mrs. G. Goes to College, which marked Gertrude Berg's return to series TV in October 1961, after having portrayed a character, coincidentally also named "Molly", Molly Goldberg, on her long-running ethnic family sitcom, The Goldbergs, which predated the McGees' Molly by six years, having begun on radio in 1929, moved to CBS television in 1949 and ended in 1956. The plot centers around Sarah Green, a widow in her early sixties, who decides to acquire higher education, matriculates in her hometown college and interacts with, among others, her Cambridge University exchange professor (Cedric Hardwicke) and next-door neighbor George Howell, a character analogous to Smith's Roy Norris from Fibber McGee and Molly, replete with a no-nonsense wife (Aneta Corsaut).

Three years following Mrs. G. and, after having spent a couple of 1963 episodes playing Commander Carter in the World War II-set military sitcom McHale's Navy, Paul Smith was back in uniform as a clueless captain at Andrews Airforce Base, during peacetime, in No Time for Sergeants, his third regular role on a sitcom.   Over a year of guest shots passed before Paul Smith was cast as a regular in another sitcom, his second on CBS and, again, on Monday night. The superhero spoof, Mr. Terrific.

Two more years of guest appearances followed, with Paul Smith eventually cast in The Doris Day Show, his final, and longest-running, sitcom, seen, as in the case of his two previous shows, Monday nights on CBS.   After departing Doris Day in 1971, in his last eleven years in front of the cameras, Smith had small roles in a couple of made-for-TV movies and five appearances on segments of the ABC comedy anthology series Love, American Style.   (Wikipedia)

[popentertainment-moviereviews]

JOKER: FOLIE Á DEUX (2024)

Starring Joaquin Phoenix, Lady Gaga, Brendan Gleeson, Catherine Keener, Zazie Beetz, Harry Lawtey, Steve Coogan, Ken Leung, Bill Smitrovich, Jacob Lofland, Leigh Gill, Sharon Washington, Gattlin Griffith, Mac Brandt, Tim Dillon, George Carroll, Mike Houston, John Lacy, Sam Wren Vincent, Troy Metcalf, Jimmy Walker Jr., G.L. McQueary and Brian Donahue.

Screenplay by Scott Silver & Todd Phillips.

Directed by Todd Phillips.

Distributed by Warner Bros. Pictures. 138 minutes. Rated R.

I know I’m kind of in the minority on this point, but I can’t even start to tell you how much I hated Todd Phillips’ 2019 movie Joker.

Five years later, here comes the follow-up, and it’s like Phillips said to himself: Hmm… how can we make this story even more annoying? I know! Let’s make it a musical. Better yet, let’s not even completely commit fully to the genre and make it sort of a stealth musical. The cast will start singing inappropriately, but mostly in a relatively subdued manner. None of the other trappings of the style – the dancing, the frenetic movement, the wild visuals, the boisterous chorus lines – need to be used. And we won’t even write our own music, we’ll just dust off some 60s and 70s pop songs and overly familiar standards from the Great American Songbook.

On the plus side, this time around, I don’t think I’ll be all that lonely in hating Joker: Folie à Deux. Because I really, really did hate it. If possible, this sequel is even more unbearable than the original. Imagine that.

I can’t imagine anyone actually liking Joker: Folie à Deux – then again, I felt that way about the first one, too, so maybe I’m not the best judge. Nonetheless, early buzz on the sequel seems pretty negative, so hopefully it’s not just me.

I take no joy in saying that. I actually was rather looking forward to the original Joker movie until I saw it. Because the truth is, Batman is a relatively dull superhero, but the one thing he always did have going for himself were the best villains. And a movie about arguably the most interesting of Batman’s villains could be amazing.

It’s just not this series.

At least the first Joker had something of a storyline. Granted, it was a pretty blatant rip-off of Martin Scorsese’s 1983 cult favorite The King of Comedy – they even cast that film’s star Robert De Niro in a major supporting role to make the connection even more obvious – but it was something of a plot.

Joker: Folie à Deux, on the other hand, is nearly two and a half hours (!!!) of Arthur Fleck (Joaquin Phoenix) being psychoanalyzed and mistreated in an insane asylum. (Like we didn’t know he was mentally deranged from the first time he appeared on screen in the first film.) Then it switches to being a courtroom drama about Arthur’s criminal trial for the mayhem he committed in the first film, although it plays out like an episode of Law & Order: Super Villains Unit.

While in the asylum, he meets his one true love, Lee Quinzel, who becomes Harley Quinn. (Of course, in the first Joker movie, Arthur imagined Zazie Beetz’ character – who reappears here as a witness for the prosecution – was his one true love, so Arthur isn’t too reliable in matters of the heart.) Lady Gaga is okay, if way too subdued, as the future Harley. She certainly won’t make anyone forget Margot Robbie’s powerhouse performances in the same role.

My biggest problem with Joker: Folie à Deux is the same as my problem with the first film. In both of these films, the Joker is played as a sad, pathetic, miserable loser who has life take a massive dump on him throughout the entire running time. Is this really supposed to be the guy who is going to be Batman’s greatest nemesis?

At least in the original film, Arthur eventually snapped and went on a violent killing spree, which was not a great, moral or relatable storyline, but at least he did something. In Folie à Deux, any violence or mayhem which he commits is mostly done in fantasy sequences, which just makes him seem even sadder and more impotent in real life.

After it was over, someone who apparently enjoyed the movie much more than I did tried to convince me that Folie à Deux is a movie that shows the depths a man will go to for love. However, his relationship with Lee is so dysfunctional, so toxic, so driven by mania, that it’s hard to root for a happy ever after for these two crazy kids. They – and the world – are probably better off with them separate. We know that is not the case from the comics, although the ending does put that in doubt.

As I said in the original review five years ago, Joker has been known to inspire many complicated emotional reactions. Pity has never really been one of them.

However, even more than I pitied the Joker in these two movies, I mostly pity myself because I have now wasted about four and a half hours of my life watching this sad saga.

Jay S. Jacobs

Copyright ©2024 PopEntertainment.com. All rights reserved. Posted: October 3, 2024.

[scratchybongvt]

Vinitom reacts to fanfiction about themselves

Writer’s note: Don’t worry, Sidemascots season 1 auditions is still in progress and will release later today.

No offense to any of the creators of all of the stories mentioned intended. All stories are real and sourced from Idea Wiki

Intro

Tom: What are we doing exactly, Vini?

Vinicius: Well, since we’re reunited, someone asked us to react horribly to some fanfiction loyal mascot lords made for us.

Tom: Are they actually horrible?

Vinicius: I don’t know, let’s go through this together, maybe we’ll find some good ones there.

Tom: Well, time for Episode 33 proposals then.

Vinicius and Tom: Heroes of Nature

Vinicius: Heroes of Nature? I’m smelling false information here.

Tom: Why?

Vinicius: We did absolutely nothing to save everyone in our lives and someone pretends that we did.

Tom: Come on Vini, they don’t know much of our personal stuff after all. Let’s see…

“Vinicius and Tom: Heroes of Nature (Portuguese: Vinícius e Tom: Heróis da Natureza) is an upcoming 2024 American-Brazilian computer animated sports comedy action and superhero film, produced by Walt Disney Animation Studios and 20th Century Animation in collaboration with Birdo Studio, and distributed by Walt Disney Studios Motion Pictures. The film is based on the 2016 Olympic and Paralympic mascots and was created to maintain legacy of the 2016 Summer Olympics and 2016 Summer Paralympics.”

Vinicius: Disney? I’d rather choose being milked by Warner Bros.!

Tom: Come on, what do they know?

Vinicius: Point taken. Go on Tom.

Tom: Ahem…

“Set a few days after the events of Paris 2024: The Olympic Quest, Vinicus goes back to Rio de Janeiro to meet up with Tom in the Barra Olympic Park, their home. They had nothing to do due to the Olympics being over 8 years ago, so they played sports there and enjoyed their lifes in Rio de Janeiro. However, in the Tijuca forest, a group of criminals were chopping off the trees and killing the animals in there. When they heard the news, Vinicus and Tom were ready for their next adventure.”

Vinicius: I expect better.

Tom: Really?

Vinicius: This is what happens when Disney hires a bunch of amateurs, they can’t even spelled my name right!

Tom: At least it has a creative beginning.

Vinicius: And a terrible ending.

Tom: to the movie or the passage above?

Vinicius: The passage above.

Tom: Point taken.

Vinicius: What’s this? A few days after Paris 2024: The Olympic Quest?

Tom: Let’s see… oh my, no article found!

Vinicius: I’m having a feeling that the rest of the articles are as lazy as this.

Tom: hm.

Vinicius: What the? Near-swearing? Off-screen killing? Death scenes? PG-13?! What WERE they thinking?

Tom: uhhh… they can explain.

Vinicius: I’m gonna contact the contributors of this idea ASAP.

Tom: Do you know they’re all children?

Vinicius: exactly.

Tom: and?

Vinicius:…

Vinicius and Tom: Adventures in Rio

Vinicius: Oh wow, they really were like “32 episodes? Why not 10 seasons?”

Tom: Yeah the idea might get out of hand.

Vinicius: At least we’re being milked by Cartoon Network which was way better than the last one.

Tom: Fair point.

Vinicius: What’s this? I have Aura Body and Wing Manifestation in season 2? Some lorekeeper of this series need to explain this to us.

Tom: Maybe they thought stretching isn’t enough.

Vinicius; WHAT?! STRETCHING IS ENOUGH FOR ME!

Tom: Calm down, you’re scaring everyone.

Vinicius: Okay, I will.

Tom: Huh? Rio de Janeiro’s mayor in this series is Mayor Greenbutt and not someone based on an actual mayor.

Vinicius: These kids might have no knowledge on Brazilian politics.

Tom: True. So true.

Vinicius: Ooh, gallery! Better look at 5-year-old drawings!

Tom: I look terrible in these pictures.

Vinicius: Hopefully you will look way worse in next one.

Tom: 😡

Vinicius and Tom: New Adventures in the USA

Tom: Huh, that’s realistic, except there’s no Vini! 🤣🤣🤣

Vinicius: 😡

Olympic Mascots: Guardians of Light

Tom: Vinicius? Where are you going?

Nevermind then.

Let’s see, scroll, scroll, scroll, oh, Mirasome? Now I get why the title is not named after us. Scroll, scroll, scroll, oh wait a minute, the posters are made by the same idiot who made Adventures in Rio! I’m going to call the Carioca Sisters to round their houses.

Guardians of Light: Forces Together

Tom: Vini? You’re missing everything! *sigh* I guess it’s all just me now. Let’s see…

(2 minutes later)

Tom: Boooooring!

Vinicius and Tom (film)/Credits

Tom: Vini? Where were you this whole time?!

Vinicius: It’s better to not to say.

Tom: Well, it’s open to interpretation then.

Vinicius: Speaking of interpretation, this thing is nothing but credits!

Tom: Yeah kids are lazy these days.

Vinicius: Hopefully the author won’t left this unfinished.

Olympic Mascots And Friends: Chuck E. Cheese's Musical Adventure!

Vinicius: What the heck? This is nothing but nursery rhymes!

Tom: At least it’s associated with a restaurant Swifty and I went once.

Vinicius: You went to Chuck E. Cheese’s?

Tom: Yeah, let’s say recycled pizza tastes great.

Vinicius: Wait a minute…

Mascot Power

Vinicius: An anime ABOUT US?! I expect it to be about Mirasome!

Tom: Yeah kids in 2016 kinda loves anime to be honest.

Vinicius: Even today ffs!

Tom: ffs?

Vinicius: It just means for Fanta’s sake. *pops open a can and drink like a nobody*

Tom: Vinicius, do you know Fanta is more faint nowadays?

Vinicius: Pfffft…

Tom: You’re spitting orange juice in my face, Vini.

Miraitowa and the Olympic Spirit

Vinicius: Miraitowa? I thought all of them are solely about us!

Tom: Yeah but admin just ran out of ideas.

Vinicius: Better have a good one at the end.

Tom: Yeah.

Crystal Dark Pinkie

Vinicius: Ah crap, here we go again.

Tom: Vini, If you don’t accept something, EMBRACE it.

Vinicius: Why?

Tom: Swifty and I had a stupid idea that we will go to an anime exhibition for an hour. I love them so much we actually stuck around until midnight!

Vinicius: And you don’t like anime in the first place?

Tom: Absolutely correct.

Vinicius: The drawings look like they are in content awareness scale a billion times.

Tom: At least I look fine.

Vinicius: 😡

The Muppets meet Vinicius and Tom

Vinicius: Muppets, like…

Tom: The Jim Henson one, I think.

Vinicius: I was meant to say that.

Tom: Sorry, I thought you’re going to say Paulo Muppet!

Vinicius: No, I don’t remember him.

Tom: That’s sad…

Vinicius: Anyway, let’s read the storyline.

Tom: Vini, you must be aware that it’s pretty long, right?

Vinicius: Oh yeah, we might linger with it for an hour or so.

Tom: If you can, then do it.

Vinicius: Alright, ahem…

(30 minutes later)

Tom: I didn’t know someone would bother reading as much, and considering they have a creative choice for an antagonist, a mascot clone!

Vinicius: A clone of myself?

Tom: Yup.

Vinicius: *sniffs*

Tom: Oh no… someone get a tissue!

*phone rings*

Vinicius: Stay here Tom, I need me-time.

Tom: Do you know that’s it’s a strange number?

Vinicius: I don’t keep phone numbers to my contacts often.

Tom: Risky decision, Vini.

Well, that’s explains more than avoid reacting the Guardians of Light series.

Vinicius: TOOOOOOOOOM!!!!!

Tom: What?

Vinicius: Someone said they are making a movie about us!

Tom: This MUST be a prank!

Vinicius: No, seriously! Warner Bros. Are going to produce it with Kayla Jordan as the director!

Tom: Sounds like a 15-year-old.

Vinicius: She IS a 15-year-old!

Tom: WHAT THE HECK IS HAPPENING WITH THE FILM INDUSTRY?! WHAT ABOUT LICENSING?!

Vinicius: The IOC and the IPC milks money from licensing nowadays.

Tom: We’re going to have the rest of our lives ruined, Vini.

Vinicius: I know right!

Vida: Come on girls! Let’s give him a lesson!

Tom: Vida?! Where are you and your sisters going?

Vida: To California, we’re targeting Jeremy Shada.

Vinicius: WAIT!

Holy Bela-Sol-Vida-Hitting-Jeremy-Shada-in-the-head!

Tom: Maybe that’s the reason why they decided to do that?

Vinicius: WHY?! WHY ARE WE RESORT TO THIS?! PLEASE I NEED HELP!

[heavenboy09]

Happy Birthday 🎂 🥳 🎉 🎈 🎁 🎊 To You

The Young & Delightful Blonde Haired American Actress👱🏻‍♀️ Of NBC'S Original Superhero TV Series, HEROES, The Sassy Singer Of ABC'S Nashville, The Voice Of Kairi In The Early Kingdom Hearts 💕 Videogames & The Bold & Sassy Survivor & FBI Agent Of The SCREAM 😱👻🔪🩸Franchise

Born On August 21st, 1989

She is an American actress and singer. She is best known for her lead roles as Claire Bennet on the NBC superhero series Heroes (2006–2010), Kirby Reed in the slasher horror franchise Scream (2011–2023), and Juliette Barnes in the ABC/CMT musical drama series Nashville (2012–2018). The latter earned her two nominations for the Golden Globe Award for Best Supporting Actress – Series, Miniseries or Television Film.

A native of Palisades, New York, she first appeared on-screen in a commercial in 1990 at only 11 months old. Her full-time acting career began in 1994 when playing Sarah Roberts on the long-running ABC soap opera series One Life to Live until 1997. She then went on to play Lizzie Spaulding on one of CBS's own soaps, Guiding Light from 1996 until 2000. For her work on Pixar film A Bug's Life (1998), she was nominated for a Young Artist Award and a Grammy Award, making her the 5th youngest artist ever to be nominated for a Grammy. Panettiere has also starred in the Disney football drama film Remember the Titans (2000), the final season of the Fox legal comedy-drama series Ally McBeal (2002), the comedy-drama film Raising Helen (2004), the Disney Channel original patriotic film Tiger Cruise (2004), the horse racing comedy film Racing Stripes (2005), the figure skating drama film Ice Princess (2005), the teen cheerleading film Bring It On: All or Nothing (2006), the romantic comedy film I Love You, Beth Cooper (2009), the true crime drama film Amanda Knox: Murder on Trial in Italy (2011), and the drama film Custody (2016). She voiced Kairi and Xion in the video game series Kingdom Hearts (2002–2017), and Samantha "Sam" Giddings in the video game Until Dawn (2015).

Please Wish This Young & Bright Delightfully Stunning, Blonde Haired 👱🏻‍♀️❤💛American Actress A Very Happy Birthday 🎂 🥳 🎉 🎈 🎁 🎊 To You

YOU KNOW HER FROM BACK IN HER CHILDHOOD ACTING DAYS

YOU SEEN HER GROW UP IN HER LATER MOVIES & TV SHOWS AS A TEEN TO A ADULT & FLOURISHED, BEAUTIFULLY

& GUYS CANT RESIST GAZING AT HER & HER BLONDE BEAUTY 😍 👱🏻‍♀️💛❤

THE 1 & THE ONLY

MS. HAYDEN LESLEY PANETTIERE👱🏻‍♀️💛❤ AKA CLAIRE BENNET OF NBC'S HEROES , KAIRI OF THE EARLY KINGDOM HEARTS 💕 VIDEOGAMES, JULIETTE BARNES OF ABC'S NASHVILLE & KIRBY REED OF THE SCREAM😱👻🔪🩸 MOVIES FRANCHISE 🎥 Hayden Panettiere.

HAPPY 35TH BIRTHDAY 🎂 🥳 🎉 🎈 🎁 🎊 TO YOU MS. PANETTIERE 👱🏻‍♀️💛❤ & HERE'S TO MANY MORE YEARS TO COME

#HaydenPanettiere #HeroesNBC #KingdomHearts #NashvilleABC #Scream4 #ScreamVI #ClaireBennet #Kairi #JulietteBarnes #KirbyReed