#Jerry MacKinnon

[redbelles]

Operation Dragoon takes place in three days. Your mission is what makes it possible.

MASTERS OF THE AIR Part Eight

[stevenrogered]

MASTERS OF THE AIR PART EIGHT

[balanchine-ballet-master]

Kyra Nichols Rehearses Robbins

from the New York Times, January 29, 2003

Easy Does It: Bringing Old-School Wisdom to City Ballet

Kyra Nichols, a former principal, returns to the company for the first time since her 2007 retirement to coach ballets by Balanchine and Robbins.

By Gia Kourlas Jan. 29, 2023

Indiana Woodward knew her time with Kyra Nichols was dwindling: It was the last hour they would spend together before Nichols, an esteemed former New York City Ballet principal, had to head back to her day job as a professor at the Indiana University Jacobs School of Music.

For City Ballet’s winter season, Nichols had returned—for the first time since her 2007 retirement—to coach dancers in George Balanchine’s “Donizetti Variations” and “Walpurgisnacht,” as well as Jerome Robbins’s “Rondo,” an understated, little-seen ballet created for Nichols and Stephanie Saland in 1980.

A rehearsal for that ballet was about to begin, and Woodward and Nichols were talking—with the repertory director Christine Redpath—about energy: how to save it, how to store it, how to look better by doing less.

Woodward, with imploring eyes, turned to Nichols with a request: “Whenever you think of it, just send us a message”—she made a calming motion by patting down the air with her hands—“saying, ‘Take it easy.’”

Easy, of course, isn’t always so easy. But the idea behind it is important: How can a dancer replace force with something more free? How can she explore the possibilities of effortless dancing, the kind that Nichols was known for? She knew how to be natural. Throughout her 33-year career with City Ballet, Nichols made it seem as if steps were flowing—sometimes gently, sometimes with a wild, gushing power—through her limbs, her torso, her elegant upper body, as epitomized in the dynamic épaulement of her shoulders and head.

Nichols’s dancing was expansive and free, yet in the service of the choreography—or, really, the musicality within the choreography. It’s not so different from the way she demonstrates movement in the studio: She moves.

Above: Nichols, left, with Christine Redpath, a City Ballet repertory director. It was Redpath who asked Nichols for help when she began putting “Rondo” together. Photo: Nina Westervelt for The New York Times

The invitation to coach was a happy surprise. “I thought, the time will come if they want me to come,” she said. “I didn’t push it. Hopefully, I’ll come back. It’s been a really great experience.” It started when Redpath began putting together “Rondo,” and asked Nichols for help. Enlisting former company members from the Balanchine era to coach dancers from the current generation is something that City Ballet, under its artistic director, Jonathan Stafford, and associate artistic director, Wendy Whelan, has continued to implement. Mikhail Baryshnikov, Edward Villella, Patricia McBride and Suzanne Farrell have all come back to coach; this season, Adam Luders returned along with Nichols.

Beginning Tuesday, “Rondo” will take the stage again, featuring the pairing of Mira Nadon and Isabella LaFreniere—and, later, Woodward and Olivia MacKinnon. (LaFreniere and MacKinnon perform Nichols’s role.) “He would have Stephanie do something that was simple,” Nichols said of Robbins. “And then he had me do a version that was just a little bit harder.”

“Rondo” didn’t last beyond 1980 at City Ballet. Yet the pas de deux, set to Mozart’s Rondo in A minor for solo piano, has a gleaming simplicity and an unsentimental feeling of sisterhood. At the time of its premiere, Robbins wrote to Leonard Bernstein, inviting him to see the ballet: “I like it,” Robbins said, “although like the music, it is a fairly quiet work.”

Quiet or not, Nichols feels that “anything of Jerry’s should just always be kept—and Balanchine,” she said. “Even if it wasn’t a big success, it still has so much in it. It’s important to the dancers, this new generation.”

Robbins began creating “Rondo” with little fanfare, beginning, as he often did, by playing around in the studio. “He got us in there and was just toying with different ideas and then, all of a sudden,” Nichols said, “they wanted it on opening night that season.”

Above: Kyra Nichols, right, coaching Isabella LaFreniere, left, and Mira Nadon in Jerome Robbins’s “Rondo.” Photo: Nina Westervelt for The New York Times

Robbins labored over his ballets. When he learned that “Rondo” would be performed so soon, he secured the only stage rehearsal possible: one hour on the day before the premiere while the stagehands were on their dinner break.

“They were loading in,” Nichols said. “There was no floor laid. The wings were up, and they were putting all the lights in. So when they went to dinner, we ran ‘Rondo.’ We didn’t wear pointe shoes, but he could see, visually, what we were dancing.”

In the ballet, the two women echo each other closely, performing in sync or in canon as one trails behind the other in light runs and jumps, tightly knitted chaîné turns—in which alternating feet spin across the floor like a chain—and tiny steps that send them floating across the stage. They partner each other, too: “Rondo” is a crystalline display of two women dancing together, working together, as Nichols put it, to make it work.

“It was more your body doing it, especially with Jerry,” she said. “Look at the other girl, but don’t make love to her.”

In a rehearsal with Nadon and LaFreniere, Nichols urged the dancers not only to be easy, but also to be natural—a hallmark of Robbins’s choreography. “You have a beautiful pointed toe,” she said. “Just step on it.”

“Rondo” looks serene, but is it? “This is a beast, this is so hard; how did she make this look so easy?” LaFreniere said, referring to Nichols, in a video interview with Nadon. “One of the first things she said when she came into the studio was like, ‘Just less, everything less.’ After one of our run-throughs of ‘Rondo,’ I was super, super sweaty. And she looked at us and she said, ‘Yeah, we’re going to have to learn how to breathe.’”

Nadon added: “I think as dancers, our tendency is to want to work really hard because we want to push our physicality. And sometimes the hardest thing is to do a little less and to be a little calmer and to let the movement speak for itself.”

That’s part of what Nichols grasped while working with Robbins: not being balletic about movement quality. Walking, standing—everyday movements performed by dancers without affectation to create something new, a kind of pedestrian classicism. “I didn’t have it right off the bat either,” Nichols said. “How many times did I walk across the stage looking at the lights in ‘Dances at a Gathering’ and him going, ‘No, let’s do it again.’ Not walking on the music, being casual, not pointing the toe—it’s so different than taking ballet class.”

Nichols says she loves coaching, loves to share what she learned; during her time at City Ballet, she was especially flattered to be asked to teach a variations class at the company-affiliated School of American Ballet. She focused on “Spring” in Robbins’s “The Four Seasons.” She taught it the way Robbins originally choreographed it—with turns to the left and right. Now, turns are generally performed to the right; most dancers are right turners. For Nichols, that distorts the structure of the variation, how its choreography fills the stage. She recalled the first time she was in the studio with Robbins; up to that point, in “Goldberg Variations” and “Fanfare,” two of his ballets, she found herself positioned in the back row. She assumed she wasn’t going to become a Robbins dancer and, as she told herself, that was OK: She was working with Balanchine. But then, to her surprise, she was called to a rehearsal with Robbins.

“He was still dancing around a lot at that point,” she said. “I got there, and he started moving. He moved to the left. He did hops on my weak foot.”

She was honored to be in the room. She wanted to please him, so she followed along. “And what was I supposed to say? ‘Um, Mr. Robbins, that’s my weak side. I can’t turn to that side.’ I was 19 at that point. I was like, I’m in the room with Jerry Robbins. I just did it.”

Photo: Nina Westerveldt for the NY Times

[grande-caps]

Sceencaps || Dude (2018) GALLERY LINK : [x] Quality : HD Screencaptures Amount : 2143 files Resolution : 1920x790px

-Please like/reblog if taking! -Please credit grande_caps/kissthemgoodbye!

[bluecollarfilm]

Dude (2018)

Four best friends navigate loss and major life changes -- and smoke a lot of weed -- during their last two weeks of high school.

Directed by:   Olivia Milch

Starring:   Lucy Hale, Alexandra Shipp, Awkwafina, Kathryn Prescott, Alex Wolff, Austin Abrams, Jerry MacKinnon, Michaela Watkins, Jack McBrayer, Colton Dunn

Release date:   April 20, 2018

[tommisonfans]

A release date for the Season 4 DVD has been set in the UK. Thanks to @WorbsE17 for spotting that the DVD (region 2) will be available there as of September 25th. Amazon UK is taking pre-orders for £27.99. No date has been set for the US as of yet.

It looks 14 minutes of Deleted Scenes will be included as extras:

00:00:49:24  EP 402 SC 10

00:00:48:18  EP 403 SC A28

00:02:10:15  EP 404 SC 1 - PARTIAL

00:00:41:13  EP 406 SC 11 PT 1

00:00:33:04  EP 406 SC 11 PT 2

00:00:48:03  EP 406 SC 39

00:00:28:03  EP 409 SC 20

00:00:15:12  EP 409 SC 11

00:00:53:18  EP 410 SC 19

00:00:22:20  EP 410 SC 19

00:00:28:01  EP 411 SC 29

00:01:44:18  EP 412 SC 05 - EXTENDED

00:01:25:12  EP 412 SC 40 - EXTENDED

00:02:41:01  EP 413 SC 10

00:00:07:05  EP 413 SC A 28

[alwayscaskett810]

Sleepy Hollow 

September 16, 2013 - March 31, 2017

[movies-tv-more]

SLEEPY HOLLOW 4x12 “Tomorrow” airs tonight at 9pm on FOX

[tvafterdark]

[mariacallous]

NYT Debatable: OnlyFans and the new war on porn

By Spencer Bokat-Lindell

Staff Editor, Opinion

Last week, the paid subscription platform OnlyFans announced it was cracking down on the very content that built its business: pornography. The news, first reported by Bloomberg’s Lucas Shaw, created an infinite scroll of jokes on social media, but also a great deal of outrage and distress among the two million people for whom the platform had become a source of income. “OnlyFans is how I pay my rent,” one OnlyFans creator told The Times. “I feed myself from this.”

Pornography has been a subject of sustained national debate since the 1960s, but the battle lines have shifted and blurred over the decades: In the wake of the #MeToo movement, many liberals are now taking a closer look at the ubiquity of online porn and its treatment of women. At the same time, social media has given pornography and its creators a larger platform than they’ve ever had before.

Is pornography a vice to be regulated, or is it a kind of speech to be left largely alone? And what does the answer mean for the people whose livelihoods depend on it? Here’s what people are saying.

The new war on porn

After the sexual revolution, pornography became a central preoccupation of the American right, at one point even more so than abortion and homosexuality. “Smut,” President Richard Nixon said in 1970, “should not be simply contained at its present level; it should be outlawed in every state in the Union.”

The cause found willing recruits in Christian conservatives like Jerry Falwell, but also in influential feminists on the left like the legal scholar Catharine MacKinnon and the activist and writer Andrea Dworkin. Dworkin believed that pornography constituted a violation of women’s civil rights: “Every rule of sexual abuse, every nuance of sexual sadism, every highway and byway of sexual exploitation, is encoded in it,” she wrote.

But by the end of the 1980s, the movement to censor pornography had foundered on First Amendment grounds, and American culture had largely moved on too. “High heels, lipstick and sex positivity were in,” Moira Donegan wrote for Bookforum in 2019. “Dworkin — and her gruesome, angry characterization of sexual violence — was decidedly out.”

In recent years, however, the proliferation of pornography online has revived interest in its regulation. As Maggie Jones wrote for The Times Magazine in 2018, pornography is now the de facto sex educator for American youth, prompting concern that internet-native generations are being taught ideas about heterosexual sex that are unrealistic at best and violently misogynistic at worst. (For gay and bisexual youth, Jones noted, studies show that pornography can be a source of affirmation.)

There is little research on what children are watching and whether it affects their behavior. “But you don’t have to believe that porn leads to sexual assault or that it’s creating a generation of brutal men to wonder how it helps shape how teenagers talk and think about sex and, by extension, their ideas about masculinity, femininity, intimacy and power,” Jones wrote.

Online pornography has drawn the strictest scrutiny for how it facilitates the abuse of women and girls. Within the past 10 years, nearly every state has criminalized “revenge porn,” the nonconsensual sharing of sexually explicit photos or videos. Revenge porn primarily affects women, as Rebekah Wells wrote for The Times in 2019, and it can devastate the health and long-term financial prospects of its victims.

Last year, The Times columnist Nicholas Kristof detailed how pornography sites profit off this and other forms of abuse. One of the most-visited pornography websites, Pornhub, attracts 3.5 billion visits a month, more than Netflix or Amazon, and it’s “infested with rape videos,” he wrote. “It monetizes child rapes, revenge pornography, spy cam videos of women showering, racist and misogynist content, and footage of women being asphyxiated in plastic bags.”

Shortly after that column’s publication, Discover, Mastercard and Visa suspended payments to Pornhub. Mastercard later announced new rules for banks that process payments to sellers of adult content: Starting in October, sites will have to verify the age and identity of anyone who is depicted in or uploads adult content, institute a pre-publication content review system, and offer speedy complaint resolutions and appeals.

These rule changes appear to have played a key role in OnlyFans’s recent ban. In a statement, the company said the move was made “to comply with the requests of our banking partners and payout providers.”

Why porn creators and free speech groups are pushing back

While the porn industry surely plays a role in facilitating sexual and economic exploitation, many performers reject the narrative that it’s a root cause of sex trafficking. Alana Evans, the head of the Adult Performers Actors Guild, notes in The Daily Beast that, according to the National Center for Missing and Exploited Children, Pornhub’s parent company, which owns several other popular porn sites, accounted for 13,229 reports of “child sexual abuse material” in 2020; Facebook, on the other hand, accounted for 20.3 million — nearly 95 percent of all such reports. The majority of online recruitment in active sex trafficking cases in 2020 also occurred on Facebook, according to the Human Trafficking Institute.

So why the focus on pornography sites? In The New Republic, Melissa Gira Grant argues that pornography is just the latest target of Christian conservative organizations engaged in a “holy war” against what they see as America’s moral decay. Concerns about sex trafficking, she writes, offer a way for such groups — like Morality in the Media, an anti-porn organization founded in the 1960s that in 2015 rebranded itself as the National Center on Sexual Exploitation — to cast their mission as one of social justice.

Many pornography creators say the intensifying crackdown will only put them at greater personal and financial risk. “Companies like Mastercard are now accomplices in the disenfranchisement of millions of sex workers, complicit in pushing workers away from independence into potentially more dangerous and exploitative conditions,” the Free Speech Coalition, a trade association for the adult entertainment industry, said in a statement.

The paradox is especially bitter when it comes to OnlyFans, which took power and money away from studios and sites like Pornhub and put it into the hands of individual creators. When the pandemic hit, the platform also became a lifeline, offering countless performers a way to earn income in the safety of their own homes.

As Charlotte Shane writes in The Times Magazine, OnlyFans has its faults: The company takes a 20 percent cut of earnings, and while some performers rake in millions of dollars, “a vast majority are lucky if they see a few hundred.” And though the company has a policy of barring minors and blocking posts containing sexual assault, violence or bestiality, a recent investigation by the BBC found enforcement lax.

On the whole, however, “Direct-to-consumer sites like OnlyFans have been a boon to workers in significant ways,” Heather Berg, a professor at Washington University in St. Louis and author of “Porn Work,” told Shane. One of the best measures of that, Berg said, is that traditional porn managers are really angry about their existence.

On top of its consequences for porn creators, OnlyFans’s decision raises important questions about the power that payment processors have over online speech. “Who gets to decide what stays and goes on the internet?” asks Protocol’s Issie Lapowsky. In the case of OnlyFans, “The answer as to who’s calling the shots appears to be Visa and Mastercard.” Comparisons have been drawn to the content moderation regimes of social media giants like Facebook, but Lapowsky notes that the stakes are in some ways higher when it comes to credit-card companies because their policy decisions cut across industries.

Can porn be reformed? Does it need to be?

Today, you can still find plenty of conservatives who believe, as Nixon, MacKinnon and Dworkin did, that porn should be outlawed. One of them is The Times columnist Ross Douthat, who wrote in 2018 that pornographic education produces a kind of toxic male personality, “at once entitled and resentful, angry and undermotivated.” Banning porn, he argued, “would dramatically reduce its pedagogical role, its cultural normalcy, its power over libidos everywhere.”

As Douthat acknowledged, however, this is not a proposal that’s likely to win most Americans over. For one thing, whether porn cultivates harmful attitudes toward women — the “negative effects paradigm,” as academics call it — is still a live question: One 2019 study found that “porn superfans” actually held more progressive views of gender roles than the general U.S. public.

But even if you concede the problem of porn’s pedagogical influence, other ways of countering it besides prohibition have been proposed. One, as The Atlantic’s Elizabeth Bruenig has explored, is “porn literacy” instruction designed to help adolescents think more critically about pornography and how to consume it ethically. Bruenig, for her part, is skeptical that school educators are up to the task. And she’s not alone: The Oxford philosopher Amia Srinivasan has said that a superior sex education program would enlist sex workers themselves.

Industry exploitation is perhaps an even thornier issue to solve, but Shane says the answer is to give creators more power, not less. OnlyFans offered many women a way to control their labor and keep most of their income, she writes in The Cut. But “what the internet gave — easy and no-cost means of advertisement, better tools for screening clients, cheaper ways to record and distribute porn — the government, with the devastatingly effective propaganda arm of anti-sex-industry civilian coalitions, keeps taking away.”

Do you have a point of view we missed? Email us at debatable@nytimes.com. Please note your name, age and location in your response, which may be included in the next newsletter.

[mackdaddynate]

fall in deep- nathan mackinnon

A/N: I know college Nate wasn’t a thing but shhh. Anyways this is pure fluff, and I basically recreated my weekend, I just wish I had a Nate to get me through it lol. title is from Into You by Ariana Grande

Summary: basically nate being adorable and getting you through a wild night and the day after

WC: 1.5K

Warnings: a LOT of drinking

;readmore:

You ended up at a house party last night, just a few hours after talking about how badly you wanted to stay in. Safe to say that your friends are terrible influences, but at this point you knew that the hockey boys throw pretty good parties.

Besides, it had been a tough day of studying and boy problems. The guy you’d been casually seeing wasn’t giving you the time of day, and you were stressed about nearly every class you were in. It’d be nice to let loose a bit.

And as you were walking to the party, you already had a pretty good buzz on from the shots you made everyone take back at your apartment. You were a bit notorious for being very good at college drinking, but hey, your friends always ended up enjoying it.

Everyone was giggling and having super animated conversations, the type of energy that only drunk college kids can channel right before a party.

“Nate!” you called to your friend leading the group.

You were out of breath from the hill he had practically jogged up for no good reason. He slowed down to walk with you, and of course he was laughing at you.

“Not everyone can be a fucking D1 athlete, Nathan,” trying to shoot him a look but instead just laughing along with him.

“So…” you said, slinking your arm around him, “Are you going to be my wingman tonight or what? I need to get a boy tonight.”

He shrugged. “I’ll see what I can do.”

You’d been into Nate for, like, years but you had to be realistic. You weren’t the type of girl to date a D1 hockey player. You weren’t quite sure why Nate even hung out with your group when he could have basically any girl on campus. It took quite a few pints of Ben & Jerry’s and a whole lot of Tinder swipes to try and drop the feelings you’d had for him. And it was fine, at least when you were sober.

And just like that you were inside, Nate getting high five after high five from his teammates, as your crew headed to get drinks, opting for the classic vodka mixed with room temperature coke. Hockey players weren’t a lot different than frat boys, except for being so built, which was a lot for your drunk self to handle. Nate was dragging you around, showing you all the party essentials, from the slightly questionable outdoor couch to the beer pong table to the Saturday to-do list posted on the wall, which literally only had hockey and drinking as the objectives.

You were laughing and cheering Nate on as he shotgunned beers with his teammates. He acted like more and more of a puppy dog as he got more drunk, which was just too much. He joined you on the couch, wrapping his arm around you and and leaning into you a bit. But you didn’t read into it, since you were both several drinks in at this point, as the two of you laughed and sipped on your beers.

And you didn’t read into it when one of his teammates rushed over to ask if you were “that girl he’d been talking about” and Nate just shot him a look. Drunken mistake, you figured.

Nate was hanging on to every stupid drunk word you said, and you couldn’t seem to stop yourself from resting your head on his shoulder. The rest of your friends gathered around the couch, Layna rolling her eyes at you. She’d always tried to protect you from getting yourself hurt, with Nate and with other guys, but you were always too stubborn to listen. And it didn’t help that you were pretty wasted at this point and that he looked so cute, cheeks flushed and extra smiley from the liquor.

“I’m bored. Let’s play beer pong!” Layna said, dragging you to the table across the yard.

Layna, as always, grabbed some cute guy as a partner. You teamed up with a girl named Anna who rushed over to the table to play, and the two of you exchanged some drunken words of encouragement. She’s lovely, but terrible at the game. After a few misses, Layna scored and it was your turn to drink. Only then did you realize that it wasn’t beer at all, but tequila. Fuck. You’re not a quitter, but things were already pretty hazy when you started the game. And it wasn’t going your way at all, even though you must’ve said “You got this” to Anna about 50 times. You lost by one, and you don’t exactly remember the rest.

At some point your group left the party, and the only thing you really remember from the walk back is Nate’s arm around your waist, probably the only thing keeping you upright.

_________

You woke up to nausea and a head rush when you tried to get up to go to the bathroom. You were on someone’s couch, a trash can by your side, and a bag of crackers on the table with crumbs everywhere, likely an attempt to keep you from puking. Better than some random dude’s bed, but still pretty shameful.

“Bathroom’s to your right,” called a familiar voice from the kitchen.

Oh. Somehow you got to Nate’s apartment. You looked yourself over in the bathroom mirror, somehow looking even worse than you could’ve imagined, matted hair, smeared makeup, wearing Nate’s hoodie along with your jeans from the night before. You know it’s bad when you’re drunk enough to sleep in skinny jeans.

“So how are you feeling?” Nate asks when you make your way back to the couch, handing you a water bottle, and sitting down next to you.

“Really fucking confused. And nauseous.”

“What do you remember?”

“I remember being very bad at tequila pong and then you practically carried me out of there.”

He laughed at that. “Naaaate, it’s not funny!” you whined.

“Yes it is, Y/N. I’ll fill in the blanks for you though. At first you were being too much of a dumbass to find your keys, but then you said your roommate was out for the night, and we didn’t want to leave you alone because we were worried. And then you told me how cute I was and how you wanted to kiss me over and over.”

“Oh my god,” you buried your head in your hands, blushing hard.

“Did you mean it though?”

You shot him a nervous look.

“Y/N, I’ve literally had a crush on you since we met at your very first frat party two years ago back when we were freshmen. You were wasted then too, seems to be a common theme with you. You were too nervous to start a real conversation, so you just put your arm around me and you were like, ‘Where’s the beer?’” he said, imitating your voice for the last part.

“You better not be fucking with me, MacKinnon. Also I’m so hungover that’d just be mean.”

“I’m dead serious. I realized I had to tell you last night but then Layna stole you to go make some really terrible decisions. From that party freshman year I realized that you basically dance like a white dad at a barbecue, but it’s so cute. And I know it’s cliche, but you’re always the prettiest girl in the room without even trying. Plus you’re crazy smart, so I’m not really sure why you hang out with dumb hockey players but I’m not complaining. You look like a hot mess right now but I’m still so into you.”

“Stop. I’d kiss you but you could probably still taste the tequila.”

“I don’t mind.”

You leaned up and and your lips met his, gentle but oh so sweet as he rested his hand on the side of your face. After a few minutes, you pulled away from him, grinning dopily at him.

“That was good, but I really need to lay down,” you said, snuggling up to him again but dead sober this time.

“I really could taste the tequila. How about an actual bed?” You nodded.

“I tried to give mine to you last night and take the couch but you crashed once you stopped feeling sick. And you were super stubborn about wanting my hoodie but you were too out of it to change into sweats. I left some out for you though,” he said, flopping down on the bed.

“God you’re the best,” you slipped on his sweats and crawled under the covers. You rested your head on his chest and he reached for your hand, his thumb moving in lazy circles. You fell back asleep like that.

You woke up two hours later, by far the best nap you’d had in years.

“Hungry?” Nate asked.

“Still way too nauseous. But you’re a pretty good hangover cure.”

“That was cheesy.”

“Shut up. I’m recovering but I really really like you.”

“I really really like you too, party girl,” he said, wrapping his arms around you and smiling into you. “I’ll take you on an actual date when you’re less of a trainwreck.”

[blastar-blr]

To już oficjalne - "Sleepy Hollow" zostało anulowane!

To już oficjalne – “Sleepy Hollow” zostało anulowane!

Czekaliście na kolejny sezon “Sleepy Hollow”?

(more…)

[watchaholics]

„Pilotmustra”: Sleepy Hollow S04E01 – Columbia

„Pilotmustra”: Sleepy Hollow S04E01 – Columbia

Ezúttal egy rendhagyó pilotmustrával jelentkezem, hiszen a Sleepy Hollow közel nem új sorozat, ám miután az előző szezonban kinyírták az egyik főszereplőt, aztán meg most áthelyezték az egész cselekményt egy új helyszínre, a show erősen reboot-feelinget kapott, így megérdemel egy ilyen cikket.

(more…)

[sammysreelreviews]

Lets Talk About The Netflix Original Film “Dude”

Pictured Above: Awkwafina, Kathryn Prescott,  Lucy Hale, and ALexandra Shipp

As most of you know there’s a movie on Netflix called Dude. It’s a teen dramedy that is genuinely funny but all over the place and had one problematic scene. I’m gonna dive in to talk about what went right and what went oh so wrong. *WARNING SPOILERS AND THE SECOND TO LAST POST HAS A TRIGGER WARNING*

First of all let’s talk about the good parts cause I’m feeling good today. The movie in my opinion is hilarious at some points. The actors had a real good back and forth banter and each character had a lot to bring to the table. My favorite had to be when they were getting ready and Amelia says “come on ladies let’s put on some slutty dresses and get fucked up.” As a person who loves a tiny dress and a wild night out every once and a great while it really resonated with me and younger me. Also the bong they all shared cracked me up cause honestly I have had experience with a bong that was named and passed around in college.

The humor wouldn’t have been good without the amazing cast that brought this movie somewhat to life. After spending 8 years of my god damn life watching Pretty Little Liars Lucy Hale still playing a high schooler is a tad frustrating but she does it so well. Her character Lily was such a blow hard but you couldn’t but help to laugh with and at her sometimes. Skins alum Kathryn Prescott played Chloe but didn’t have the chance to be funny and I was sad cause I feel like I never see her be a happy character in anything she’s in. Alexandra Shipp, who is becoming one of my favorite actresses to watch, was my favorite cause she had the best material to work with. Her character Amelia was wild and an absolute blast to watch. Lastly Awkwafina as Rebecca had me in absolute stitches. Alex Wolff who is building a very impressive resume is great in it and don’t sleep on Jerry Mackinnon who made me laugh every time he was on screen.

Okay now it’s time to talk about the bad. First of all, why even have Austin Butler in a movie if he’s gonna die within the first five minutes?!?! It’s just a little rude. That also was the first problem I noticed. It’s clear that in the beginning his character Thomas and Lily were secretly in love each other but they don’t develop it enough so when he dies we don’t care. Austin Butler is LITERALLY in two freaking scenes like yes Lily girl I feel for you he was hot but like a little build up would’ve made it better. After his funeral they did a year time jump cause you know, it’s a comedy so we don’t wanna have to deal with all those after death ~feelings~.

After Thomas’ untimely demise you think it’s gonna be a regular plot with Lily and Chloe realizing they want different things, smoking lots of weed, and enjoying senior year. However that is not what happened. The plot is everywhere cause there is too much plot. I’ve never seen a movie where the characters were developed but their storylines just didn’t make sense. The main plot I guess was Chloe trying to deal with her brother’s death and the fact that she doesn’t want to go to the same school as Lily. That I understand and I also get how Lily clings on to Chloe cause she doesn’t wanna lose her too and doesn’t wanna be alone. I’m all onboard for the best friend conflict plot I am but in Dude we’re getting a hell of a lot more than that. Not only is Lily having that issue she’s like basically the smartest and most popular girl in school? She legit planned their prom and was valedictorian. I guess this helps her personality but her story just goes all over the place especially when it throws in love interests. The whole thing with Noah was so random like I guess yeah she needs a love interest but there’s already so much plot please stop! Secondly Amelia’s parents have issues and she is like obsessed with this guy and it really never gets addressed and it’s kind of just dumb. They treat her like a main character but don’t give her any closure. Same with Rebecca, she has a totally different plot line which brings me to my next reason it was bad.

They actually threw in a fucking student/teacher romance I mean hey I can’t say shit cause I was 100% #teamezaria but this one was just a tad creepy. The teacher didn’t even hide the fact he liked her and at the end of the movie she’s just like hey I graduated, I’m 18, come meet my parents? I don’t know it was just a dumb thing to put in there in the first place and the teacher was just weird.

Lastly, TRIGGER WARNING, there’s a legitimate rape scene and there’s nothing done about it at fucking all. Lily hooks up with this guy after thinking everyone’s left her and she’s like we’re not having sex and he’s like ok but he basically has sex with her and she’s telling him to stop. After she kind of glosses over it like it was no big deal and her friends even say it’s her fault for going upstairs with a strange guy. Like a TAD fucking problematic! Rape is a big deal! If someone says I don’t want sex and continue to do so IT IS NOT YOUR FAULT. I really wish they said something better about that or just didn’t have that scene at all.

Dude is a coming of age story with WAY too much coming of age happening. The plot is just the most messy thing I’ve ever seen it made Infinity War look simplistic. Dude is funny but it’s just not good.

[tranquildr3ams]

Double Feature: Dude (2018) & Every Day (2018)

Double Feature: Dude (2018) #Dude #Netflix #Teen #Comedy #Drama #Film & Every Day (2018) #EveryDay #Adaptation #Romance #Movie #Review

Dude (2018) Director (and co-writer): Olivia Milch Cast: Lucy Hale, Kathryn Prescott, Alexandra Shipp, Awkwafina, Alex Wolff, Brooke Smith, Jerry MacKinnon, Satya Bhabha A group of teenage girlfriends deal with their impending graduation from high school. – IMDB Dealing with high school seems like a central focus of coming of age stories as the next step in life triggers change and…

[tommisonfans]

Sleepy Hollow | Episode 4.05 “Blood from a Stone”

Photos by Tina Rowden/FOX via farfarawaysite.com