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eightfifteen · 2 years ago

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what I find interesting about the core 4 is that they're introduced to us through the absence of Will.

We get the first scene where we get a feel for the group dynamic and how they all interact with one another, but from that point on, we're introduced to Mike, Lucas, and Dustin's personalities through how they react to Will going missing.

Dustin

Dustin is the curious, optimistic and smart one - trying to a, pretend it's not happening or not as bad as it seems (getting into semantics about Mirkwood, getting caught up in El being a girl, joking at the funeral) and b, by trying to take control of the situation (always smartmouthing, getting snappy about the compasses etc). This amps up the more shit happens - he gets closer to Steve because they can joke around, he starts getting snappier and more know-it-all-y (as steve and eddie point out), and kind of disappears when shit starts happening again by getting caught up in other things/distracting himself (focusing on Max in s2, getting caught in the russian mystery in s3, etc).

Hell, even his girlfriend is long-distance and not involved in any of it so he can escape Hawkins by talking to her. Also reflected by them singing neverending story in the s3 finale like they aren't battling a huge gore creature. This is why next season is going to be so interesting, because this time, Dustin saw Eddie die. There's no escaping that anymore, the horror caught up with him and it's going to be so interesting to see how he's going to cope with that now.

2. Lucas

Lucas on the other hand, gets frustrated and angry. He just wants things to go back to the way they were so he's really focused on getting Will back and wants to get it over with as quickly as possible - snapping at Dustin when he tries to derail the conversation, getting annoyed at the El drama when they just need to find Will, etc. He matures the quickest through all of this, I feel, which is also why he's the quickest to let go of DnD, tries to find himself through other interests like basketball etc. He can't pretend it isn't happening, but he's trying to right everything as quickly as possible. He actively fights back against it.

Caleb mentioned in the s4 aftershow that Lucas' happy ending is if none of it had ever happened so his happy ending is just finding a place for it and being able to move on - and i think that just perfectly encapsulates Lucas. Like, obviously that would be the best for everyone, but Lucas specifically is already trying to let everything that happened behind him as quickly as possible. He gets a girlfriend and wants to grow up quickly, just like Mike except successfully, and in s4 he tries to reinvent himself in High School, leaving all the trauma behind as much as he can. Which is also probably why he struggles with being there for Max at first, before realizing that he'd rather go through the horrors again than lose Max. Really excited for tired and fed-up Lucas next season.

3. Mike

Just like we get to know Dustin and Lucas through Will's disappearance, because that really is just the center of the show, we learn about Mike.

We immediately see that he's the most quiet and withdrawn one while learning about Will's disappearance, while also being the one to realize he's not at school in the first place. He's really trusting to the point it's naive, but he also gets frustrated easily especially when distraught (as we also see in s2 with Max while he's missing El). He's so stubborn, especially when it comes to his friends. He clearly 'gets into his own head' (Finn's own words) a lot, and especially in these moments of tragedy (like during the police interview, after finding Will's 'body', in the hospital, immediately after El disappeared etc).

As soon as he actually has something to do, like find Will in the woods or use El's powers to save him, that's when he thrives and takes on this leader role. Which is in my opinion, another reason why El and Mike don't really go together, and why Mike will always feel useless or like he's not getting it right - when he's with El, she's the one in control, she's the one fighting, and he just has to stand to the side. He can't break out of his own head.

But when it's Will, even though he can't actually do anything, he can still be there for him and help in meaningful ways just by being there. He knows Will needs him and he knows how to be there for him, and that's when his mind is clearest. Even in s4 we see that - he's blinded when he's with El, can't do it right, doesn't know what's going on, but when it comes to Will, he immediately finds clarity and knows how to talk to him and open up about how Will is feeling but also how he is feeling.

4. Will

Similarly, we learn about Will through his absence. We learn that he's open and genuine, that he's smart and strong and happy. The group is out of balance without him, and we can tell that Will used to be their mediator (confirmed in s2 during the argument about Halloween costumes). He's unafraid to talk about what he likes with the group and to be himself, even if the group doesn't agree (that 'weird song' that he likes, begging to play DnD even though Lucas and Mike clearly don't want to, etc). And we learn that Mike used to have a more caring role towards him, that he was the focus of Mike's need to care and watch over and protect, as this hole gets filled the moment they find El.

4. Season 5 - the return to core 4

I'm really excited to see the core 4 in season 5, because it will be the first season (not counting the battle of starcourt) where they're all working together. the group has always been split, so it's going to be really interesting to see how they all get along together. Especially now they've all changed so much.

#stranger things #st #will byers #mike wheeler #lucas sinclair #dustin henderson #byler #st analysis

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antiyourwokehomophobia2 · 2 months ago

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Um spoilers?

I saw The Substance, and I had pretty mixed feelings about it. The horror element is mainly focused on body horror and needle based medical stuff. There are so many needle scenes.

On its face, it's a movie critical of patriarchal beauty standards. However, I think the execution leaves a lot to be desired. For 90% of the film, the body horror is really just what old bodies look like amped up to 100. I feel like this kinda undermines her point about older women being cast out of Hollywood. It's basically saying "oh, old bodies are gross. Just that 50 isn't that old."

Another way I think she belies her point is the frankly porny way the camera looks at female characters. I swear to god, 40 minutes or more is of the runtime is protracted shots of both actresses' asses, crotches, and breasts. At a certain point, it feels gratuitous. For example, during the climax, blood hoses down a showgirl's fishneted ass. She's not a character with a name or a face.

I think she didn't do a very good job with making the younger version look uncanny valley enough. There's a male character she meets on the substance who looks almost airbrushed. His eyes are too blue. He looks too young. By comparison, Demi Moores young self looks... normal? I'm not even just used to looking at airbrushed women. It's like she didn't try.

I think there are most subtle points she makes like sunk costs in beauty and the inability to cope with your normal face after beauty procedures. But there's only like two moments of that.

All in all I can't say I hate it though. Like it was okay and it's been a long time since I watched a horror film that I had to cover my eyes during. I think it just wasn't the feminist horror I was led to believe it was. And since it's a little on the long side at 2hrs20 I'm kind of salty so much of it is not even movie so much as soft core porn.

Nah, you're good!

I was definitely a bit uncomfortable with the nudity because I was kinda like. Do we have to see EVERYTHING? I felt like we saw their bodies for no real reason. Also, yea, that young dude was definitely uncanny valley.

I definitely agree that it was a bit weird to make the consequence of abusing the substance looking like an even older woman. When it was just her finger that was effected, especially, I was kinda like. Ehhh, that feels like a weird message to send. Being an old woman shouldn't be seen as a punishment.

I agree it could have been portrayed better.

As a side note, needles don't really bother me so that's probably why I was surprised this is apparently the movie people into gore are walking out of.

#Gotta be real #I wanna watch it again

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mrcowboysmovieroom · 1 year ago

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Vampires (1988)

Directed by: John Carpenter Genre: Horror, action

CW: Gore, but not any that I find too hard to stomach. It's like 80s blood splatter, heads get cut off type deal. Originally written 07/02/2023

Vampires from 1988, is a movie. It's the most movie actually. It's soooo movie core. I'm being a little mean when I say that, but it's absolutely true. This movie is very 80s and very vampire.

It commits so strongly to the image- its over the top sense of angst and melodrama are really its selling points. It's got that classic angry lead who's got a heart of gold, but a bad attitude and a dark past. It's got sweat and grime and quick quips. It's quintessential in every way. I don't think it does anything unique, but this isn't necessarily a bad thing. A lot of the movies I adore are very much exactly what they seem to be and nothing more. There is an appeal for me in its lack of remark, though also a permeating sense that it's lacking something. You'll notice I said I have adored movies that are similarly in genre, but this isn't one of them. I don't hate it mind you, but nor do I feel a keen affection. In being exceptionally unexceptional, you are often just that. Just unexceptional and this movie borders on being that.

I've seen this movie a handful of times now and that means I am at least compelled enough to want to revisit it, but every time I do i am reminded of more so what it could of been than what it is and that's not really how you should feel after seeing a movie.

The issue is this movie is not as much fun as I would hope. It's campy and over the top but it could have amped up the intensity more than it does.

The performances themselves are very- ummm what's the word? Fitting? Sometimes its bad. Like when Baldwin yells while burning himself.. that sound lives in my brain rent free only because it sounds so strangely unreal that it reminds me I'm watching actors. It CRACKS me up. Valek (Thomas Ian Griffith) our vampire and Jack Crow (James Woods) give the best performances as just delightfully over the top and living the roles completely. Woods did a lot of roles like this- assholes who somehow endear themselves to you (though Jack Crow is not the best of this type). Griffith, whom to my knowledge I've only seen in this, is just really playing it up. He sneers, growls, crawls, and purrs and if he did any less than that he'd be a very underwhelming vampire. It's his look too- the all black fit and long black hair, claws always out. You need to have at least all that.

In the beginning of the movie Jack and his team successfully empty out a vampire nest in New Mexico. They expect to find a master vampire there (the one who turned all the vampires within), but they don't. This is noted as bizarre and as an audience we know that this means the master will be coming around in no time at all. Still though, the hunt is considered a success and the team decide to celebrate at a local motel. Jack is basically the only one who continues to be made uncomfortable by the lack of the master vampire being present though. It's this gut feeling which keeps him away from the main party for a bit.

Of course, while his back is turned an extra guest arrives.. Wouldn't you know it's that master vampire! It's Valek, though for right now his name goes unknown. We will eventually come to learn that he is the very first vampire. He slaughters the entire team with the exception of Montoya (Daniel Baldwin). Valek basically lets them get away (for attention of course) and greets Jack by his full name (important). The only other survivor is a prostitute hired for the party called Katrina (Sheryl Lee). She's been bitten by Valek though and will turn in a matter of days. As an aside I really like Katrina. She might be my favorite character even though she doesn’t do a lot. I find her to be more grounded, and additionally very sympathetic. She and Montoya have a romance arc of sorts. Which is to say, the movie says they are in love but I don’t really see any chemistry there and I don’t care about their relationship. Katrina is unfortunately a punching bag in this movie.

Jack and Montoya spend a good chunk of the movie pushing, hitting, and yelling at her. There are intense stakes (aha…) at hand, but she’s a victim in this, and that is never appreciated by anyone else in the movie. To them, the fact that she's bitten makes her immediately expendable, especially to Jack. She may as well be just an object. And no one learns from this lesson either. Montoya has a crush on her but that shouldn’t be his motivation for wanting to treat her well. He should just not be an asshole. Somewhere in this it feels like there ought to of been some self aware commentary. It's not like women in real life need to be bitten by a vampire to be treated as objects. The fact that this movie never does anything with this possible critique is something that really disappoints me and serves to push this film toward a lower rating for me. Anyway, back to business.

Jack sends Montoya and Katrina to a hotel while he buries their team and goes to meet up with some of their church contacts. They are employed by the Catholic church and Jack meets up with Cardinal Alba (Maximilian Schell), who has a wicked pair of eyes I must say, and Father Adam (Tim Guinee). There, Jack updates them on the situation and informs them that he is very certain that they have been betrayed and that someone from among the slayer's or church's contacts is somehow involved in the massacre of Jack's team. Adam is assigned to work with Jack to replace the previous priest who was on the team.

Adam is like a big fan of Jack for some reason and gives us a cute little car ride exposition dump on Jack's tragic past… His parents were bitten by vampires and he was raised by the church to be their ultimate hunter. Jack, in one of his perpetually bad moods, stops the car and assaults Adam, basically in an attempt to scare him into admitting he's the traitor if he is. Adam admits to no such thing because he's not, and for now Jack seems to soften to him a bit.

Obviously, Jack is a little upset that his entire team has been killed. As an audience, I don't really care. The team were just props and outside of Montoya we don't really see any interpersonal interactions between any of its members and Jack. Them dying is expected and not sad in the slightest. Jack is clearly motivated by getting revenge for this and uncovering the Judas Iscariot. Still, I don't really know if I can say Jack struggles with their deaths. I suppose that's cause this is the life he lives, but in talking to the Cardinal, Jack expresses how unusual this particular master vampire was. So, it can't be common for so many slayers to be killed like this, and ordinarily they probably have one another to lean on in the face of loss. I think I'm thinking too much about this subpar movie, but I feel like the movie should have thought about these things. Like if more attention was given into the emotional components here, I might have liked this movie more overall. That aside, the movie eventually leads into the third act in which everything is finally revealed! Yes, Jack was set up! And by who you wonder? Well spoiler alert, it was the Cardinal. Usually I'd give more of a warning but there is literally only one person who could be responsible. He's the only person of moderate significance to everyone else but whom the audience could care less about the motivations of. And on to that then. What are the motivations behind his betrayal? He state's it actually very perfectly. "I'm sorry to disillusion you, jack. as one grows old.. as death approaches, we begin to question our faith. And I have found mine lacking. Is there a god? is there heaven? I can no longer answer this for certain. I have witnessed no miracles, had no visions, and the prospect of death terrifies me! I realized I have only one alternative." Sort of on the nose I think. See Valek is trying to make it possible for vampires to walk among the daytime and doing so will make them more competitive with and deadly to humans. Jack is needed in this because for Valek to make this happen, he must presume a ritual akin to his own death where they sacrifice Jack on a burning cross.

Jack dying for our sins... In the meantime, Katrina takes a huge chunk out of Montoya's neck and leaves him for dead having basically all but fully succumb to the bite she received before. Montoya was bit by Katrina earlier in the movie as well but he keeps it hidden from everyone till the very end because, well, now that he's got a huge hole in his neck, ya can't really keep something like that secret. Adam is hiding in a nearby shop but overhearing the whole exchange outside. He and Montoya simultaneously manage to intervene in time to save Jack and get away. Since the ritual needed to take place as dawn rose, now all the vampires are vulnerable and have to retreat into the shelter of the buildings, including Valek. Jack follows him and they have a final confrontation in which Jack finally overpowers Valek. When everyone regroups Montoya announces he's leaving with Katrina because #love or something, and also they're both bitten and basically fucked. Jack allows him a two day head start but promises to hunt him down and kill him. Pretty bad as breakups go I must say... And then the movie ends with Father Adam and Jack talking about Adam having a hard on. This is the second time this happens in the movie. I didn't really know how to talk about it earlier but it happens right after the car scene with Adam. Jack asks if him beating up on him gave him a woody, and at the end of the movie Jack asks Adam if killing vampires gave him one, to which Adam says OH HELL YEAH BROTHER. So, development I suppose.

Overall the movie is worth watching if you like this style of film. I mean clearly I’ve gotten some pleasure out of seeing it, even though I do have my complaints about some occasionally weak performances and some missed opportunities.

Another thing of note is the music which I did enjoy and took notice of on several occasions because I enjoyed it. This is a John Carpenter flick, and in similar practice he has composed the music for it. I really love his scores and this movie is no exception even if it’s not my all time favorite. Still, quite enjoyable and very good for the movie’s tone.

So, not bad but not great either. Certainly a moderate amount of fun to be had.

#vampires #80s #80s movie #horror #john carpenter #james woods #Daniel Baldwin #Thomas Ian Griffith #Vampires 1988 #John Carpenter Vampires #Sheryl Lee #movie #vampire movie

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gengars-doll-timeline · 2 years ago

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2023 MH Dolls

- ordered cleo and deuce holiday 2-pack on january 10th. they arrived February 1st

- found the monster high ghoul mobile on january 16th

- bought holiday draculaura on january 24th. she arrived on january 26th

- ordered clawdeen's bedroom on february 15th. it arrives on february 16th

- found and bought clawdeen's studio on february 17th. it arrived on february 19th. UPDATE: it says it'll come on february 18th. SECOND UPDATE: IT ARRIVED ON FEBRUARY 18TH.

- got ghouls day out frankie and clawdeen on February 28th. on the lookout for ghouls day out draculaura

- found and got another day out frankie with a better screening on march 7th

- ordered skulltimate secrets Lagoona on april 13th. she arrived on april 14th.

- found and bought indonesian signature g3 Draculaura on april 17th

- bought day out draculaura from paulmart on april 25th. she arrived on april 27th

- ordered skulltimate secrets frankie from amazon on april 26th. they arrived on april 28th

- found and bought indonesian draculaura and frankie on may 6th

- bought creepover party frankie to replace my old one on may 30th

- found and bought monster ball cleo, monster ball Draculaura, and ss2 drac on june 22nd

- bought skulltimate secrets clawdeen on july 1st. she arrived on july 2nd

- bought fearidescent clawdeen and monster ball clawdeen on july 12th

- bought skulltimate secrets cleo from amazon on july 28th. she arrived on july 29th

- bought skulltimate secrets Draculaura on july 31st. she arrived on august 1st, she was wonky and had to be replaced. her replacement arrived on august 2nd

- found and bought clawd wolf on august 6th

- bought another monster ball clawdeen to get the donut she came with since i lost it, also bought monster ball and skulltimate secrets s2 lagoona on august 13th. they all arrived on august 13th

- Bought Gore-ganzier Cleo, Core abbey, and Amped up Frankie on September 12th. Cleo and Abbey will arrive on September 13th and Frankie will Arrive on September 15th

- Found both fearidescent Frankie and Cleo on september 17th

- bought faboolous pets Clawdeen and Draculaura on october 2nd

- Ordered Spa Day Lagoona on october 5th, she arrived on october 6th

- Ordered Fan-Sea Lagoona on october 7th and she arrived on october 8th

- Ordered Skulltimate Secrets Neon Frights Frankie on november 4th and they arrived on november 5th

- Got the student lounge on november 5th

- Found and bought Sam's club exclusive creepover Draculaura and Clawdeen on November 6th

- Bought faboolous pets Cleo on November 10th

- Bought Scare-adise Island Frankie on November 23rd

- Bought Skulltimate Secrets Twyla on November 24th

- Found and bought the Ghouls day out 3-pack on december 5th

- Bought Scare-adise Island Heath on december 22nd

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annedaumig · 2 years ago

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Pausing In Her Flight

__________ Be like the bird who, pausing in her flight awhile on boughs too slight, feels them give way beneath her, and yet sings, knowing she hath wings. Victor Hugo __________ OUTFIT: Dhoma – Maisy Lingerie White HEADPIECE: POISON ROUGE The Flight of the Bird @ The Vault Event (July 8 – July 18) MESH BODY: Maitreya Mesh Body – Lara V5.0 HEAD: .LeLUTKA Ryn Head 3.1 HAIR: DOUX – Marcela…

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leam1983 · 4 years ago

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Just bought the complete "The Mask" series on ComiXology...

Pop quiz - did anyone know that Bighead, also known as The Mask, AKA Stanley Ipkiss from that movie that made Jim Carrey's nineties - was originally a hyper-violent vigilante with artwork that sort of felt like a weird mix of Robert Crumb, Jean Giraud and Tex Avery?

We're talking titties out, blood by the buckets, gore, corpses, physical injuries aplenty - and the whole of it perpetrated by a sheer manifestation of the Western world's collective Id gone completely unhinged. Take Michael Douglas in Falling Down and amp that shit by a factor of ten, and make the guy functionally bulletproof and virtually unkillable.

We also got lucky. Plot those characteristics out and you could end up with one heck of an annoying Gary Stu if you're not careful. If you are, however, you can ruminate on the nature of power, of what it means depending on who happens to wield it, and why vigilantism can both be philosophically advocated for as well as against. In some ways, that was the series' core strength, and it also was something the movie adaptations ripped out of its still-mewling carcass for the sake of that sweet, sweet PG-13 rating. Part of me's still hoping that Bob Shaye's going to have enough balls to renew New Line's bid on the franchise and actually produce a proper splatterfest. We've had both Ryan Reynolds Deadpool movies, so I'd say Society's more than ready for the sight of a walking Squash-and-Stretch demo pulling an oversized battleaxe out of its jacket to give some overzealous cops an object lesson on the abuse of power.

As yes, that does happen in the comics.

Unsurprisingly, The Mask was also renewed in 2019 in a limited series that takes Bighead from the slums of Edge City to the White House. Y'know - as if I haven't spent the last four years watching my neighbours from down south getting their heads bashed in with a cartoon mallet by a grinning fool in clothes that barely needed exxageration to qualify as caricature material.

Fun fact; The Mask's deuteragonist, Bighead, is purported to be what emerges of the spirit of Loki, the Norse god of mischief, whenever it possessed a human. If Disney had any balls, I'd wager they could get Hiddleston to land a quiet Sssmokin'! as a commentary for some hapless goon's incendiary death.

#the mask #comic #stanley ipkiss #lt. kellaway #bighead #jim carrey #dark horse comics

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anexplanationofunfortunateevents · 4 years ago

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the voting ends today but the fight almost certainly does not

Republicans are filing increasingly desperate and ridiculous lawsuits trying – emphasis on TRYING – to have votes thrown out because they’re big old losers who know they can’t win legitimately.

If you’re the kind of person who can get into the weeds of federal court filings on elections, you probably already have your hair on fire. If you’re not, I don’t recommend picking up the habit right now. It’s just going to make your head swim. These are so incoherent and meritless that even our corrupt federal judiciary and plenty of conservative state judges have frequently brushed them off. I get the sense that Trump’s lawyers are more hoping to win those cases than trying to win them. What they seem to be trying to do with these lawsuits is some mix of the following dishonest things:

depress turnout by making people feel like he can just have their votes thrown out so why bother;

set something, anything, up on track for the Supreme Court, which Trumpworld is (not unreasonably) confident they have sufficiently corrupted;

create a general sense that there’s some authority other than the voters who get to decide this election.

That is what makes me think Trump’s plan to barricade himself in the White House and tweet out a declaration of victory the first moment Fox News reports a good exit poll for him is only mostly about his pathetic need to self-soothe with an autocratic display. He’s also making one last go-for-broke play for the public narrative. He thinks – again, not unreasonably – that if he says he won, then he’ll get a bunch of “Trump Declares Victory” headlines and chyrons, which puts a thumb on the scale in terms of how people frame any resulting developments in their own minds. It’s not a good strategy, it’s more of a hail Mary, but it’s the only potentially helpful option he’s left for himself.

All of this has, once again, summoned the specter of the 2000 election.

We can’t look one day into the future. But we might be able to prepare ourselves for it if we look about twenty years into the past.

There’s kind of a fable that’s built up around the 2000 Florida recount that Republicans were just tougher and savvier and wanted it more, while Democrats clumsily Ned Starked everything up. It’s important to reject that premise as fundamentally abhorrent. In a functioning democracy, campaign strategy is irrelevant after Election Day, because voters are in charge. The Gore campaign, to its credit, was buying into the basic premise of democracy, and had therefore planned their campaign around trying to win an election fair and square. When you punish or condemn people for that, you are ceding ground to the fascists and agreeing to fight on their terms.

The Bush campaign was just fundamentally not operating from the premise of democracy, but from the premise that elections are merely a weak opening bid from the electorate. Before anyone even knew there would be a recount, they had already gamed out a scenario where they could win even if they lost. The contingency they’d planned for, that struck them as most likely, was actually that Gore would win the Electoral College but Bush would win the popular vote. They planned out a whole pressure campaign to create enough of an uproar to give some friendly Republican state legislatures somewhere just enough of an excuse to award electors to Bush even if their constituents had voted for Gore. That wasn’t the scenario they ended up facing, of course. But when you do those kind of war games, you have to think about what your opponent would do, which means the Bush team was ready to hit the ground running with a whole bunch of things they had been expecting Gore’s campaign to do. The core point of whatever they were going to do was always to create an excuse for the nuclear option of having Republican state legislators send Republican electors to install George W. Bush no matter what their voters wanted.

One major difference between then and now is that generation of Republicans knew what they were doing was abnormal and wrong, so they kept it under wraps. Now they’re so high on their own supply that they brag about it to The Atlantic, because they genuinely don’t realize that people will object and try to stop them if they give up the element of surprise.

In 2000, the nuclear option of state legislatures just ignoring their voters to install Bush was not something the Gore campaign could have reasonably foreseen, and even if they did have an in-house psychic to warn them about it, it’s not something they could have realistically stopped except by winning with the biggest margin possible, which they were already trying to do. In 2020, Republicans are basically trying to run the same play, but against Democrats who very much are as prepared as they could possibly be, and by “Democrats,” I mean Democrats at every level. Inside the campaign, Biden campaign senior adviser Ron Klain ran Gore’s recount effort in Florida, and is therefore the last person to have any illusions about the opposition. Their lawyers are fucking beasts. Outside the campaign, Democratic voters have already voted, dragged their friends out to vote, and are amped for whatever fight tomorrow brings.

And, unlike 2000, any formal government processes are going to have to go through House Speaker Nancy D’Alessandro Pelosi, and honey, she is not having it. Remember, Pelosi has already thwarted not one but two Trump regime connivances to steal elections. In 2018, she successfully deterred any attempt to undermine Democrats’ midterm victory. And with her crisp, digestible, precision strike impeachment strategy, she neutered the HUNTERGAZI plot that Trump had every intention of using to sabotage the election this year. (God only knows what other schemes she headed off by making an example out of the pressure campaign against Zelensky. Any foreign leader or official who might have been tempted to cave under similar pressure by Trump got put on notice that trying to appease him quietly was not going to make their lives any less complicated.) No wonder she felt emboldened to tell the Trumpist wing of the Supreme Court to sit their asses down if they know what’s good for them.

What Democrats – and other small-d democrats and progressives – can do, we’re doing. You need to take heart from that, and brace yourself for a couple of stressful weeks.

Unfortunately, we can’t control everything. We can’t control what Trump will do to seize the narrative, and we can’t do much about how the press responds. And again, I’d point back to 2000 as a cautionary tale. Did you know that most of the networks actually called the race right, and they did it pretty fast? It’s true! Early-ish that night, they called Florida for Gore. And, as a subsequent investigation showed, Gore got more votes in Florida! But the ballot count was tighter than it should have been – a lot of registered voters who were likely to have preferred Gore were kicked off the rolls in a racist purge – so they did a reasonable thing and retracted the initial analysis to say the state was too close to call.

I did say most of the networks. I’ll give you one guess which was the outlier. John Ellis – head of the decision desk (ie, the decision of when to call a race for one candidate or the other) at Fox News and first cousin of candidate George Bush and Florida Governor Jeb Bush – somehow knew something about the Florida vote count that the Associated Press didn’t. Late that night, as Gore’s numbers were actually ticking up, Ellis called Florida for Bush. (I might’ve been more circumspect making those implications five years ago, but these people have forcefully rejected the benefit of the doubt.) The other networks, embarrassed by the earlier retraction and exhausted after a long night, leapt after Ellis like lemmings in five minutes flat.

This created a narrative that seamlessly dovetailed with the Bush campaign’s evolving strategy: a Bush win was a fait accompli, so why was sore loser Gore insisting on this recount, wasn’t it taking way too long? Of course, the truth was that nobody actually wins an election before the votes are counted, so if Bush really wanted to get this over with, why was he so resistant to having so many votes counted even once?

Because, of course, while Bush’s top campaign people were out in front of the press loftily insisting that this recount was an irrelevant waste of the country’s time and attention, Republican lawyers were down in Florida doing everything they could to run out the clock. Deadline after deadline loomed and then passed with a bunch of Federalist Society hacks badgering and haggling over every single ballot. Said Federalist Society hacks included John Roberts, Brett Kavanaugh, and Amy Coney Barrett.

So legal correspondents and voting rights advocates, unfortunately, aren’t crazy to have their hair on fire about the Supreme Court once again doing what happened next in 2000: the court ordered all the counts to stop until arguments that it scheduled for the day before an arbitrary deadline. Then they handed down a decision that even they knew was so incoherent and indefensible that they said it wasn’t supposed to be used as precedent in any other case, even though the Supreme Court’s job for over two hundred years had been to hand down rulings that lower courts could use as precedent.

(Seriously. Guys. If Doc Brown ever tosses you the keys to his DeLorean, your mission is to go back to 1999 and run Chief Justice Rehnquist over with it. Then – and this is important – back up and run over him again. Twice. Then you can go buy stock in Google or feed Trump to zombie vampire bats or hit up a Borders or whatever.)

If you’re not really familiar with this story, you’re saying “wait, what? Why did people stand for this bullshit?” FAIR QUESTION. There are a lot of reasons, though no excuses. One reason that’s been previously underrated, I guess, is that Bush hadn’t spent the week before the election running around telling everyone who would listen that “what we’re gonna do is, we’re gonna make ourselves a huge pain in the ass while people are trying to count votes, and then we’re gonna whine about, ‘why is it taking so long to count all these votes?’ Heh heh heh.”

If he had … well, I’m pretty sure at least 538 Floridians would have been alarmed enough to make a better choice than they ultimately did.

I always want to be able to share an action item. This time, I can’t. (Unless you can vote but haven’t yet, in which case, WHAT THE FUCK ARE YOU DOING ON TUMBLR, GET YOUR ASS IN LINE AND STAY THERE.) I don’t know what the world is going to look like six hours from now. It’s entirely possible that there’s a Biden blowout big enough that Trump just gives up and flees the country. But assume we’re not going to get to take the easy way out of this. Get organized and stay fired up. WE RIDE AT DAWN, unless Florida and/or Texas breaks our way by 10:30, in which case, WE DRINK AT 10:31.

#2020 election #2000 election

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fluffmugger · 5 years ago

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introspectivenavelgazer said: I’m curious about your thoughts OH HOLD ON BB I GOT OPINIONS. ITS BAD.

sabacc said: ah, the disturbing things bingo movie oh no. nononoo. Make no mistake. This was not a “nooope” situation. There was precisely one moment in a teaser that actually triggered me, and that was so fucking poorly done in the end product I ACTUALLY ENDED UP LAUGHING. I’m not exaggerating, check the post. First time I saw that it pulled a very hard visceral cord, and when the Kersh scene came up in the movie, I was huddled up in my chair, hoodie on, ear blocking ready to ride out that wave of programmed fear. Instead, I fucking laughed because the whole thing was so fucking ridiculous. What was a deft, vicious piece of editing got completely fucking wrecked. And that’s pretty much what happened to the story, that film was a hot mess of absolute bullshit. It not only completely fucked up the overarching themes of the original story, it made no fcking narrative sense in and of itself as a movie verse Lo, there be spoilers...

While some parts I can understand for expediency - such as sidelining Audra and shifting Bill’s obsessive run to IT being based on a local child that he ultimately fails to save, why the fuck have Audra in it in the first place? A five second appearance so ...wha, you can make a running joke on Bill sucking at writing endings that’s just an endless sledge against King? What was the fucking point of that? Likewise the inclusion of Silver, stripped down to a single cameo that only got vaguely saved because it put him in the place where he could meet aforementioned kid (now living in Bill’s old house in a most contrived of plot points but I will allow it because it works) and form an emotional connection. The whole reason for them standing to face IT is shifted from the pact they formed - the childhood vow they could never break - to Beverley instead somehow magically seeing the future while trapped in the deadlights, and realising that if they didn’t finish IT once and for all, even after the cycle they would all eventually take their own lives like Stan did, unable to live with the taint. While this could be a interesting take in and of itself - if you do not face the demons of your childhood, they will destroy you one way or another - it completely shifts the core motivation to one of self interest. Initially the Losers (especially Bill) did actually take on IT from a position of self interest (and young Bill actually has a moment of self agony over it, is he only leading his friends into a deadly crusade because he wants vengeance for Georgie? Does he have that right? Is he nothing but a “selfish little shit waving a tin sword”), but it became so much more, and these children became monster slayers. It’s the hero’s journey. And shifting that makes it a corruption, not into a subversion. It was also so damned messily handled - it could have been interesting , the idealism of childhood shifting to pragmatism of adulthood, but it was reduced to a handwave threat, and they didn’t need to be threatened. The original story had a whole intertwined creep that was fucking beautiful, this veneer of adults in control of their own lives and destiny being stripped away in thin layers, with the Losers gradually beginning to dimly perceive they are simply parts of some great cosmic machinery and their illusions of control and indeed their entire lives are all just that - illusions. The undermining of reality and stripping of power were great Adult Fears that played fucking beautifully in the book. The silent unspoken Imposter Syndrome, hinted at, but never directly addressed, that all their successes were simply due to being touched by IT. In the movie? Oh man we’re all gonna kill ourselves if we don’t fix this and it means ...nothing to the characters. Seriously. They all still walk anyway. And way too much fucking time is wasted on characters abruptly deciding to leave only to Not At The Last Second. It’s just a big fat clumsy mess.

They completely chunked out Bowers taking Mike out of the final battle, yet still included him in the film - Why? what was the fucking purpose? They also intimated that IT was responsible for killing his father - ironically the one fucking murder Bowers did commit - and adult Bowers was delightfully played, but he served no fucking purpose whatsoever. Not to drop them to the lesser number of power (5 as opposed to 7), not to drive them into the sewers, what was the fucking purpose of having him there? He shows up, doesn’t even break Eddie’s arm (so there’s your other purpose of resetting the gameboard to the positions of the last confrontation) gets stabbed, gets killed, and they go on la de da.

Michael’s story is absolutely fucked into unrecognisability. I’ve already ranted about killing off his parents - it’s a dumb fucking decision and I will never fucking excuse it. William Hanlon is a key player in the books, inadvertently preparing his son for his role of watchman. This is completely lost to the most basic of fucking racial stereotypes. Holy shit they actually refer to his parents as fucking crack heads at one point (although this is later revealed to be a fake out by Pennywise), but what does it serve? While you can argue that removing him is what destabilises Mikes character THERE IS NO FUCKING REASON TO HAVE AN UNSTABLE MIKE. In the sequel, Mike is clinging to sanity by less than the skin of his teeth, drugging Bill against his will at one point, actively leading everyone into danger with a false promise of victory and generally acting like a desperate fucking madman. Why take a dignified black character and turn him into an unstable Kassandra? You don’t need a fucking unstable Kassandra, the very nature of what IT is, and its horrific, aeons-long parasitic relationship with Derry is so fucking unbelievable in and of itself it does that for you.

Likewise Eddie’s adult career is suddenly changed to being a ...investment? insurance? boring person thing? what the shit? Why not have him own the goddamn largest fleet private chauffeurs? Why change? that one tied back into his navigation skills at least, and there’s serious coin in that shit. And fucking hell do not get me started on fucking Myra fucking hell if you want to touch a complex and fucked up relationship like that, you don’t handwave it. His entire rampant hypochondria is shifted to something closer to ...smart arse with some small neuroses? Ok, but you’re telling me this..why? what is the purpose of this?

Completely out of left field, Richie is heavily intimated to be Queer. Ok. But they then go on to jam in additional homophobia (and this is on top of Mellon’s death that to be fucking honest is shot way too fucking far on the side of “lookit the smartmouth gay get stomped”) and Pennywise threatening to reveal Richies Great Secret to the point I literally leaned over and asked His Lordship “The script writer does know this is set in the fucking 21st century, right?” It could have been a fascinating side story of a man whose trauma keeps himself in a cage even when he doesn’t have to, but it’s not. It’s a hot mess of what the fuck let’s throw a gay (but not too obviously gay we’ll do it so we can claim he’s not so it still sells in china and we have plausible deniability hide your queers, hide your queers!) in just so we can kill the object of his affection. YOU DON’T NEED TO AMP UP THE ANGST OVER EDDIES DEATH. WE ALL KNOW ITS COMING. AND IT HURTS. You know what woulda been ground breaking? You’ve laid the groundwork with Beverley already, have Richie in the deadlights as he is, have Eddie do his Big Damn Hero Save, and then have richie see what’s coming and shove eddie out of the way. Having Richie die instead of Eddie? Holy crap, no one would have seen that coming. It would have blown up fucking everyone, film, telemovie and book fans alike. (Also holy shit adult richie, far from being the smart, funny man we all know is a wanker. His comments at the chinese dinner party have none of the genuine humour of the book or even the Curry adaptation, he comes across as a mean spirited bullying dickhead that you’d all go to the toilet at the same time and climb out the window to avoid. In a kid it’s funny. Kids have no filters. From an adult, it’s fucking poison)

We also have all these elements of childhood coming back, but there is no purpose to them in the film. In the book, it’s the wheel turning, the gameboard sliding back to where it was last time they faced IT, a very real embodiment of unfinished business and an inability to escape your childhood - a fact the characters are very well aware of and in varying ways horrified by their own regressions - but in the film it’s just leaving the audience wondering why are they doing that? why’s that there. what the fuck man. why have bill stutter? So you connect the adults to the kids by using the broadest fucking flanderised tropes possible? It doesn’t even stand on its own two feet, it relies on way too much back knowledge from other sources. And it reeks as it they bolted on large chunks of some other horror movie script that was presented to the studio and changed the names. There’s no psychological implications, there’s no deftness, hell there’s no fucking chemistry with any of the fucking actors. It’s reduced to a jumpscare gore fest. It doesn't even compare to the first half. It got so bad that by the second act I was literally pointing at the screen and BAM right on cue, there was the jumpscare. That’s how fucking predictable it is. The CGI was shithouse (I actually burst out laughing during the Paul Bunyan scene as well as the Kersh one it was so fucking bad) the ending is..my god they literally prance around him screaming “fucking clown” until he shrinks, they pluck his heart and crush it. Fuck me, the Curry adaptation had its problems but the savage, ritualistic destruction of IT as they all fell to their knees around and tore it apart with their bare hands had fucking balls at least. And BTW, it’s only the caverns and the house on neibolt street that get destroyed, the rest of the town is just fuckin’ dandy and it’s like DUDE THE TOWN WAS LITERALLY BUILT ON IT. DERRY CANNOT SURVIVE WITHOUT IT. IT’S A PARALLEL FOR THE HORRIFIC CANKER AT THE HEART OF EVERY “LOVELY” AMERICAN SMALL TOWN. THIS IS ABSOLUTELY SOMETHING TO PLAY WITH. and then, THEN they end it with a letter from Stan. See, Stan didn’t kill himself because in one brief, horrific instant he remembered everything, and even as a child knew he couldn’t face it again and bailed, no... he knew he was going to buckle and killed himself so..he wouldn’t die they wouldn’t all die what. the fuck. was the purpose. of THAT.

In short, it was a phoned in, badly written, badly edited piece of shit, completely purposeless and not even worthy of its predecessor.

#IT

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beatdisc · 5 years ago

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7″ PUNK VINYL

Recently we've bought 3-4 incredible punk/hardcore/post-punk/new wave 7" vinyl collections. So we thought we'd make a list (around 300 titles) for ya'll to check out. See below for everything in-stock right now and get in touch for details & orders!

...AND THE NATIVE HIPSTERS THERE GOES CONCORDE AGAIN $60.00 4" BE 2" ONE OF THE LADS $10.00 7 SECONDS BLASTS FROM THE PAST $15.00 7 SECONDS SKINS, BRAINS & GUTS E.P. $20.00 7 SECONDS / KILL YOUR IDOLS 7 SECONDS / KILL YOUR IDOLS $10.00 86 MENTALITY 86 MENTALITY $15.00 ABRASIVE WHEELS VICIOUS CIRCLE EP $15.00 ADVERTS, THE SAFETY IN NUMBERS $10.00 AGNOSTIC FRONT THAT'S LIFE $10.00 ALCOA DROWNED $10.00 AMBER INN SERENITY IN HAND $8.00 AMPERE / DAITRO SPLIT: PIC DISC $15.00 ANGELIC UPSTARTS NEVER 'AD NOTHIN' $10.00 ANGRY SAMOANS D. 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#beatdiscpreownedvinyl

#beatdiscpreownedvinyl #punkvinyl #postpunkvinyl #hardcorevinyl

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bloodybells1 · 6 years ago

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Motley Boo: The Dirt 2019 and a Tertiary Failure to Reframe the “Baddest Band”’s History within Patriarchal Discourse

It’s difficult to overstate the impact Mötley Crüe made on the history of heavy metal with their 1981 debut album, Too Fast For Love. Raw, phlegmatic, and, yes, fast—it clocks in at less than 40 minutes—the album dropped into the world of heavy metal like a megaton anvil (or a turbocharged racer, depending on how you looked at it). The repercussions were conclusive and far-reaching. Shortly after the release, the band would support established acts like Kiss on the road, and later followed up the record with an even bigger smash hit, Shout at the Devil, permanently engraving them into the annals of heavy metal.

What distinguished this freshmen effort in the larger context of the metal scene, however, was the band’s—well, really, Nikki Sixx’s—intelligent cross-referencing of glam rock optics within the giant soundscape of the Marshall amp set. Almost a decade before Guns’n’Roses would introduce a similarly decadent soupcon of glam rock attitude into heavy metal’s DNA (more in the form of LA dispossession, but you know what I mean), there stood Crüe, bow-tying the cranked distortion of heavy metal with an androgynous, lipstick-smeared pucker.

Yet, the record was more than just a public relations gambit to redesign heavy metal in the image of T. Rex. After all, it seemed the band had actually made a great album. It was good enough to make it into the mixtapes of LA punks and New York skinheads, at least, as well as those of breadbasket-America headbangers—quite a feat for a band that cared little for the punk scene’s headier nihilism. Punks, for their part, looked past the cockrocking and focused instead on the record’s straightforward production and live sound. As it turned out, it was a good sign that a band like Crüe, for all their apparent fluffiness and ostensibly commercial leanings, had gained the favor of this more reticent community, having passed the “canary in the coal mine” test of punk rock’s preoccupation with authenticity.

And yet, I bet the first thing that comes to mind when prompted by the name of Mötley Crüe, at least to that of the layman, isn’t the infectious speed of “Live Wire”’s thunderclap-opening riff, but rather the band’s notoriously depraved extracurricular reputation. In fact, the quartet was already infamous for debauched hedonism prior to their even getting signed, the lore going back to their salad days as local lotharios at the Viper Room in downtown Los Angeles. Right out of the gate, they were as famous for fornication and drug abuse as for their music.

Far from discouraging the storyline of excess, Crüe seemed right at home with their association with drugs and sex. The emphasis on carnality became a career-long feature of their mystique, both as a marketing strategy and as a core element of the philosophy implied in their music. Ultimately, they would enshrine this element in the form of a tell-all, committing all the sordid details of their exploits to paper in their aptly-named 2001 anthology of licensed sin, The Dirt.

Couched as an entry of the confessional genre, the volume was jointly written in equal parts by each band member, offering long, anecdotal chapters, written in an extemporaneous, oral style. The accounts dove deep into the cesspool of their origins and the progress of their career. Obviously, the band didn’t write an exhaustive account of their entire story up to 2001, when the book was published, on their own; journalist Neil Strauss adroitly arranges their tracts with a wink and a nod. Not satisfied with a simple tell-all, though, he weaves the band members’ submitted drafts and “journal entries” into a grand narrative fabric that belies not only Strauss’s objective’s gaze, but a teleological vision of the price of fame, a tale steeped in storied entries of similar abasement, perhaps dating all the way back to Joris-Karl Huysmans’ A rebours.

Despite The Dirt’s clear insistence on the prevalence of moral transactionalism, it has nonetheless become known as a foundational text for the “sex, drugs, and rock ’n’ roll” trope of decadence. Readers seem to cherish the opening chapters of early hedonic excess without making much of the larger morality play laid out through the book’s end. The earlier chapters are so naked (excuse the pun) in their reportage of the band’s debauched activities, they’ve been taken as advertisements for that behavior. This rendering misappropriates the book’s real value—as a text on moral cosmology—by turning it into further glorification of rock’n’roll’s early hedonistic credo. Those early chapters are really a set up for what the book truly is, and should be known for most, that is, a discrediting of that credo.

The Dirt makes a clear case that the band has paid for their excesses—Vince Neil loses his daughter, Nikki Sixx almost dies, Mick Mars fights his way up to become the true sage in the band, Tommy Lee keeps getting divorced. These facts are laid out convincingly through a simple prose style: diaristic reportage of the self that, through careful pacing, mines deeper and deeper levels of personal pain and reckoning. Strauss is methodical in doling out these sojourns into the moral deep, making sure not to preempt their trials with hints of the future (never mind that we know how the story ends). This, along with the distinct voice of each band member, has the added effect of keeping the reader on the edge of their seat.

The supranarrative that emerges by the final page, one that supplants the traditional one that the unsuspecting reader no doubt imports into the book from decades of formulaic pandering to baser perspectives, states the fundamental primacy of Fate, that even the world’s most riotous band could not escape cosmic will. Mötley Crüe, as authors of the commodity known as “Mötley Crüe,” and through the media amplification of commodity fetishism, have become godlike and must be thrust down, made human again. Fate will make a human out of the man no matter how demiurgic he becomes.

It’s no surprise that, with heady matter like this associated with a known commodity like Crüe, an early film deal sprang out of the publishing of the book. The Dirt came out in 2001, 20 years after Mötley Crüe came on the scene, and it has taken almost as much time for its dramatization, in the form of a Netflix biopic, to emerge. That’s a long time for a movie based on a book to come out, and there has understandably been a lot of anticipation.

Through the years, I’ve come to loathe biopics, which with few exceptions turn out to be the mere regurgitations of original texts, authored under viably artistic circumstances and trademarked, but then repeated by a committee of capitalist shills for a waiting audience eager to consume the brand anew. This explains why almost every biopic is a formulaic compendium, lacking any vision or direction, since its objective in the first place is to provide brand pornography for consumers of established texts.

It’s quite sad that the cinematic dramatization of The Dirt is no exception to this rule. It so exemplifies the craven absence of real art in the modern biopic as to appear almost comical at times. Indeed, when I looked at the image on my Netflix home page of the movie, I initially thought that perhaps someone had given Mötley Crüe’s inimitable story the Christopher Guest treatment.

Alas, no.

The movie is a sorry parade of every single biopic cliché that was ever established in the history of biopics. I won’t go into just how pathetically—shamelessly, even—this movie panders to the basest titillations of brand pornography. That sad fact has been firmly established by the critical consensus. (It carries a 43 percent Tomatometer on Rotten Tomatoes, a rating I, in fact, find charitable.) My point in writing about this infuriating piece of exploitative pablum is to direct the reader to the incredible missed opportunity of this movie.

As I’ve already written, the book’s greatest accomplishment is not the lascivious proxy to bad behavior its protracted tales of sexual promiscuity and substance abuse offer the more upstanding, less adventurous reader. It’s the successful reframing of the “sex, drugs and rock ’n’ roll” narrative as a cautionary tale. Granted, we’ve seen this story inscribed into the annals of pop stardom before the publishing of The Dirt (hello Buddy Holly movie, Walk the Line, et al). Yet, its innovation lies not in the mere fact of the reframing, but in its offering the pen to the miscreant author: The Dirt is perhaps the first bad boy memoir: a behind-the-scenes tell-all yes, though of the Gore Vidal sort, and repurposed for the headbanger set with a moral edge.

By 2001, it had long been understood that this snot-nosed gang of aging rockers no longer had a decent recording in them (that’s no criticism if you believe, as I do, that the artform of rock music entails an inherent expiration date). Instead, they produced a memoir that, shot straight from their shaky typewriters and notebooks, reinvents the band as willing atoners. In so doing they reemerge as personal subjects of a grand, cautionary tale, a heavy metal story for the era of Oprah, if you will. Mötley Crüe, then, performed a more authentic act in the writing of this book than any album they would have dared record.

Yet, along the current of its blood-soaked river of retribution, The Dirt, misses one crucial point of reckoning, one that positively begs for further exploration.

Thanks to the #MeToo revolution, we are now given a critical apparatus to judge the excesses of the past committed in the name of patriarchy. Prior to this revolution, texts containing sexist, heteronormative givens were accepted reflexively by the zeitgeist. These were mythologies that historically debased and objectified women as the enslaved recipients of male lust, simple organs of the hedonic will of masculinity. We might have laughed at the music video for “Looks that Kill,” which features, among other debasing tropes, a gaggle of women in generic Neanderthal livery, but today we laugh harder—and more painfully. We no longer turn our eyes away from the now obvious rooting of this imagery in patriarchal attitudes.

The Dirt admittedly has almost nothing to offer by way of a #MeToo moment. (Early kudos, though, to Mick Mars who dedicates many of his paragraphs to the ludicrousness of male promiscuity.) But this isn’t necessarily a shortcoming of the book, anymore than that we may fault any number of classic stories and records that import similarly unexamined masculine, heteronormative givens into the 21st Century. As late as 2001, our eyes were yet glazed over with the unquestioned spectacle of male desire. Furthermore, the book is rife with vulnerable emoting and painful rumination. It thereby confers it an atmosphere of thoughtfulness. To a certain extent this vitiates against accusations of insensitivity.

But this potential forgiveness isn’t possible in cinema, where the taut storyline and shorter format require a more conclusive, unshaded verdict. Never mind that in 2019 it’s positively inexcusable. The #MeToo movement has today firmly established a visible discourse that supersedes antique notions of male desire, yet the movie seems to have taken no note of this seismic occurrence. To name but one of the movie’s baffling examples of cultural myopia, there are at least two scenes portraying women materializing out of the darkness underneath dining room tables, complete with satiated visages fresh from a round of clandestine fellatio. This is only one of the movie’s dated pickings from pre-#MeToo boilerplate, but it is perhaps the most glaring.

The film seems to conflate factual verisimilitude and hindsight objectivity; to which the simple response is that portraying something “as it was” doesn’t inoculate you from the sins of the past. One need only watch a couple seasons of another Netflix offering that traffics in garish ‘80s pop-cultural paraphernalia, GLOW, to witness a successful handling of these two elements. Many of the antique notions that were part and parcel in the ‘80s are now clearly offensive from today’s standards of race and sex discourse. These are reframed as racist and sexist mythologizing by the show’s deep dives into the family life of one of the African American wrestlers.

There’s nary a hint of this sort of wokeness from the film version of The Dirt. You really have to scratch your head as to how the committee let this fly, not to mention how desperate anyone would need to be in order to ignore such profligate tone-deafness under their collective noses.

The Dirt in 2019 truly encapsulates the most tragic outcome of a band like Mötley Crüe. The film’s failure as a work of art is not surprising when you consider that most biopics fail in that regard (Bohemian Rhapsody, anyone?). But the movie’s failure becomes truly irretrievable, of a completely different order of magnitude, when you consider that Mötley Crüe missed another opportunity to reframe themselves along the contours of contemporary discourse. They were successful in 2001, when, during the era of Oprah, they took their foundational text of rock’n’roll hedonism and reframed it as a personalized descent into Orphic confrontation. This gave us cause for hope in 2019, during the era of #MeToo, when the missing piece of that story, the accounting with the greater societal harm caused by unexamined patriarchy, was given an incredible opportunity to be placed back into the spine of the band’s legacy. Unfortunately, as Netflix and Mötley Crüe have made clear, the hope was misplaced.

#motleycrue thedirt metoo

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georgetownacsjobs · 6 years ago

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Associate at Provider Success

NEW YORK, NY PROVIDER SUCCESS FULL-TIME Innovation. Collaboration. Trust. Globality is creating ground-breaking technology utilizing a world-class, AI-powered Platform that revolutionizes how businesses buy and sell services. We are an open, inclusive, and diverse organization and our employees are at the heart of the great products we create. We’ve raised over $172M and are supported by an impressive group of prominent investors, including Al Gore and SoftBank Vision Fund. Our Co-Founders, Joel Hyatt and Lior Delgo, are seasoned entrepreneurs who bring an extensive business-building experience to our organization. Our impressive board includes Mark Hurd (CEO of Oracle), Dennis Nally (former Global Chairman of PwC), and Ron Johnson (former SVP of Apple). Our culture and our product reflect our core values of Innovation, Collaboration, and Trust, so come help us build something great! About the team: Our Provider Success team is responsible for building and maintaining a thriving network of service providers across the sectors we operate in (Marketing, Legal, Consulting, HR & IT) and ensuring that providers get the best possible experience on the Globality Platform. For this role, the Globality Associate will primarily operate as a direct support to Provider Success, but with opportunity to support other areas of our operations team. Role Summary: As an Associate based in our New York office, you will gain an understanding of how cutting-edge providers are serving client needs as we roll out the Globality Platform to our clients, help market and match providers with live client opportunities, and experience Artificial Intelligence and Natural Language Processing technologies in action. You will be a key part of our rapidly-growing operations team, which includes Sectors and Customer Success, and play an essential role in helping us scale-up our activities. This role, initially supporting Provider Success, will also involve a rotation across various elements of our operations – including customer enablement and delivery of our core value proposition across sectors. What you will be doing: Typical activities will include: - Identify and help recruit providers into our network - Manage relationships with providers and help them onboard onto the Platform - Translate provider feedback into meaningful insights to drive innovation in our product - Design, refine and embed best practices internally and within our network - Help prepare for and participate in meetings with priority clients As a core member of our team, you will get all the training, coaching and support you need to do your job well. We’ll invest in your development and help you succeed. What we are looking for: You’ll be a good fit for this role if you: - Have a high aptitude and passion for using, learning and explaining technology platforms or services

- Have excellent time, planning and project management skills

- Be able to flawlessly present and communicate in both written and verbal forms - Be able to successfully work on own initiative & be entrepreneurial - Be able to handle demanding clients and time sensitive situations - Have excellent networking and business acquisition skills - Have advanced organizational skills - Previous experience working in one of our Sectors (Marketing, Legal, Consulting, HR & IT) is a plus - You are a “Professional Driver” and are able to focus on the big picture while executing with a high level of detail, understanding the context and motivations of others - You are intellectually curious, actively seeking stretch opportunities and feedback, and are comfortable with uncertainty and change - You are energetic and mission-driven with an optimistic, can-do attitude and a passion for our mission to increase economic inclusion - You are gritty, courageous and persistent to get the right things done in the face of adversity - You are a natural team player, caring about and assuming positive intent from others, and behave in an authentic, honest and straightforward way - You are a champion of diversity and equal opportunity, respecting and showing a keen interest in divergent backgrounds and styles We are an equal opportunity employer. We believe diversity makes teams better and that discrimination based on race, gender, or anything else is self-defeating.

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tortricidae · 3 years ago

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Vs. Sebra.AI

The squandering of progress is likely the only true motivation that lurked within the research that led to Dolly’s creation. Reliance on such primitive technologies was something of a sore spot for those who were truly the most prominent thinkers of the time, and nowhere was that more apparent than when Dolly was coasting above Cyclone City.

The chaos and fear were like a shot of unadulterated life directly into the veins. The grid. A blanket of life beneath her wings, healing the soul even as her flesh was frayed and her core sputtering.

Dolly was enormous compared to her former self. Still as lanky and unusual and sleek, but taller with a wingspan that eclipsed the moon. Though Dolly was not interested in striking fear into the hearts of other Mirians. No, she had a much more important task at hand.

For what Dr. Uket had said about her was true. She was wicked, and only wished to see the devastation that beautiful weapons could bestow upon the lawful landscape. Cyclone City was a breeding ground for experimentation. All it needed was someone who was willing to perform such dangerous actions.

The artificial could be rebuilt.

Dolly gripped onto the Midnight Riot, the heftiness of it eager to find purchase in blood and gore of the enemy. It was clear who that was. Mirians like her - yet so unlike her - who needed to be tested. Pushed to the limit of the Prototype-C.

The Midnight Riot seemed to hum with intent. All Dolly needed to do was get close enough. All she craved was to suck the life out of them and bash the cases and disrupt the ones and zeros that assaulted her every sense. Even the threats.

The grid called to her as well. Bountiful nectar to be utilized and honed and sharpened until it lanced out of her and into the unwilling recipient. The long cord of Dolly’s tail curled indignantly, forcing her to veer off course. So lost in the thoughts of dedication that she almost let the purple baton slip from her grasp.

A brief expulsion of electrical energy burst from the coils of her wool as she screeched and gripped tighter to the thing-that-replaced-the-C.R.A.B.-Cannon. The precious artifact that opened the floodgates of wonton destruction.

And as Dolly approached the walls of Cyclone City, she grew excited. It was just like hunting in the north. She was awkward with her flaps as she drew in the drafty up-currents, but she knew what she wanted. The flashing of light and the staggering effects of pathisms both powerful and subtle careened through the air, a cascade of desperation from the citizens of Cyclone City.

She was ready, channeling her own electropathy through the prongs in her tail as all her crimson red tubing glowed under the effects of her pathism. The blade of the Midnight Riot flared to life, breathing violence through nostrils microscopic in size, a chilling Tuscany yellow. Brash against the dark blacks and purples of the baton itself.

In a swift motion, Dolly rocketed upwards, carrying the wind with her as she swirled around and gripped the Midnight Riot even tighter, slamming all her momentum into the back of a Prototype-C, a massive discharge of electricity following soon after, shielded only by the clouds of dust and debris that twisted into the air and over the cliff of the wall face.

She was a storm incarnated, and even though other Mirians could have gotten hurt, she did not care for that. So long as the Midnight Riot would allow her to, she would savagely swing it, leap into the air and swing it again. It was so much more brutal than the clean plasma beams of the C.R.A.B. Cannon.

The Midnight Riot was a battering ram, amped up by Dolly’s pathism leeching from her core into the starfall blade. Even when she could no longer sustain the constant stream of current, Dolly was swinging the Midnight Riot around to claim as many of her competition as possible. Mighty ones and zeros made corporeal. She hated every single one of them.

Their binaries and her binaries clashed in an invisible war, just as much as the scattered debris of a broken wall bounced off their metal casings. The clash of ideas, a cybernetic attack. Though Dolly had the advantage of being able to slap with her wings and jab her prongs into them as well, even until she was barely glinting under the moon. The blood of the city was hers and hers alone, and she would be the only one who could feed off of it.

The Prototype-Cs were enemies. Horrible drones, pressured into a hivemind that was attempting to starve the city of its blood. Dolly’s blood. For even though Dolly was organic and inorganic, she was still an individual. An individual that would protect her food supply by any means necessary.

The grid was hers. Cyclone City was hers.

The Prototype-Cs were numerous. As soon as one went down, another took its place, labeled only by number, 4439. Dolly snarled, electricity dancing between her fangs, and she landed heavily and grabbed the Midnight Riot like a bat. Was this the final one? The final obstacle?

She flared her fleshy pronged nose and hissed savagely as she swung again. In her eyes, 4439 did not stand a chance against her. The cracking of metal against metal sent a shower of sparks as the starfall of the Midnight Riot sputtered out again, leaving Dolly with only a hulking sledgehammer of a weapon. One she happily bashed with, screaming in ones and zeroes to her enemies.

Back off! BACK OFF!

#sebramir #sebra #dolly #closed species #sebra.ai #writing tag

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