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96thdayofrage · 3 years ago

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September 11’s Never-Ending Story

Looking back on two decades of media self-censorship, scapegoating and stenography

Remembering the Last US Retaliation Against Terror

by Jeff Cohen (Column, 9/14/01)

“Outrage is the natural and appropriate response to the mass murder of September 11. But media should not be glibly encouraging retaliatory violence without remembering that US retaliation has killed innocent civilians abroad, violated international law and done little to make us safer.”

Nightly News Glosses Over Anti-Terrorism Act

(Action Alert, 9/27/01)

“The report–which ends by saying that ‘no one really knows how much authority the new security czar will really have’–suggests that to stay safe, Americans must surrender liberties without even pausing to ask which ones.”

When Journalists Report for Duty

by Norman Solomon (Extra! Update, 10/01)

“Restrictive government edicts, clamping down on access to information and on-the-scene reports, would be bad enough if mainstream news organizations were striving to function independently. American journalism is sometimes known as the Fourth Estate—but Dan Rather is far from the only high-profile journalist who now appears eager to turn his profession into a fourth branch of government.”

Retaliation: Reality vs. Pundit Fantasy

by Jim Naureckas (Extra! Update, 10/01)

“One non–Boy Scout the CIA worked with in the 1980s was none other than Osama bin Laden (MSNBC, 8/24/98; Atlantic, 7–8/91)—then considered a valuable asset in the fight against Communism, but now suspected of being the chief instigator of the September 11 attacks.”

Why They Hate Us: Looking for a Flattering Answer

by Jim Naureckas (Extra! Update, 10/01)

“Even before investigators identified Arab militants as the apparent hijackers, the media assumption was that the terrorists had ties to the Mideast. But rather than a serious examination of what political realities might contribute to an anti-American climate there, many media commentators offered little more than self-congratulatory rhetoric.”

Patriotism and Censorship: Some Journalists Are Silenced, While Others Seem Happy to Muzzle Themselves

by Seth Ackerman and Peter Hart (Extra!, 11–12/01)

“War fever in the wake of the September 11 attacks has led to a wave of self-censorship as well as government pressure on the media. With American flags adorning networks’ on-screen logos, journalists are feeling rising pressure to exercise ‘patriotic’ news judgment, while even mild criticism of the military, George W. Bush and US foreign policy are coming to seem taboo.”

Us vs. Them

by Jim Naureckas (Extra!, 11–12/01)

“It’s still ‘us’ versus ‘them,’ in other words, and we are told to care very much when ‘we’ are in danger and are explicitly warned not to worry too much about ‘their’ lives. Saying that it ‘seems perverse to focus too much on the casualties or hardships in Afghanistan’ (Washington Post, 10/31/01), CNN chief Walter Isaacson even announced that the network would air some kind of disclaimer whenever footage of dead or wounded Afghans is shown.”

Are You a Terrorist?

by Rachel Coen (Extra!, 11–12/01)

“The legal definition of ‘terrorism’ is crucial because the USA PATRIOT act gives law enforcement broad new powers to be used against ‘terrorist’ individuals and groups. The American Civil Liberties Union (10/23/01) warns that this new definition will ‘sweep in people who engage in acts of political protest’ if those acts could be deemed dangerous to human life.”

‘No Spin Zone’?

by Peter Hart (Extra!, 11–12/01)

“FAIR activists sent hundreds of letters to O’Reilly after his September 17 program, urging him to consider the ramifications of his rhetoric–and the fact that bombing civilian targets and using starvation as a weapon are war crimes.”

As if Reality Wasn’t Bad Enough: Dan Rather Spread Alarmist Rumors on September 11

by Jim Naureckas in Extra!, 11–12/01)

“But is it really inevitable that anchors will pass on uncorroborated stories to the public—and portray them as fact, not rumor? For days, New Yorkers expressed surprise that the George Washington Bridge story was not true—victims of a needless panic that Dan Rather had helped to spread.”

Network of Insiders: TV News Relied Mainly on Officials to Discuss Policy

by Seth Ackerman (Extra!, 11–12/01)

“No experts on international law appeared, even though a lively debate among international jurists has been brewing since September 11 over how the United States could respond legally to the attacks. Very few university-based experts on the Middle East appeared. (The main exception was [Fouad] Ajami.) This absence contributed to the networks’ striking lack of explanation of what United States’ policies in the Middle East have been in recent years.”

The Op-ed Echo Chamber: Little or No Space for Dissent From the Military Line

by Steve Rendall (Extra!, 11–12/01)

“Whether the mainstream daily op-ed page was ever a true forum for debate or for ‘nontraditional voices’ is questionable. But during the weeks following September’s terrorist attacks, two leading dailies [New York Times and Washington Post] mostly used these pages as an echo chamber for the government’s official policy of military response, while mostly ignoring dissenters and policy critics.”

The New Blacklist: The Nation’s Largest Radio Network’s List of ‘Questionable’ Songs

by Tom Morello (Extra!, 11–12/01)

“When the horrible attacks of September 11 are used as a pretext for squashing the opinions of dissident artists, people who are not beating the blood-lust drum feel alone and isolated. It’s in times like these when we most need intelligent, thoughtful discussion and debates about the issues of the day.”

‘This Isn’t Discrimination, This Is Necessary’ (Extra!, 11–12/01)

“Leave it to Ann Coulter—whose racism was too much even for the Arab-bashing National Review—to reduce the pro-profiling argument to its fallacious core: ‘Not all Muslims may be terrorists,’ she allowed, ‘but all terrorists are Muslims’ (Yahoo! News, 9/28/01).

“That’s just wrong, of course, as Timothy McVeigh, the Unabomber and decades of clinic-bombing, doctor-shooting Christian extremists can attest. The fact is that ethnicity has never been a reliable indicator of who might be involved in terrorism, making racial profiling not only discriminatory but ultimately ineffective.”

Patriotic Shopping: Media Define Citizenship as Consumerism

by Janine Jackson (Extra!, 11–12/01)

“A number of pundits and politicians offered Americans a simple solution to the helplessness and anxiety they were feeling in the wake of the September 11 attacks: Go shopping!”

Covering the ‘Fifth Column’: Media Present Pro-War Distortions of Peace Movement’s Views

by Peter Hart (Extra!, 11–12/01)

“The distinction between ‘peace with terrorists’ and a peace movement rooted in justice and international law was blurred by the media in general, which rather than airing the views of anti-war leaders generally had pro-war pundits explain–and belittle–those views.”

Internet Samizdat Releases Suppressed Voices, History

by Jeff Cohen (Extra!, 12/01)

“A free press would be debating the issue of Washington’s relations with Islamist extremists in Afghanistan and elsewhere, and whether such movements are bred by US policy committed to suppressing secular reformers and leftists in Islamic countries. When the CIA funded the Afghan Mujaheddin in 1979 before the Soviet occupation, it hoped to destabilize a secular, Soviet-friendly government (initially led by Nur Mohammed Taraki and Hafizullah Amin), which supported land reform and rights for women.”

From Bozo to Churchill: George W.’s Post–September 11 Reinvention

by Mark Crispin Miller (Extra!, 5–6/02)

“Countless leaders have been deified by national emergency, but few have been remade as quickly and completely as George W. Bush. In many cases, those who had misread him as a simple tool, braying automatically at his most trivial mistakes, now automatically revered him. Such converts suddenly agreed with those who had seen Bush’s flaws as signs of latent greatness—thitherto the notion only of a large plurality, but now the common wisdom.”

9/11 Anniversary Coverage Plans Fall Short

(Media Advisory, 8/26/02)

“Unfortunately, many media outlets seem ready to exploit America’s grief by replaying the trauma of the attacks, instead of honoring the date with a serious debate over where the country is headed”

Saddam and Osama’s Shotgun Wedding: Weekly Standard Beats a Long-Dead Horse

by Seth Ackerman (Extra!, 1–2/04)

“Hardline officials have spent the last two years leaking stories, writing op-eds, holding private briefings and making public insinuations, all intended to convince the country that Saddam Hussein and al-Qaeda worked hand in hand.”

The Media Politics of 9/11

by Norman Solomon (Media Beat, 3/25/04)

“On September 12, Bush’s media stature and poll numbers were soaring. Suddenly, news outlets all over the country boosted the president as a great leader, sometimes likening him to FDR. For many months, the overall media coverage of President Bush was reverential.”

A Record of Journalism in Crisis: Out of the Buzzsaw, Into the Fire

by Francis Cerra Whittelsey (Extra!, 3–4/06)

“Not only was good reporting unusual and largely out of sight after September 11, it was also overwhelmed by the Bush administration’s public relations effort…. These journalists see themselves fighting an unrelenting public relations machine, whose effectiveness comes in large part from constant message repetition and automatic coverage of the president every day, even when he makes no news”

Gullibility Begins at Home: NYT Accepted False Reassurances on Ground Zero Safety

by Julie Hollar ( Extra!, 11–12/06)

“It’s not just the government that failed the workers and the public with misleading assurances; the New York Times itself must share that burden. Shortly after the attacks and into the ensuing years, the Times—as both a New York paper and a national paper—failed to mount a functional degree of skepticism toward city and federal government pronouncements about the safety of the air and dust around Ground Zero. They by and large dismissed fears of residents and workers about their safety—even as troubling studies and voices of dissent cropped up in the public and private sectors, and in other media outlets.”

The Media’s Mayor: Mythologizing Giuliani and 9/11

by Steve Rendall (Extra!, 5–6/07)

“[Jonathan] Alter dubbed Giuliani ‘the new Mayor of America,’ which soon morphed to ‘America’s Mayor,’ a moniker used by journalists as if it were a matter of public acclamation rather than a symptom of press corps hero worship.”

‘America Was Safer Under Bush’: Journalists Accept GOP’s Screwy Terrorism Scorecard

by Steve Rendall (Extra!, 3/10)

“That George W. Bush kept America safer from terrorism than Barack Obama is a conservative article of faith these days—and corporate media seem little inclined to challenge the blatant falsehoods used to advance this childish GOP talking point.”

The Uses of September 11:To the Right, Terror Attacks Are Theirs to Exploit—or Dismiss—as They Like

by Steve Rendall (Extra!, 3/11)

“But the hallowed memory of September 11 is a conservative sham. While the attacks may be the gift that keeps on giving for GOP politics—when politically useful—the right frequently permits itself to diminish or deride the memory and symbols of the attacks for its own convenience.”

‘Waterboarding Worked’?: After bin Laden’s Death, Media Push Pro-Torture Message

by Peter Hart (Extra!, 6/11)

“Despite Bill O’Reilly’s assertion that his show was a lonely pro-torture voice, there were many media voices suggesting a reevaluation of whether torture should be an accepted practice for the U.S. government. Bin Laden may be dead, but the corrosive effect on public discourse of the “war on terror” lives on.

Losing the Plot: The Afghan War After bin Laden

by Jim Naureckas (Extra!, 7/11)

What was missing from these and most other corporate media discussions of bin Laden and Afghanistan was any recognition of the part that country played in the Al-Qaeda leader’s strategic vision. For bin Laden, the U.S. invasion of Afghanistan was not a threat to his plan for the triumph of his brand of right-wing Islam—it was the central element of that plan.

Fox’s Eric Bolling Fans on Terror Facts—Twice

by Steve Rendall (FAIR.org, 7/15/11)

“Glenn Beck’s temporary replacement in the 5 p.m. slot on Fox News, Eric Bolling, has started out with a bang. On the July 13 edition of his new show the Five, the host declared: ‘America was certainly safe between 2000 and 2008. I don’t remember any attacks on American soil during that period of time.'”

The Forever Wars: Media Enlist to Promote Unending Military Adventures

by Peter Hart (Extra!, 9/11)

“The shift from the US’s time-limited military adventures since the Vietnam War—in conflicts like Grenada, Panama, Somalia and Kosovo—to today’s seemingly interminable and endlessly multiplying military commitments is one of the most notable, yet little noted, features of the post-September 11 landscape. And corporate journalists seem all too willing to encourage Washington’s new ‘permanent war’ footing.”

The ‘Worst of the Worst’?: 9/11, Guantánamo and the Failures of US Corporate Media

by Andy Worthington (Extra!, 9/11)

“On the 10th anniversary of the 9/11 attacks, media bear a large responsibility for having allowed cynical lawmakers to portray Guantánamo as a prison holding ‘the worst of the worst,’ despite so much evidence that Bush administration officials were lying when they first coined that phrase.”

Whistling Past the Wreckage of Civil Liberties: Watchdogs Slept Through a Decade of Rollback

by Janine Jackson (Extra!, 9/11)

“Media submerge the reality of the assault on civil rights every time they report the state’s overreaches as being about ‘terror-fighting tools,’ as the AP (5/26/11) described Patriot Act provisions. Under a system of civil liberties, people are regarded as criminals after being convicted of crimes—not deemed to be so beforehand to facilitate stripping them of rights.”

Richard Cohen Is Sorry You and He Got It Wrong

by Peter Hart (FAIR.org , 9/6/11)

“Someone who was really sorry for stoking war fever would be honest enough to point out that not everyone was on board. And of course Richard Cohen knows this—he was writing columns attacking those who weren’t ‘going along with it.’ As he wrote about Dennis Kucinich, ‘How did this fool get on Meet the Press?'”

‘Terror Returns’—but When Did It Go Away?

by Jim Naureckas (FAIR.org, 4/16/13)

“The fact that journalists assigned to cover this story could fail to remember that political violence has been part of the United States landscape for the past decade and more is testament to a narrow definition that dismisses right-wing domestic violence as not really terrorism—and to a will to believe, for partisan or psychological reasons, that George W. Bush ‘kept us safe‘ after 9/11. The reality is not so comforting.”

License to Kill: Little Scrutiny of Resolution That Greenlighted ‘War on Terror’

by Norman Solomon (Extra!, 5/13)

“While the Obama administration considers how to reorganize its war efforts, we should ask why the US media establishment took more than a decade to begin asking basic questions about the Authorization for Use of Military Force—and why the underlying premises of perpetual war continue to elude concerted journalistic scrutiny.

“The consequences of such media evasions have persisted in tandem with Washington’s political machinations. Rather than handling 9/11 as a crime committed by criminals, the ‘war on terror’ under the AUMF umbrella propelled US military actions that have killed hundreds of thousands in at least six countries.”

They’ll Be Watching You: Mass Surveillance Uses New Media to Track Every Move You Make

by Jim Naureckas (Extra!, 5/14)

“After the September 11 attacks, which reignited a xenophobic backlash against immigration, the Department of Homeland Security began recruiting local law enforcement agencies as the next front in the detection and apprehension of undocumented immigrants. What followed was a massive wave of deportations that increased under the Obama administration to over 2 million (Politico, 3/4/14).

“Like immigration, the ‘War on Terror’ is now being shifted to local law enforcement agencies who, in exchange for federal dollars, are deploying powerful surveillance tools with little oversight and applying these tools to everyday policing, not just ‘counterterrorism.’”

Forgiving Al-Qaeda in Pursuit of a New Enemy

by Jim Naureckas (FAIR.org, 3/18/15)

“There are indications (as noted by the blog Moon of Alabama—3/11/15) of a shift in the Western foreign policy establishment toward seeing groups like Al-Qaeda—that is, far-right terrorist groups who espouse a violent strain of Sunni Islam—not as the main targets of US military operations but as potential allies against the governments Washington has identified as more important enemies, namely Shi’ite-led Iran and Syria.”

NYT

Recalls Media’s ‘Journalistic Detachment’ Before Iraq War

(Extra!, 9/16)

“In his retrospective (7/19/16) on outgoing Fox News chief Roger Ailes, who lost his job amidst numerous charges of sexual harassment, New York Times media reporter Jim Rutenberg included this remarkable sentence:

It was Mr. Ailes who, after the September 11 attacks, directed his network to break with classic journalistic detachment to get fully behind the war efforts of the George W. Bush White House, which jarred the rest of his industry.

“Of course, Fox News was far from alone in abandoning ‘classic journalistic detachment’ (such as it is) in the lead-up to the Iraq War—the New York Times certainly not excepted. Times reporters like Michael Gordon and Judith Miller helped get the nation ‘fully behind the war’ with front-page stories touting ‘evidence’ of WMDs that did not exist, while others wrote ‘news analysis’ like ‘All Aboard: America’s War Train Is Leaving the Station’ (2/2/03) and ‘US Plan: Spare Iraq’s Civilians’ (2/23/03).”

After 1,379 Days, NYT Corrects Bogus Claim Iran ‘Sponsored’ 9/11

by Adam Johnson (FAIR.org, 7/6/17)

“In its reporting on a dubious lawsuit alleging Iranian meta-involvement in 9/11, the New York Times badly misunderstood the case and maintained for more than three years, in the paper of record, that the government of Iran ‘sponsored’ the September 11, 2001, attacks. The belated correction, issued late Wednesday night on two widely spaced articles on the topic, unceremoniously noted that Iran did not, in fact, help commit the 9/11 attacks.”

On 18th Anniversary of 9/11, Media Worry About ‘Premature’ End to Afghan War

by Josh Cho (FAIR.org, 9/11/19)

“The New York Times (8/2/19) gave a platform to retired generals Jack Keane and David Petraeus to lobby for keeping thousands of “Special Operations forces” in Afghanistan:

“US troops in Afghanistan have prevented another catastrophic attack on our homeland for 18 years,” General Keane said in an interview. “Expecting the Taliban to provide that guarantee in the future by withdrawing all US troops makes no sense.”

“The Times might have pointed out that the September 11 attacks were carried out by militants based in the United States and recruited in Germany.”

Actually, Giuliani Has Always Been Like This

by Ari Paul (FAIR.org, 10/10/19)

“Giuliani was heralded as a hero when the United States was desperately looking for one after the WTC attacks—despite the fact that his actions on the day of the attacks contributed to the deaths of emergency responders, and his insistence that the air at Ground Zero was safe to breathe without filtration no doubt led to the deaths of many more (Extra!, 11–12/06, 5–6/07).”

Krugman Recalls 9/11’s Silver Linings

(Extra!, 10/20)

“’Overall, Americans took 9/11 pretty calmly,’ New York Times columnist Paul Krugman tweeted on the 19th anniversary of September 11 attacks. ‘Notably, there wasn’t a mass outbreak of anti-Muslim sentiment and violence, which could all too easily have happened.’ Anti-Muslim hate crimes increased 17-fold after 9/11, the FBI reported (Human Rights Watch, 11/02)—but apparently that doesn’t qualify as ‘mass.’

“Krugman, after praising George W. Bush as someone who ‘tried to calm prejudice, not feed it,’ did acknowledge that he used 9/11 to ‘take us into an unrelated and disastrous war’—the almost 19-year-long occupation of Afghanistan, apparently, not qualifying as a disaster. Before alluding to Iraq, Krugman mentioned that in the wake of the attacks, “my wife and I took a lovely trip to the US Virgin Islands…because air fares and hotel rooms were so cheap.”

As Kabul Is Retaken, Papers Look Back in Erasure

by Gregory Shupak (FAIR.org, 8/19/21)

“In addition to the Taliban signaling that it could be open to extraditing the Al Qaeda leader in October 2001, according to a former head of Saudi intelligence (LA Times, 11/4/01), the Taliban said in 1998 that it would hand over bin Laden to Saudi Arabia, the US’s close ally; the Saudi intelligence official says that the Taliban backed off after the US fired cruise missiles at an apparent bin Laden camp in Afghanistan and a pharmaceutical factory in Sudan, following attacks on US embassies in Kenya and Tanzania attributed to Al Qaeda. The outlets thus failed to inform their readers that, had the US pursued negotiations for bin Laden’s extradition, Afghans may have been spared 20 years of devastating war.”

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marvel-dc-art · 8 years ago

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Thunderbotls v3 #4 - “Tip of the Iceberg” (2016) pencil & ink by Jon Malin color by Matt Yackey

#blur #jeff walters #marvel #comics #comic books

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comicwaren · 8 years ago

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“This is the end, you realize that? Whatever we were together—it’s over… the Squadron Supreme is done!” – Hyperion

Cover art for Squadron Supreme Vol. 4 #015 (2017)

Art by Alex Garner

#squadron supreme #hyperion #marcus milton #doctor spectrum #nenet #blur #jeff walters #nighthawk #raymond kane #namor #namor mckenzie #sub-mariner #human torch #jim hammond #cover art #marvel #comics #marvel comics

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missboomissquick · 6 years ago

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Wouldn’t it be ironic if, writing this essay about Marielle Heller’s Can You Ever Forgive Me?—documenting the life and crimes of Lee Israel, noted forger of letters—I got writer’s block?

Ten minutes into the film, the aging, broke, world-weary Israel (Melissa McCarthy) walks by a room of a handful of women circled around a fastidiously dressed man decrying “Writer’s Block” as laziness, as a justification of the inability to do work or to be original. At a party held in her agent Marjorie’s (Jane Curtin) enormous apartment (there’s a coat check guy), Israel is an invisible outsider in the world of the literary elite. No one talks to her, and there’s the palpable friction of her contempt for the snobbery of such characters who ramble on about structure and reflexivity (oh, so, me then) and her yearning to be recognized and embraced as worthy and talented. The writer of a handful of well-received and panned biographies, Israel is told by Marjorie that she has not made a name for herself, that she has disappeared behind her writing. Or, as Israel retorts, she’s doing her job—but still, she has doubt. And what do so many queer people do when they want to toe the line between disappearing into someone else and flaunting their own persona? They do drag.

Certainly, one of the fundamental questions at the heart of Can You Ever Forgive Me?, written by Nicole Holofcener and Jeff Whitty, based on Lee Israel’s autobiography, is a notion of authenticity within art, or, in this case, within writing. To make ends meet, Israel begins to forge and embellish the personal letters of literary and social figures like Dorothy Parker and Noël Coward, and as she becomes further invested in the con of selling them to collectors and bookstore owners, she realizes she has to negotiate the space between her persona as a writer and how much of that persona is predicated on imitation without a real grasp on her own sensibilities or idiosyncrasies as a writer.

How much real is there in this representation, how much authenticity is there in her artifice? As Walter Ong, philosopher and author of Orality and Literacy, would have it, they are two sides of the same coin. “To say writing is artificial is not to condemn it but to praise it,” writes Ong. “Like other artificial creations and indeed more than any other, it is utterly invaluable and indeed essential for the realization of fuller, interior, human potentials. Technologies are not mere exterior aids but also interior transformations of consciousness, and never more than when they affect the word.”

As Israel continues to study the personas and the affectations of different authors and social stars, she becomes increasingly adept at this kind of performance, both of herself and of these other people’s voices. When she writes about Noël Coward dissing Marlene Dietrich, or Dorothy Parker apologizing for a hangover, Israel, as Ong implies, finds the authenticity within the artifice. In effect, Lee Israel becomes a literary drag queen/king.

Explicitly or otherwise, drag has political connotations: in its rejection of normative gender presentation, in its remixing of cultural artifacts to create a persona, in its communal traditions borne out of marginalization, in its adoration and embrace of the artifice of performativity. But the exaggeration of gender or sexuality or persona doesn’t have to happen at a gay bar like Julius’ (located in Manhattan’s West Village, and known as the oldest gay bar in New York)—where much of the film takes place, and where Israel’s close and queerly caustic friendship with hustler Jack Hock (Richard E. Grant) is fostered—with someone regaled in glitter or fake eyebrows (nice try, Gaga). As Heller’s film and Israel argue, drag can be on the page, too.

Lee Israel synthesizes personas—the one in the actual writing from her subjects, the one crafted by biographers and her own approach—in her drag. She uses the (presumably) correct period typewriters to achieve the needed effect for the type style, a nerdy writerly detail analogous to using a similar kind of foundation or lipliner that a drag queen impersonating Cher would use. She blurs the line between an exaggeration of their writerly persona and of her own, and in the process, though it sounds sentimental, she finds herself.

Israel’s class anxieties and her anxieties about her voice as a writer are not unrelated. Unwilling to play the game like other well-established authors, she’s poured her life into letting the writing speak for itself, even if at the sacrifice of that writing not necessarily having a discernible aesthetic or persona. And, though she’s resistant to admit it, it’s the persona that sells. To Majorie and the rest of the literary world, Israel has no product and no worth. Jack, on the other hand, has his old queen-y gesticulations and vocal affectations, an acerbic wit that nonetheless renders him approachable enough (he’s camp, as some would say) that he becomes good at selling the fake documents when Lee’s placed on a list of undesirables within the literary collecting community.

So if drag can abstractly be seen as a sort of riposte to the outside world, a world that rejects queers, lambasting and sending up the restrictions and constructs that became codified and understood as deviant and illegal, so too can Lee’s forgeries be seen as a revenge against an insular community and class set that effectively kept her out and demeaned her. What greater reprisal is there than to use the very stars and legends that they (and she) worship to dupe them out of money? On the outskirts of this film, in the implied context, is the New York ravaged by the AIDS crisis—Jack casually mentions all his friends have died, a pink ACT UP triangle sticker hangs in the window of Julius’—a community of people ignored. Drag has always been an act of defiance. Even for Lee Israel.

After her game is up, she expresses ambivalence about her hesitance to create her own literary persona in her career, that her writer’s block could be so stifling, and her ability to have finally done so, to have found her authorial voice, through the imitation of others’ work. In her uncanny ability to resurrect the spirits of Louise Brooks, Fanny Brice and Lilian Hellman, in her recreation and extensions of Dorothy Parker and Noël Coward, Israel’s found her own authenticity, her own voice, her own persona. Through the creation of artifice. All it took was a little drag.

#can you ever forgive me #drag #lee israel #Melissa mccarthy #richard e. grant #queer representation #art #artifice

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chiccywood · 7 years ago

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Why “I, Tonya” Is A Clever Piece Of Satire

There are hundreds of movies about underdogs who overcome a stacked deck to achieve their dreams. Then, there is “I, Tonya.” This darkly comedic satire based on the infamous life of Tonya Harding puts all of her hurdles on screen in painfully honest fashion and she overcomes almost none of them.

Director Craig Gillespie and screenwriter Steven Rogers do their best to not turn “I, Tonya” into a pity party for Harding, which is conveyed through Margot Robbie’s show stopping performance as Harding. It’s never clear what is true or false throughout the movie, but punches are quite literally never pulled when showing what she was up against, whether it was of her own doing or not.

“I, Tonya” is shot as a mix of movie and documentary, with several scenes of characters being “interviewed.” The main story tellers, Tonya (Robbie), her ex-husband Jeff Gillooly (Sebastian Stan), and Tonya’s mother, LaVona Golden (Allison Janney), all relay their versions of the way certain things happened with characters confirming or denying the events explained by others. This very clever concept creates an almost mythical atmosphere that blurs fact and fiction.

Of course, the famous Nancy Kerrigan (Caitlin Carver) incident is the centerpiece of the film and it’s shot and edited in a way that is equal parts shocking and funny. It’s only made more absurd by the actions of the ringleader of the attack, Shawn Eckhardt (Paul Walter House), an imbecile who claims to be Tonya’s bodyguard.

“I, Tonya” never tries to do too much, even when it could have touched on how the entire story was at the start of the “cult of personality” tabloid-style of journalism. It smartly stays focused on the wheels off life of Harding, thus showcasing the truly exceptional cast that elevates the entire movie.

Much is being made of Allison Janney’s performance and while it is quite good, it is a fairly stereotypical portrayal of an evil mother. Janney does manage to calmly dole out insults while constantly sucking down cigarettes, which is impressive in itself. She will most definitely be on the short list for Best Supporting Actress, but her cruel, one note character may not be enough to push her over the finish line.

Sebastian Stan is being a bit overlooked awards-wise. Like Janney, he’s playing an exceptionally unlikable character, but he has a bit more range. It’s not exactly fun watching him be an abusive husband, but Stan makes up for it by perfecting the art of acting like a moron. His mustache is award-worthy alone.

Arguing against Margot Robbie as your Best Actress Oscar winner should be a lost cause. Robbie manages to create pity for one of the most hated athletes in all of sports. It’s a “love to hate” type performance as she says and does some fairly ugly things while grinning like the Cheshire Cat. Robbie is already a star, but “I, Tonya” gets her the critical success her career had been lacking.

Craig Gillespie seems to have studied every single Martin Scorsese movie and taken plenty of notes. There are a handful of lengthy tracking shots cleverly edited and set to radio hits of the 1980s and 90s that are right out of the Scorsese playbook. The beauty is that it doesn’t feel like an unoriginal ripoff.

Along with Robbie and Janney’s acting work, “I, Tonya” will assuredly be one of the nominees for Best Picture in this year’s Oscar race. The only issues up for debate will be if Stan or Gillespie break through with nominations of their own. This is easily one of the best movies of the year and a perfect look at one of the more bizarre events of the last thirty years.

#I Tonya #Review #Movie Review #Margot Robbie #Sebastian Stan #Allison Janney

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justdealingwithsomeissues · 2 years ago

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a who's who for D.P.7 which I guess was kinda like the New Universe’s Avengers? if that is an apt comparison I guess...

#Marvel #Quasar #Wendell Vaughn ~ Quasar #Randall Lawrence OBrien ~ Anti Body #Jeff Walters ~ Blur #Stephanie Harrington ~ Glitter #Jennifer Swensen ~ Chrome #David Landers ~ Mastodon #Captain Manhattan #Chris Barret ~ Metalurge #Charlotte Beck ~ Friction

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nitpickrider · 2 days ago

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Imagine having to eat, not just snack, but EAT, every 2 hours of your life. How would anyone live like that? DP7 4

#marvel #marvel comics #marvel universe #marvel heroes #superhero #comics #new universe #DP7 #blur #jeff walters

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weekendwarriorblog · 5 years ago

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The Weekend Warrior 12/13/19: JUMANJI: THE NEXT LEVEL, BLACK CHRISTMAS, RICHARD JEWELL, BOMBSHELL and more!

Woooooooo!!! We’re starting to get to the end of the year with only three more weekends of new movies before we’re into 2020, which on one hand, has to be better than 2019, but maybe not in terms of box office with no “Avengers” or “Star Wars” movie in sight.

Sony Pictures is releasing the second-to-last sequel of the weekend, JUMANJI: THE NEXT LEVEL, which brings back all of your faves, including Dwayne Johnson, Kevin Hart, Jack Black, Karen Gillan, and introduces a new character played by Awkwafina. I reviewed the movie over at The Beat, and also discussed its box office prospects

I also will have a review of Sophia Takal’s horror remake BLACK CHRISTMAS (Universal) over at The Beat, but that’s mainly interesting since it’s the second remake of the ‘70s horror movie, this one produced by Blumhouse. I really liked Sophia Takal’s previous movie Always Shine, so I’m definitely interested to see what she does with a mainstream horror film.

You can read my reviews of both those movies over at The Beat, although the Black Christmas review is embargoed until Thursday night… make of that what you will. Plus you can read more about the three wide releases over at my weekly Box Office Preview.

One movie I haven’t reviewed over there is Clint Eastwood’s latest, RICHARD JEWELL (Warner Bros.), which stars Paul Walter Hauser as the famed Atlanta security guard who discovered a bomb in the city’s Centennial Park and was then accused of planting the bomb there to be seen as a hero. The movie also stars Sam Rockwell (as Richard’s lawyer), Kathy Bates (as Richard’s mother), Jon Hamm as the FBI guy who is after him and Olivia Wilde as the Atlanta reporter who first breaks the story about Jewell being a suspect. I’m going to try to write a mini-review for this one, but long and short of it, is that this is another really good movie from Eastwood, and if I get a chance, I will write more about it soon.

LIMITED RELEASES

There are a bunch of great movies coming out in limited release, some that will expand wider later in the month.

First and foremost is Jay Roach’s BOMBSHELL (Lionsgate), starring Charlize Theron as Megyn Kelly and Nicole Kidman as Gretchen Carlson, and if you know those names, then you might already realize that this film written by Charles Randolph (The Big Short) is about the Fox News sexual abuse scandal. Margot Robbie also stars in this one, as does John Lithgow as Roger Aisles, plus there’s lots of other great character actors in roles as people you might know from the news (both on camera and behind the scenes). I was hoping to write a fuller review of this and maybe still will but didn’t have time before getting this column out. Regardless, this is a very intriguing and entertaining film (just like The Big Short) with fantastic performances by all. The movie will expand nationwide next Friday.

Josh and Ben Safdie are back with UNCUT GEMS (A24), starring Adam Sandler as a New York jewelry merchant who gets his hands on a rare South African gem, and then spends the entire movie trying to get it back after lending it out to star basketball player Kevin Garnett (playing himself). I wasn’t really a very big fan of the Safdies’ Good Time, which Millennial critics tend to cream all over, but Uncut Gems is definitely better even if it’s similarly manic. Sandler’s definitely good in the role, but awards-worthy? Not even close… I think this ia good movie being sold by people as a great movie, and I couldn’t disagree more. If you liked Good Time, you’ll probably like this, too. This will be nationwide on Christmas Day.

Terrence Malick is also back, continuing his amazingly prolific degree of filmmaking in his mid-70s with A HIDDEN LIFE (Fox SEarchlight), a three-hour drama about an Austrian farmer (August Diehl) who refuses to swear allegiance to Hitler as WWII begins, which first makes him a bit of a pariah in his rural community but eventually gets him thrown in prison for treason. Valerie Pachner is quite terrific as his wife, and the movie has some great smaller roles for Matthias Schoenaerts, the late Michael Nyqvist, Bruno Ganz and Jürgen Prochnow. If you’re a fan of Malick’s better films than

Kristen Stewart plays French New Wave actress Jean Seberg in Benedict Andrews’ SEBERG (Amazon), about how the actress got into a relationship with Hakim Jamal (played by Anthony Mackie), causing trouble for her career. The movie also stars Margaret Qualley (Once Upon a Time … in Hollywood), Jack O’Connell, Zazie Beetz and Stephen Root, and it will get a limited release this weekend.

Stephen and Robbie Amell star in Jeff Chan’s Code 8 (Elevation Pictures), Robbie playing Connor Reed, a guy with superpowers living in a world where those with powers are minimalized and living in poverty. In desperate need of money to help his ailing mother, Connor gets in with a powered thug named Garrett (played by his cousin, Stephen) to use his powers for elaborate heists. It’s a surprisingly good movie, mainly due to Jeff Chan’s ability to create a big movie on a seemingly limited budget.

You can check out the trailer and Chan’s original short film that inspired the feature below, and my interview with Robbie Amell will be on The Beat on Thursday sometime.

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Steven Luke’s The Great War (Saban/Lionsgate), opening in select cities Fridays, takes place during the last days of WWI where a regiment of African-American “Buffalo Soldiers” are trapped behind enemy lines. When one escapes, he asked to join an all-white troop to find the survivors.s

An interesting doc, especially for lovers of dance, is Alla Kogvan’s documentary Cunningham (Magnolia), which uses 3D technology to explore the life and work of the late choreographer Merce Cunningham (who would be celebrating his centennial anniversary this year), combining archival footage with newly-created performances of Cunningham’s greatest work. This movie reminded me quite a bit of Wim Wenders’ doc Pina in that I enjoyed this, despite having zero to no interest in dance in general. It will open at the Film Forumin New York on Friday, as well as Film at Lincoln Centeruptown, the Royal in L.A, the Arclight in Sherman Oaks and Edwards Westpark 8 in Irvine.

Xavier Dolan’s latest film The Death and Life of John Donovan (Momentum), stars Kit Harington, Natalie Portman, Susan Sarandon, Kathy Bates, Thandie Newton, Jacob Tremblay and more. It’s about the relationship between a young actor and a TV star that takes place ten years after the latter’s death. It will open in select cities and On Demand.

Lastly, there’s Danny Abeckaser’s MAFIA drama Mob Town (Saban Films), starring David Arquette, Jennifer Esposito, Jamie-Lynn Sigler and PJ Byrne.

Also, next Monday, Trafalgar Releasing is releasing Gorillaz: Reject False Icons, a new concert doc about Damon Alban’s Blur spin-off group with comic artist Jamie Hewett.

STREAMING AND CABLE

Michael Bay’s action-comedy 6 UNDERGROUND (Netflix), starring Ryan Reynolds, will get a very limited release Weds. before debuting on the service on Friday. I really don’t know much about it other than it’s about six specialists come together to do stuff.

REPERTORY

METROGRAPH (NYC):

This weekend, the Metrograph begins a fairly self-explanatory series called “Malick: The First Four Films” to coincide with the release of A Hidden Life (see above), although 2005’s The New World won’t screen until next weekend. Also, the theater also continues its annual “Holidays at Metrograph” series with Billy Wilder’s 1960 Oscar winner The Apartment screening Saturday and Sunday. Welcome To Metrograph: Redux continues with David Lean’s Brief Encounter (1945) on Wednesday and Otto Premingers’ Bunny Lake is Missing (1965) on Friday and Saturday. This week’s Late Nites at Metrograph is David Lynch’s Dune (1984) while Playtime: Family Matinees is the 1992 The Muppet Christmas Carol.

ALAMO DRAFTHOUSE BROOKLYN (NYC)

Tonight’s “Weird Wednesday” is Blue Vengeance from 1989, while the weekend’s “Kids Camp” is last year’s animated The Grinch. On Monday evening is a 10thanniversary screening of Vernon Chatman’s Final Flesh. Tuesday’s “Terror Tuesday” is the original Black Christmas from 1974 (already sold out), and “Weird Wednesday” is the 1985 thriller Trancers, hosted by John Torrani.

THE NEW BEVERLY (L.A.):

The Weds. Afternoon Classics matinee is The Thin Man (1934), starring William Powell and Myrna Loy, while Friday’s “Freaky Fridays” offering is the original 1933 James Whale movie The Invisible Man. The Weds/Thurs double feature is Todd Haynes’ Carol (2015) and Far from Heaven (2002) with DP Ed Lachman appearing on Weds (sorry, sold out!). Saturday and Sunday offers the Kiddee Matinee of A Christmas Story, as well as a special “Holiday Edition” of the New Bev’s Cartoon Club. Friday’s midnight is Tarantino’s own Reservoir Dogs, while Saturday midnight is the holiday horror film Don’t Open Till Christmas (1984). Monday’s Matinee is Bad Santa, starring Billy Bob Thornton and Monday night’s screening is Ingmar Bergman’s Fanny and Alexander (1982).

FILM FORUM (NYC):

“Scorsese Non-Fiction” will continue through December 17 with screenings this week of Rolling Thunder Revue and Shine a Light, as well as another screening of A Personal Journey with Martin Scorsese through American MoviesFriday, and screenings of the classics The Last Waltz and No Direction Home: Bob Dylan on Sunday.The 70th anniversary 4k restoration of Alec Guinness’ Kind Hearts and Coronets will continue through December 19 with screenings at 12:30 and 6:10pm each day. This weekend’s Film Forum Jr. is the Disney animated film The Aristocrats (1970).

EGYPTIAN THEATRE (LA):

After an encore screening of Auntie Mame (1958) on Thursday, the Egyptian will screen a David O. Russell hosted screening of Tourneur’s 1919 film The Broken Butterfly with musical accompaniment on Friday. Saturday night is “Retroformat 10thAnniversary” sponsored by the George Lucas Family Foundation, showing two hours of movies from the early 20thCentury with musical accompaniment. Saturday night is a Spike Jonze double feature of Being John Malkovich and Three Kings, while Adam Driver will continue his awards campaign run by appearing for a double feature of Noah Baumbach’s Marriage Storywith Jim Jarmusch’s Paterson.

AERO (LA):

Terry Gilliam will be appearing in person on Friday night for a TRIPLE FEATURE (!!!) of The Man Who Killed Don Quixote, Time Banditsand The Adventures of Baron Munchausen… which makes me really wish I lived in L.A. On Saturday, screenwriters Scott Alexander and Larry Karaszewski will screen their new movie My Name is Dolemite along with Tim Burton’s Ed Wood (1994). Edward Norton and Primal Fear (1995) producer Hawk Koch will appear on Sunday afternoon for a double feature of the latter (in which Norton stars) along with Norton’s own new film, Motherless Brooklyn. Tuesday’s “Christmas Noir” Is Nicholas Ray’s debut TheyLive By Night (1949).

MUSEUM OF THE MOVING IMAGE (NYC):

MOMI’s own Terrence Malick series ends this weekend with screenings of Voyage of Time: Life’s Journey on Friday and Sunday, The New World: Limited Releas Version on Saturday, as well as The Thin Red Line on Sunday evening. Monday, there is a free screening of Martin Scorsese’s Casino (1995) as part of “Martin Scorsese: Four Movies over Four Decades.” Saturday’s family matinee is Hiroyuki Morita’s 2002 film The Cat Returns, while John Cassavetes’ Gloria (1980) will screen on Sunday afternoon as part of the ongoing “Always on Sunday: Greek Film Series.”

MOMA (NYC):

This week’s new series is called “The Wonders” and it’s the first American retrospective of writer-director Alice Rohrwacher and the actress Alba Rohrwacher. I’m really not that familiar with either although Rohrwacher’s Happy as Lazzaro last year was fairly well-received.Modern Matinees: Iris Barry’s History of Filmal so continues this week with Hamlet (1920) today, Greed (1924) tomorrow and a program called “Great Actresses of the Past 1911 – 1916” on Friday.

IFC CENTER (NYC)

Weekend Classics: May All Your Christmases be Noir will be screening Charles Laughton’s 1955 film The Night of the Hunter, starring Robert Mitchum; Waverly Midnights: Spy Games will screen Hitchcock’s North by Northwest; and Late Night Favorites: Autumn 2019 will show Aliens and Eraserhead.

FILM AT LINCOLN CENTER (NYC):

Not much to report except that there will be an encore screening of the 2001 Korean blockbuster My Sassy Girl on Thursday afternoon.

ROXY CINEMA (NYC)

Continuing its Nicolas Cage vintage series with 1991’s Zandalee on Wednesday, Barbet Schroeder’s Kiss of Death (1995) on Thursday and Sunday.

LANDMARK THEATRES NUART (LA):

#JumanjiTheNextLevel Bombshell RichardJewell BlackChristmas Movies Reviews TheWeekendWarrior

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coffinboard · 7 years ago

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↣ musical artist meme

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The Man - ❓ Lullatone - 💕 💕 💕 💕 sublime - ✔ grateful dead - ✔ king crimson - ❓ rush - ❓ frank iero andthe patience/celebration -❓ flatsound - 💕 💕 💕 💕 💕 Nothing, nowhere -❓ elvis depressedly - ✔ Cloud nothings - ❓ kimya dawson -💕 💕 💕 💕 💕 guns n’ roses -💕 social repose ❓ Arkells - ❓ July Talk - ❓ Jank - ❓ Father John Misty - ❓ Sky Ferreira - ❓ HAIM - ❓ Declan McKenna - ❓ Sean Bolton- ❓ Beach House - ❓ The xx - 💕 Transit - ❓ Knuckle puck- ❓ Trophy Eyes - ❓ Joyce manor- ❓ Boston manor - ❓ Sum 41 - 💕 💕 💕 💕 💕 Godsmack - 💕 💕 💕 💕 💕 Papa Roach - 💕 💕 💕 💕 💕 Dope - 💕 💕 💕 💕 💕 P.O.D - 💕 💕 💕 💕 💕 Trapt - 💕 💕 💕 💕 💕 Limp Bizkit - 💕 💕 💕 💕 💕 The Pretty Reckless - 💕 💕 💕 💕 💕 The wonder years - ❓ Basement - ❓ American Football - ❓ La dispute - ❓ Surf Curse - ❓ Title fight - ❓ Brand New - 💕 💕 💕 💕 💕 The Mountain Goats - 💕 💕 💕 💕 💕 The story so far - ❓ Real Friends - ❓ Balance and composure - ❓ A day to Remember - 💕 Elliot Smith - ✔ With Confidence - ❓ Our last night - ❓ AS IT IS - ❓ Senses Fail - ❓ Ween - ❓ Away days - ❓ Sorority Noise - ❓ Broken bells - ❓ Beartooth - ❓ Delta spirit - ❓ DREAMERS - ❓ The strumbellas - ❓ Neutral Milk Hotel - 💕 💕 💕 💕 💕 National Parks - ❓ Daughtry - ❓ Handsome ghost - ❓ Cold War Kids - ❓ Colony House - ❓ Dance Gavin Dance - ❓ Kodaline - ❓ Sweatshop Union - ❓ The lumineers - ❓ Of Monsters and Men - ❓ Waterparks- ❓ Foxing - ❓ Cyrberbully Mom Club - 💕 daisyhead - ✔️ The Mowgli’s - ❓ Banners - ❓ Billie Eilish - ❓ Switch Foot - 💕 💕 💕 💕 💕 Culture Club - 💕 💕 💕 💕 💕 Eurythmics - ✔️ Tears For Fears - 💕 💕 💕 💕 💕 Simple Minds - 💕 💕 💕 💕 💕 A-Ha - 💕 The Bangles - ✔️ Cyndi Lauper - ✔️ Twisted Sister - 💕 Punch Brothers - ✔️ Nickel Creek - 💕 💕 💕 💕 💕 Poets Of The Fall - 💕

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whumpslist · 8 years ago

Text

Whole whumpy episodes

Inspired by the recent #Whump Challenge - Day 18 question and the priceless support of Whumpapedia document, I will collect here single episodes where the whump starts at the BEGINNING OF THE EPISODE and LASTS/EVOLVES ALL THE EPISODE LONG. Something you can relay on to enjoy and cheer up! This page will be continuously updated. Any suggestion/help are most appreciated and welcome!

Tandem: 1.12 episode “Un anneau d'or: 2ème partie” °°°NEWEST°°° Character: Paul Marchal, performed by Stéphane Blancafort. Type of whumps: injured in the previous episode, blindfolded and hands tied, kidnapped, escaped and hunted, in pain and heavily panting, manhandled, treated on the field, manhandled and repeatedly under gunpoint, rescued.

Agent X 1.05 episode “Truth, Lies, and Consequence” Character: John Case, performed by Jeff Hephner. Type of whumps: poisoned, weak and dizzy, blurred vision and whistles in the ears, manhandled and punched, sweating, fought, collapsed, unconscious.

Arrow 5.20 episode “Underneath" Part 1 & Part 2 Character: Oliver Queen, performed by Stephen Amell. Type of whumps: hit by explosion blast and passed out, bloody cut on his bicipit, fallen in the elevator trumpet and impaled, treated and sewn on the field, lightheaded for exposure to toxic gas and dizzy, weak after a considerable effort and fainted for the loss of blood, heartbroken and passed out again, weak again after a considerable effort with blood at his mouth and collapsed, stabbed with adrenaline syringe, another considerable effort with much sweating and grunting, recovering in bed.

Banshee 1.10 episode “A Mixture of Madness” Character: Lucas Hood, performed by Antony Starr. Type of whumps: ambushed (from previous episode), under heavy gunfire, bloody bruises all over his face and still bruises on his wrists, a little shocked, he surrended himself to his enemy, knocked out with a hit at his neck, punched and hit with teaser (memory of the past), tortured: tied to a chair and badly beaten and almost choken to death, then stabbed, passed out and unconscious on the stretcher then in hospital, sore at home with red swollen bruises and changing the bandage.

Chicago PD: Character: Jay Halstead, performed by Jesse Lee Soffer.

3.01 episode “Life is Fluid”. Type of whumps: abducted, badly beaten, tied up, tortured, treated on the field and heavily bruised.

7.09 episode “Absolution”. Type of whumps: hit at his head and knocked out, unconscious on the floor and bleeding, kidnapped and hands tied, repeatedly punched and bloody face, punched again, feeling guilty and emotional distress, fought twice, weak and heavily panting, unsteady on his legs, under gunpoint, shot in the chest and collapsed, bloody and wheezing on the floor, moaning in pain, fate unknown.

Continuum 1.09 episode “Family Time” Character: Carlos Fonnegra, performed by Victor Webster. Tipe of whumps: shot point blank, grunting and bleeding on the ground, kidnapped and needed help for walking, dressed on the field, captured again and many bloody dressings, locked into a room, sweating mortally pale.

CSI 2.19 episode “Stalker” Character: Nick Stokes, performed by George Eads. Type of whumps: roughly fallen through a window down a building to the ground, unconscious, hospital, concussion, cracked ribs, recovery at home but assaulted, fought, weak and panting.

Falling Skies 2.01 episode “Worlds Apart”. Character: Tom Mason, performed by Noah Wyle. Type of whumps: weak, shot at his flank, unconscious after surgery, dreamt of past hree months: tortured with electric shock stick, tied up, slammed to the ground and passed out, punched, slammed against a wall; another emergercy surgery.

Gotham Character: James Gordon, performed by Benjamin McKenzie.

5.06 episode “13 Stitches” Type of whumps: hunted down and under gunfire, bullet graze at his neck and bloody wound, panting and grunting, rough fight, treated himself on the field, bloody collar of his shirt and patch, grunting while treating the wound, rought fight, bruises, repeatedly kicked and hit with a bar, punctured bloody wound on his torso, exhausted, attacked with a knife and fought.

5.09 episode Part 1 Part 2 “The Trial of Jim Gordon” Type of whumps: shot by a sniper, fallen to the ground, groaning and bleeding, lifted and carried by arms, grunting in pain, treated on the field, bullet shattered against the rib, unconscious on a table with IV, fighting for his life and nightmares about been on trial, enemy attempting his life again, crashing and CPR, gasping.

Hawaii Five-0

5.07 episode “Ina Paha / If Perhaps” Character: Steve McGarrett, performed by Alex O'Loughlin. Type of whumps: kidnapped, tortured in many ways, bleeding, fought and collapsed.

6.25 episode “ O Ke Ali'i Wale No Ka'u Makemake / My Desire Is Only for the Chief” Character: Steve McGarrett, performed by Alex O'Loughlin. Type of whumps: shot, bleeding and sweating, unconscious, hospital, surgery, hospital recovery.

Knight Rider (2008) 1.04 episode “A Hard Days Knight”. Character: Mike Traceur/Michael Knight, performed by Justin Bruening. Type of whumps: poisoned, panting and pale, in pain, collapsed, sweating and wobbly, chased by police, heart stopped and CPR, semiconscious, passed out.

Lucifer 4.05 episode “Expire Erect”. Character: Lucifer Morningstar, performed by Tom Ellis. Type of whumps: shot in the stomach and held hostage, collapsed and on the ground bleeding, care on the field, spitting blood and panting, unconscious on the ground, protected by explosion but hit on his wound, on an ambulance stretcher with IV.

Magnum P.I. 1.15 episode part 1 part 2 part 3 “Day the Past Came Back”. Character: Thomas Sullivan Magnum, performed by Jay Hernandez. Type of whumps: kidnapped, gagged and tied up, bruises all over the left side of his face, punched and threatened, fought and slashed with a knife at his flank, bleeding wound and treated on the field, patched up, memories of being wounded during captivity, upsetting news, ambushed and shaken, under gunfire, on the roof of a running truck, hit his face against the dashboard and rough fight, shot in the shoulder and fallen outside the truck, many bruises from the fall, heavy painting, collapsed on the ground moaning and bleeding, into an hospital bed with IV.

NCIS Los Angeles 10.01 episode “To Live and Die in Mexico”. Character: G Cullen, performed by Chris O'Donnell. Type of whumps: hit by a rocket in the previous episode, dragged out and sore at his torso, bloody cut on his forehead and dizzy, holding his flank and limping, fallen from a cliff during a fight and panting, badly sore, examined and found a broken rib, difficulties to walk and sitten exhausted and sweat, broken rib punctured his lung causing severe difficulties to breath and coughing, passed out and emergency treatment on the field, on a hospital stretch, unconscious and vulnerable into an hospital room, ambushed and almost killed, unconscious into an hospital room with IVs and checking monitors.°°°NEWEST°°°

Revolution 2.19 episode “$#!& Happens”. Character: Miles Matheson, performed by Billy Burke. Type of whumps: roughly fallen to the ground from running carriage, fought, bloody cut at his abdomen, roughly fallen downstairs for floor collapse and entraped, cauterized the wound with red-hot knife blade, fallen and passed out and wound bleeding again, entrapped for two more days, bloody trail and thought of suicide, hit the mirror with hand and blood (memory), figured out a way to escape starting a fire. Continues with some aftermath in the following episode.

Scorpion 1.22 episode “Postcards from the Edge”. Character: Walter O'Brien, performed by Elyes Gabel. Type of whumps: car accident and on a cliff, impaled to the seat, a lot of grimacing and sweating and suffering, bleeding, cauterized himself, much pain and sweating, dislocated collarbone, last minute recovery, hospital, heavely sedated.

Shooter Character: Bob Lee Swagger, portrayed by Ryan Philippe.

3.01 episode “Backroads”. Type of whumps: shot in the previous episode, unconscious with hands tied, jumped outside a running car, staples removed and bleeding, bruise on his forehead and panting, knocked out with a hit at his neck, unconscious on the car seat, treated on the field with many grunting and pain, fought and fallen to the ground moaning, under gunfire, limping and grunting, under gunpoint, rougt fight, collapsed to the ground grunting in pain, unconscious and rescued.

3.09 episode “Alpha Dog”. Type of whumps: angry and on a revenge warpath, knuckles bruised after having beaten many enemies, rough and unfair boxing fight, many bloody bruises on his face, heavily panting, hooded and manhandled, tied up to a chair, repeatedly punched and shoulder dislocated, screaming in pain, grabbed by hair, under gunpoint, rescued and grunting, treated in hospital and patches on his face, immobilized arm and in a sling, upset.

Stargate Atlantis 1.03 episode “38 Minutes”. Character: John Sheppard, performed by Joe Flanigan. Type of whumps: with a parasitic alien bug attached to his neck, causing immense pain and spreading paralysis, his heart stopped to make the bug let go and then has to be resuscitated. And it even ends with an after-care infirmary scene [thanks to @alipeeps].

Stargate SG-1

1.18 episode “Solitudes”. Character: Jack O'Neill, performed by Richard Dean Anderson. Type of whumps: unconscious, broken leg and treated on the field, broken ribs too and internal bleeding, weak, hypothermia, unconscious [thanks to @the-wandering-whumper].

2.07 episode “Message in a Bottle”. Character: Jack O'Neill, performed by Richard Dean Anderson. Type of whumps: impaled to the wall, infected by alien life, severe pain, fever, died but brought back, passed out [thanks to @the-wandering-whumper].

9.08 episode “Babylon”. Character: Cameron Mitchell, performed by Ben Browder. Type of whumps: staff weapon blast to his side, fought and passed out, fireman’s carry, fever for infection, nursed back to health, forced to training with many beating and sweating, forced to fight to the death, slashed on his thigh plus other minor injuries, poisoned, thought dead, revived.

Strike Back Character: Michael Stonebridge, performed by Philip Winchester. Begins in episode 4.03 with a fall and cut on his forearm with deteriored shells, aftermath with blurred vision and stiffness and pain in the arm, till the 4.07/08 episodes. Type of whumps: undercover in jail, hit at his flank with a blackjack, fought against various opponents, pain in the arm and blurred vision, revealed his sympthoms are due to exposition to a neurotoxin and they will get worse with paralysis and respiratory complications, fought, coughing and blurred vision, hit and knocked out, bloody cut on his forehead and handcuffed, still bloody cut on his forehead and handcuffed to a strench, coughing and blurred vision, restrained to a stretch, fever and respiratory difficulties, fought, coughing and paralyzed arm, difficulties to walk and blurred vision, captured, restrained to a stretch, injected himself with antitoxin, still weak and paralysed arm, in hospital bed with IV and sensors attached to the chest recovering.

Taken Character: Bryan Mills, performed by Clive Standen

1.07 episode “Solo” Type of whumps: kidnapped and badly tortured, naked into a cold room and starving.

2.14 episode Part 1 & Part 2 (clip 1 clip 2 clip 3): some emotional pain, attacked, under gunpoint and locked into a n interview room, shot at his flank and left bleeding on the ground, groggy and bloody shirt and hands, collapsed and grunting in pain, holding his flank, trembling and treating himself on the field, unsteady, hit in the face and very rough fight, knife at his throat, punctured with a corkscrew and almost chocked to death, cut with a piece of glass at his hand, collapsed panting and sweating, limping and dressed hand, many bruises all over his face.

The Blacklist

1.09 episode “Anslo Garrick (No. 16)”. Character: Donald Ressler, performed by Diego Klattenhoff. Type of whumps: shot in his leg, treated on the field with makeshift equipment, in hypovolemic shock, lot of pain and blood, with aftermath in the following episodes.

2.19 episode “Leonard Caul (No. 62)”. Character: Raymond “Red” Reddington, performed by James Spader. Type of whumps: in critical conditions after being shot in the chest, operated on the field, attacked, almost killed.

4.07 episode “The Apothecary (No. 59)”. Character: Raymond “Red” Reddington, performed by James Spader. Type of whumps: poisoned!, all the episode sweating, coughing and collapsing a couple of times.

5.08 episode “Ian Garvey (No. 13)”. Character: Tom Keen, performed by Ryan Eggold. Type of whumps: still kidnapped tied up and bloody face from previous episode, punched, fought, under gunfire, shot, arm sling, groaning, treated and stitched up on the field, under gunfire, groaning, cleaning his own wounds, captured and tied up again, bloody bruises on his head, punched and kicked, stabbed three times, fought, slammed against the wall, almost chocked to death, bloody and weak, bloody and dizzy on an hospital stretch, hospital treatment, dead.

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