#Richard Morant

[abs0luteb4stard]

W A T C H I N G

[m-a-salter]

Really, really into all three of these people.

[gbhbl]

Horror Movie Review: The Company of Wolves (1984)

A spin of Red Riding Hood. Rosaleen's lupine-centric dreams laced with stories of witches and wolves, leads her directly into a fairy-tale of her own.

“Sweetest tongue has sharpest tooth.” The Company of Wolves is a 1984 British gothic fantasy horror film directed by Neil Jordan. Starring Angela Lansbury, David Warner, Micha Bergese and Sarah Patterson in her film debut. The film begins in the present day, within a country house. A young girl named Rosaleen (Sarah Patterson) dreams that she lives in a fairytale forest during the late 18th…

[motionpicturelover]

Films I've watched in 2022 (206/210)

Full film in HD:

Films Watched in 2022:

89. Mahler (1974) - Dir. Ken Russell

[womenofwrestlingfashion]

The Bump 11/8/23

Megan wore the A New Day Long Sleeve Fitted T-Shirt from Target ($22), Metallic Pocket Skinny Leg Pants from Micas (on sale $40) and Ruby Prata Spechio Pump from Cynthia Richard ($195)

[o-uncle-newt]

We don't talk enough about the Petherbridge/Walter adaptations of the Wimsey/Vane novels.

(Well, we probably talk EXACTLY enough about Gaudy Night, which is really pretty bad, but besides for that...)

(Sorry, just a warning, Richard Morant as Bunter is fine but I won't have much to say about him here. I just really like this picture.)

The casting is basically perfect, especially Harriet Walter as Harriet Vane. I no longer see the book character in any other way- the only notable difference is that in the book she's noted as having a deep voice, but Walter's has a distinctive enough tone that I think it works regardless. She is just so, so, so good- captures the character beautifully, sells everything she does whether mundane or ridiculous (probably the best/most realistic reaction of someone finding a body I have EVER seen in Have His Carcase), makes the most of every limited minute she's on screen in Strong Poison and leaves her mark every minute that she isn't... and she looks AMAZING doing all of it. Just perfect, could not imagine better casting.

Edward Petherbridge I don't hold up to that level of perfection- I think that, try as he might, he's not really able to capture Wimsey's dynamism (possibly because he's a bit too old for the role) and is a bit overly caricatured in many of his mannerisms. But overall he does a pretty good job, in addition to looking quite a lot like how I'd imagined Wimsey- but in particular, I think he does a really lovely job of selling a lot of the emotion that he has to convey in some scenes that feel like they SHOULDN'T be adaptable from the book- specifically the scenes of him and Harriet. Him proposing to Harriet, him being disappointed when she (completely reasonably) turns him down... those shouldn't work on screen with real humans rather than in Sayers's calculated prose, but it DOES work and in no small part because he's great at selling Wimsey's feelings as being genuine even when his actions seem over the top. And, of course, Harriet Walter sells her end of the scenes right back. All in all, I think I have mixed feelings about Petherbridge as Lord Peter Wimsey the detective, but I'm a fan of him as Peter, the man who has feelings for Harriet.

Overall, though, both are, I think, very successful in capturing these characters- the fact that they take these people who even in the book can sometimes push the boundaries of likeability (which to be clear, is part of what I love about reading them) and make them eminently watchable is a great achievement. And also, in addition to their really looking like their characters individually, they're very well matched as a pair in the way that one pictures them from the book. They're even of very similar height and build, which we know is canonically true from Gaudy Night, and thus at least a somewhat relevant element of their dynamic.

Now, the adaptations are very uneven, and that's even without talking about Gaudy Night because, while it has about as good a rendition of the punting scene as I think we were ever going to get, most of the rest of it is crap and massively expands on what I think are serious problems to Peter and Harriet's relationship that the series as a whole had (not to mention cutting the character of St George, which is a travesty). None of the adaptations are perfect, and mess with aspects of their relationship in negative ways- for example, the ending of Strong Poison is exactly backward in a really awful way. I'll get back to this.

But when the show gets the two of them right, it gets them RIGHT, even when it's adapting Sayers's text/creating new dialogue. There are scenes in this one that I love almost as much as the canon text, like this one:

I don't think any of this is in the book, and there are things that happen here that I don't think Sayers would have ever written. But at the same time, a combination of the dialogue and the actors makes it COMPLETELY believable as these two people, and it captures a moment that is just really key for Peter as he faces his limitations and his feelings- something that in the book is conveyed through a lot of internal narrative on Peter's part that would be impossible to adapt as is, but that in the world of the show needed to happen in a much more visual and narrative way. Not all of the dialogue that this series chooses to fill in those gaps works, but even when it doesn't the actors do their best to sell the heck out of it, and when the dialogue DOES work it is seriously brilliant.

Probably my favorite of the adaptations is Have His Carcase, and scenes like this one are a big part of the reason why:

They change the location, but otherwise it's EXTRAORDINARILY faithful to the equivalent scene in the book, and honestly it shouldn't have worked with real people doing it and yet it does. It's just acted perfectly, given just enough arch and silly humor (particularly with the spinning door) that we don't attempt to take it too seriously, while also conveying the relevant emotions so well. The actors in the scene through only their faces and ways of speaking convey subtext that Sayers, in the book, conveyed a lot later on as actual text in the characters' thoughts, and there's something pretty great about that.

Other Have His Carcase scenes are less good (the dance scene is mediocre at best, I think), but if there's another Have His Carcase scene that I think illustrates how great Walter and Petherbridge are at selling the human sides of their characters, it's That Argument- seen here:

The Argument is a pale imitation of that in the book- the one in the book is, in fact, probably unadaptable as is- but it is still just so good because the actors are so good at selling it. Walter is just brilliant in the role and utterly inhabits it while also imbuing it with her own spin, and makes us feel Harriet's pain- and Petherbridge, through some relatively subtle facial expressions and reactions, is able just as well to make US understand what all of this means to him and how he feels. It's actually really remarkable that, just like how Sayers writes a relationship dynamic that only feels like it works because she's the one who wrote it that very specific way, this scene feels like it only works because these two actors play it in this specific way. Could two other actors do it? Very possibly, but it would feel super different and I wonder if it would feel this authentic. (I do want to note though that this scene made me really wish that we'd seen a Frasier-era David Hyde Pierce in the role of a younger and spryer, but equally posh, witty, and vulnerable, Wimsey. It just gave me vibes of something that he'd do beautifully.)

Now, as I said above, this doesn't get EVERYTHING right. In fact, quite a lot of their relationship ends up going pretty wrong- as I think a major mistake is their throughline which emphasizes Peter's continued pursuit of Harriet as not just reiterating his interest to make it clear that he hasn't changed his mind, but actively taking advantage of moments and situations in a romantic sense, taking a much more specific role in engaging with her physically, commenting on her appearance, saying how difficult it is for him to NOT pursue her more, etc. It makes the whole thing feel a lot more cat-and-mouse rather than a budding relationship of equals, and one where Peter acknowledges the whole time that they HAVE to be equals for a) Harriet to feel comfortable with him and b) them to be good together. In fact, however good the Argument above is, it's kind of undercut by this very pattern- he makes the book's point about him treating his feelings like something out of a comic opera, but he also at that point in the story has had a few much more oppressively serious scenes with her that clearly make her uncomfortable- nothing like anything in a comic opera. It's like the show misses the point a little.

I think the place where this really starts is at the end of Strong Poison. (I could see an argument to be made that it starts earlier, in a few smaller nuances of their jailhouse scenes, but I like those enough that I choose not to read into them too much lol.) After what I think is a great addition to the final jailhouse scene (one that I loved so much I repurposed it for a fic)- "it's supposed to be about love, isn't it" and some excellent reactions from Petherbridge- Harriet goes to court, her charges are dismissed, and unlike in the book, when it's Wimsey who leaves first (which Eiluned and Sylvia point out is a sign of his decency in not waiting for Harriet to thank him), here Wimsey is the one who watches as Harriet rejects him and walks away from him- the beginning of the chase. But nothing about their relationship is meant to be a chase! It's so frustrating to watch as that proceeds to be a continuing issue to a limited degree in Have His Carcase (where it's at least balanced by enough good moments that it doesn't matter so much) and to a MASSIVE, genuinely uncomfortable degree in Gaudy Night.

The only praise I will give it is that while the punt scene in the book is unfilmable, I think this adaptation did its best here and it's pretty good.

I'm not going to spend much time talking about Gaudy Night otherwise, because I'd need all day for it and also I'd probably need to rewatch it to make sure I get the details right and I have zero interest in doing that, but the way that it has Wimsey imposing himself and his feelings/hopes on Harriet to a really ridiculous degree, in a way that he never, ever does in the book, is just so so discomfiting and makes me feel terrible for Harriet. She doesn't deserve that. If I recall correctly, in that scene at the dance at the beginning, she's so happy just being with him and then he's all "oh so this means you want to marry me" and she just droops. He's so aggressive!

And that's what makes the worst part so bad, because not only does this miniseries not depict Wimsey's apology as the book does- one of the best scenes in a book full of brilliant scenes- it would actually be weird if it did, because this show doesn't imply that there's ANYTHING for Wimsey to be apologizing for! In fact, unlike in the books where we see Wimsey growing and deconstructing the parts of himself that had been demanding of Harriet, in the series we only see him get more demanding- until finally he wins. It's honestly infuriating and I hate it- the actors do their best to sell it (and apparently they were given bad enough material that they actually had to rewrite some of it themselves, though I have mixed feelings about the results) but it is just massively disappointing. Basically the whole emotional journey between the two of them is not just neutered but twisted.

For all of my criticisms of the adaptations' all around approach to their relationship, I do have to reiterate- Walter and Petherbridge do a wonderful, wonderful job. (Especially Walter.) When they're given good material to work with, and even often when they aren't, they are able to sell it so well- and particularly in the case of Walter, I genuinely can't think of the character as anyone but her rendition now. She IS Harriet Vane for me. And, for all the flaws that the series has, that's something pretty dang special.

Anyway, for anyone who read through this whole thing and hasn't seen these adaptations, I DO recommend Strong Poison and Have His Carcase- but not Gaudy Night unless you're either really curious or a glutton for punishment. The first two, though, have very good supporting casts, are quite faithful plot wise (sometimes to a fault- another flaw is that they are really devoted to conveying the whole mystery with all its clues sometimes to the point of dragginess, but will drop sideplots like, for example, Parker and Mary- which is totally reasonable, but still vaguely disappointing as those sideplots tend to add some levity/characterization), and just generally are an overall good time. (Some standout characters for me are Miss Climpson in Strong Poison and Mrs Lefranc in Have His Carcase.) And, of course, the best part is seeing the little snippets of Peter and Harriet that come through- less so their journey, vs in the book where that's central, but so many scenes where we just see the two of them together as they are in that moment and it's so satisfying.

[georgefairbrother]

Robin Ellis (Ross Poldark) has shared on his Facebook page that the original Poldark aired for the first time on October 5th, 1975.

He writes:

"...We had no idea that it would catch on as it did...With fond memories of a wonderful cast who were like a great, extended family. Thinking especially of those no longer with us: Angharad Rees, Ralph Bates, Richard Morant, Paul Curran, Mary Wimbush, Frank Middlemass, Forbes Collins - and of course, Winston Graham himself, and his wife Jean..."

Poldark ran for 29 episodes over two series on the BBC. Its audience peaked at 15 million, was sold to over forty countries, and it became the biggest selling costume drama on video until Pride and Prejudice (1995).

Robin Ellis (Ross Poldark) and Angharad Rees (1944-2012) who played Demelza, interviewed for the series' 25th anniversary

Images from Robin Ellis' Facebook and blog.

[arcanespillo]

top 5 books

1) "autobiography of red" anne carson 2) "la storia" elsa morante 3) "watership down" richard adams 4) "novecento" alessandro baricco 5) "the first four books of poems louise gluck" but i also like "il rumore dei tuoi passi" valentina d'urbano and all her other books and "my brillaint friend" (4 volumes), my most recent read "the broken fountain" by thomas belmonte is also really really nice AND and robert eisler's man into wolf is a really interesting read if you like werewolves

[thehutpoint]

One aspect of English romantic movement was to equate suffering with achievement. There was virtue in doing things hard way.

Roland Huntford "The last place on Earth". Well, spot on, Mr. Huntford, these ideas shine through the Scott's writings all the way. Though this brand of stupidity is not exclusive to British romantic movement, Polish romanticism was rife with that (with quite sad outcome for many people).

I find "The last place..." a fascinating read. Got completely absorbed with Amundsen's backstory, though I know it well, but Huntford knows how to tell a story. He is merciless though, both to Scott and to crumbling British Empire of Scott's era.

The tv series, based on Huntford's book, that premiered in the eighties was actually what introduced me to the stories of Scott and Amundsen when I was what... seven? And quite coincidentally )or maybe not) the scene that stuck in my memory for years was The Soldier, leaving the tent for the last time. Pity the actor who played Oates, Richard Morant, was so bland and uncharismatic, but I love Sverre Anker Ousdal as Amundsen (he was also great as Knut Frankel in Ingenjör Andrées luftfärd, a Swedish movie about the catastrophical polar balloon expedition by Andree), Martin Shaw as Scott, Sylvester McCoy as Birdie, Max von Sydow as Nansen (played Andree in the Ingenjör Andrées luftfärd, was absolutely delightful), Bill Nighy as Meares and last but not least Hugh Grant as Cherry.

Okay, I ranted enough, back to reading.

[lightdancer1]

Then there's the Morant Bay Rebellion of the 1860s:

Emancipation didn't end the wars or rebellions, either. The Morant Bay Rebellion in the 1860s was a crisis point for British colonialism and a reminder that Black resistance has always had a much harder-edged aspect than the more 'acceptable' speeches and marches version. The British Empire remained utterly incapable at an ideological level of appreciating or understanding the nature of resistance to it, and to the promises it claimed to offer.

So much for the 'kindly' treatment of Black people by the British Empire that certain US authors would try to con people into thinking existed. In reality the difference between the British Empire and the USA was mostly that the accents subtly differed and British repression didn't even pretend to itself that it was anything but that, where the USA tried a little harder to lie to itself.

[cyarsk5230]

Kendrick Lamar's 'Euphoria' And All The Disses Toward Drake: A Breakdown & Explanation

Seventeen days after Drake dropped “Push Ups,” his response to Kendrick Lamar’s “Like That,” Kendrick returned fire with disses of his own on his new record “Euphoria.” Kendrick’s response to Drake comes four days sooner than Drake’s own did, and the Compton rapper wasted no bars in the six-minute record. While Drake’s record took aim at Kendrick Lamar as well as took aim at names like Rick Ross, Future, Metro Boomin, Ja Morant, The Weeknd, Kendrick’s diss focuses solely on Drake. All in all, “Euphoria” is an excellently constructed response filled with double entendres that fire back at Drake in more ways than one.

Let’s break down all the disses and peel back the many layers that exist on the song:

“Euphoria” — the song title

The surface-level explanation for the song here is the feeling that Kendrick Lamar has as he puts out his response to Drake. As the artwork for the song reveals, “euphoria” is a “feeling of well-being or elation,” but it goes much deeper than that. Drake is an executive producer on Euphoria, a show centered on the experiences of high school students. Drake has been questioned by fans about his interactions with underage and young women all throughout his career. The most notable one came after Millie Bobby Brown, who was 13 at the time, gushed about her friendship with the rapper in an interview. “We just texted the other day and he was like ‘I miss you so much,’ and I was like ‘I miss you more!’” she said. Kendrick plays into these rumors and allegations with the song title.

“Everything they say about me is true…”

This line is said in reverse at the beginning of “Euphoria.” The audio is from the 1978 film The Wiz in a line said by Richard Pryor. The full line from the movie is “Everything they say about me is true, I’m a phony…” It’s the beginning of several lines in the song that question Drake’s character and authenticity.

“You not a rap artist, you a scam artist with the hopes of bеing accepted / Tommy Hilfiger stood out, but FUBU nеver had been your collection”

Kendrick continues to question Drake’s authenticity and even goes as far as to question Drake’s Blackness. Tommy Hilfiger was a prominent fashion brand in the hip-hop community during the 1990s, but by the following decade, Hilfiger was accused of being racist as he allegedly disapproved of hip-hop’s embrace of his brand. As a result, hip-hop artists dropped their support for Hilfiger in favor of supporting brands like FUBU. Kendrick casts doubt on Drake’s Blackness by alleging that Drake owned Tommy Hilfiger clothes as he believed it was needed to seem a part of the Black hip-hop community. However, as Kendrick alludes, if Drake was truly a part of the community, he also would’ve had FUBU in his closet, among other Black brands.

“How I make music that electrify ’em, you make music that pacify ’em / I can double down on that line, but spare you this time, that’s random acts of kindness”

Another reference to Drake’s interactions with underage and young women. Kendrick says his music gives people life, while Drake’s own calms people down and puts them to sleep, something a pacifier can help a child do. On the surface, this line is Kendrick’s way of saying that Drake’s music is for kids, though he acknowledges a double entendre exists in the line. Despite that, Kendrick won’t go further on the topic, a moment of kindness that won’t be seen again for the rest of the diss track.

“Everybody wanna be demon ’til they get chipped by your throwaway”

Here, Kendrick says that everyone, including Drake, wants to be the bad guy, until someone worse than you arrives to give you a taste of your own medicine. In this line, a “demon” is a player, “chipped” means hurt, and a “throwaway” is a woman someone used to have with that, we now have one of the many double entendres in the song. As rapper Femdot. pointed out on Twitter, Future’s (whom Drake is also beefing with) middle name is DeMun which is pronounced as “demon.” Furthermore, “Throw Away” is a standout track from Future’s 2014 mixtape Monster.

Altogether, Kendrick is saying that Drake wanted to be like Future until a woman from Future’s past hurt Drake. This connection goes back to Future accusing Drake of pillowtalking on the opening track to his and Metro Boomin’s We Don’t Trust You album. “Sneak dissin’, I don’t understand, dog / Pillowtalkin’, actin’ like a fed, dog,” Future raps on “We Don’t Trust You.” “I don’t need another fake friend, dog / Can’t be ’bout a ho, ’cause we sharin’, dog.”

“He fakin’ for likes and digital hugs / His daddy a killer, he wanna be junior, they must’ve forgot the sht that they done / Dementia must run in his family, but let it get shaky / I’ll park his son”*

There are two choices here for who Kendrick is referring to as “daddy” and “junior” in these lines. The first option is Birdman and Lil Wayne who have had a like father, like son relationship in hip-hop for decades. The other option is J Prince and his son J Prince Jr. The former is a well-known figure in hip-hop as he founded the famous Rap-A-Lot Records. Both Birdman and J Prince once had a past in the streets, thus earning them street cred and respect that is also given to their respective sons, who may have also had a past in the streets and earned respect for it.

Kendrick believes Drake desperately wants to be respected and feared like Lil Wayne and/or J Prince Jr., despite not having the past to validate his desires, something he believes Drake forget. Kendrick blames it on a case of dementia all to issue a warning to Drake if the Toronto rapper decides to respond with violence and not bars. Also, “But let it get shaky / I’ll park his son (Parkinson)” is great.

“The very first time I shot me a drac’, the homie had told me that ‘Aim it this way’ / I didn’t point down enough, today I show you I learn from those mistakes”

Kendrick recalls the first time he shot a Draco pistol and admits that while he did not do it correctly back then, he eventually learned from those mistakes. Calling the Draco a “Drac,'” creates another double entendre, as it sounds like Kendrick is saying “Drake.” Kendrick is saying that his past jabs at Drake, weren’t good enough, but with “Euphoria,” he proved that he’s figured it all out.

Somebody had told that me you got a ring, on God, I’m ready to double the wage / I rather do that, than let a Canadian n* make Pac turn in his grave”*

Last summer, a report revealed that Drake purchased Tupac Shakur’s famed ring for the price of $1 million, three times more than the pre-sale estimate of between $200,000-$300,000. With this line, Kendrick says he ready to pay double for the ring as Drake possessing it is enough to make Tupac turn in his grave.

“It’s three G.O.A.T.s left, and I seen two of them kissin’ and huggin’ on stage”

With this line, Kendrick tells us who the real members of the big three are. Rather it being Kendrick, Drake, and J. Cole as the lattermost rapper mentioned in his “First Person Shooter” verse, Kendrick notes that it’s actually himself, Beyoncé, and Jay-Z. Kendrick shifts the focus to artists who the best of the best and highly respected in all of Black music culture, and with that, Kendrick, a Pulitzer Prize winner with a plethora of Grammy awards among other accolades, feels its right to align himself with artists who have seen similar and more success, rather than others (like Cole and Drake) who have not.

“Yeah, Cole and Aubrey know I’m a selfish n* / The crown is heavy, huh / I pray they my real friends, if not, I’m YNW Melly”*

Kendrick doesn’t want to share rap’s crown, and being that Drake and J. Cole have been atop the rap game beside him for years, Kendrick says his hip-hop counterparts are aware of his selfishness. In the end, Kendrick hopes Drake and Cole are his real friends, because if they aren’t, he’ll have to do away with them both as YNW Melly allegedly did to his two friends.

“I don’t like you poppin’ sht at Pharrell, for him, I inherit the beef / Yeah, fck all that pushin’ P, let me see you push a T / You better off spinnin’ again on him, you think about pushin’ me? / He’s Terrence Thornton, I’m Terence Crawford, yeah, I’m whoopin’ feet”

Kendrick wasn’t a fan of Drake dissing Pharrell on “Meltdown,” so he’s stepping in to respond for Pharrell. Kendrick doesn’t want Drake to diss Pharrell, he’d rather see him deliver his long-awaited response to Pusha T. Furthermore, Kendrick thinks it would be better for Drake to diss Pusha instead of him. Pusha T is Terrence Thornton (his birth name), but Kendrick is like undefeated boxing champion Terence Crawford, whose record is 40-0 (could be a sly reference to Drake’s longtime producer OVO 40). Kendrick will be “whoppin’ feet,” LA slang for beating up someone out of their shoes, in his battle with Drake.

“I know some sht about n**** that make Gunna Wunna look like a saint”*

Kendrick essentially says if you think Gunna is a snitch in the YSL RICO case, wait till I tell you what I know about Drake and others.

I hate the way that you walk, the way that you talk / I hate the way that you dress / I hate the way you sneak diss, if I catch flight, it’s gon’ be direct / We hate the btches you fuck, ’cause they confuse themselves with real women / And notice, I said “We”, it’s not just me, I’m what the culture feelin'”*

Kendrick hates everything about Drake: the way he walks, talks, dresses, and sneak disses other artists. Kendrick also hates the woman Drake’s has sexual interactions with because they are not “real women.” This could be another jab at Drake’s alleged affinity for underage/young women as a “real woman” could be defined as a woman over 21 years of age. Kendrick then says that it’s not only him who believes it, but the rest of hip-hop or music culture.

You gon’ make a n* bring back Puff, let me see if Chubbs really crash somethin’*

Kendrick recalls the 2014 club incident where Diddy allegedly punched Drake during a fight in LIV Miami. Kendrick considers bringing Diddy into the battle to really strike fear into Drake. This would mean that Chubbs, Drake’s bodyguard, would have to step in and defend Drake. The Chubbs mention is also a response to him calling Kendrick a “little boy.” In a post to his Instagram Story in response to a rumored Drake diss from Kendrick at that time, Chubbs wrote, “Tell That Little Boy Drop!!! But He Won’t.” Well. He did.

Yeah, my first one like my last one, it’s a classic, you don’t have one / Let your core audience stomach that / Didn’t tell ’em where you get your abs from”

Kendrick brags about having classic albums, something he says Drake does not have. He goes on to say that Drake’s fans need to stomach, or accept, the fact Drake doesn’t have a classic album. As if that wasn’t enough, Kendrick then mocks Drake for allegedly getting liposuction surgery in order to have a six-pack core, a fact he seemingly tries to keep hidden.

“Headshot for the year, you better walk around like Daft Punk”

An amazing double entendre!! Kendrick says his bars on “Euphoria” are the equivalent of Drake receiving a gunshot to the head. The head injuries will force Drake to hide his wounds and “walk around like Daft Punk,” the French electronic music duo known for wearing robot-lie helmets. Kendrick is also saying the “headshot” diss make Drake a “daft punk” dur to his brain injuries. Daft by definition is “silly; foolish” while punk means “a worthless person.” Thanks to “Euphoria,” Drake is now a silly, foolish, and worthless person according to Kendrick.

Surprised you wanted that feature request / You know that we got some sht to address*

Kendrick suggests that Drake reached out to him for a guest verse (allegedly for “First Person Shooter“) despite their ongoing beef, a request that shocked Kendrick.

I’m knowin’ they call you The Boy, but where is a man? ‘Cause I ain’t see him yet

Kendrick is back to questioning Drake’s character, using the Toronto rapper’s nickname as “The Boy” to point to Drake’s inability to be a man.

“When I see you stand by Sexyy Red, I believe you see two bad bitches / I believe you don’t like women, that’s real competition, you might pop ass with ’em”

In recent months, Drake has been spotted with Sexyy Red on multiple occasions. Kendrick believes Drake wants to be like Sexyy Red and other female rappers. A line later, Kendrick goes on to say that Drake doesn’t like women and sees them as competition, enough to shake ass as some do in their videos, performances, and social media posts.

“Let’s speak on percentage, show me your splits / I make sure I double back with you / You was signed to a n* that’s signed to a n**** that said he was signed to that n**** / Try cease and desist on the ‘Like That’ record / Hoe, what? You ain’t like that record?”*

Kendrick responds to Drake’s claim that Kendrick was being extorted in his previous record deal with TDE and reminds Drake that once signed to Young Money under Cash Money Records which is under Universal Music Group. The “that n****” may be Birdman who was sued by Lil Wayne and accused of withholding profits and refusing to release his Tha Carter V album. Next, Kendrick accusses Drake of sending a cease and desist letter for Future & Metro Boomin’s “Like That,” which Kendrick appears on and used to diss Drake in his verse. This isn’t the first time Drake was accused of sending a cease and desist letter to another rapper.

“‘Back To Back’, I like that record / I’ma get back to that for the record / Why would I call around tryna get dirt on n**s? / Y’all think all of my life is rap?

That’s hoe sht, I got a son to raise, but I can see you know nothin’ ’bout that / Wakin’ them up, know nothin’ ’bout that / And tell ’em to pray, know nothin’ ’bout that / And givin’ ’em tools to walk through life like day by day, know nothin’ ’bout that / Teachin’ the morals, and take all the discipline, listen man, you don’t know nothin’ ’bout that / Speakin’ the truth and consider what God’s considerin’, you don’t know nothin’ ’bout that”*

Kendrick shows love to Drake’s “Back To Back” record, which the Toronto rapper released in 2016 in response to Meek Mill’s ghostwriter claims against him, but explaining why he would never go on a search for dirt on Drake. Kendrick says fatherhood — something he believes Drake is failing at in multiple ways — occpuies too much of his time, making it impossible for him to find the dirt that would be useful for a diss. “Euphoria” proves that Kendrick didn’t need that dirt.

“Ain’t twenty-v-one, it’s one-v-twenty if I gotta smack ns that write with you”

Since Meek Mill’s ghostwriting accusations against Drake in 2016, the Torono rapper has been unable to shake off claims that he does not write all of his music. So in response to Drake’s “What the f*ck is this, a twenty-v-one, n****?” line on “Push-Ups,” Kendrick corrects Drake and says it will actually be him against Drake and his ghostwriters if things get more violent.

“Am I battlin’ ghost or AI? N* feelin’ like Joel Osteen / Funny, he was in a film called ‘AI’ /And my sixth sense tellin’ me to off him”*

Kendrick responds to Drake’s “Taylor Made Freestyle” which featured AI verses by Snoop Dogg and Tupac from Drake, by asking if he’s battling AI or a ghost, instead of a real-life rapper. He then likens himself to Joel Osteen, though he actually meant Haley Joel Osment, the child actor who starred in the films The Sixth Sense and AI: Artificial Intelligence. Our own Aaron Williams dove into the connection to Haley Joel Osment in his ranking of the disses on “Euphoria.”

“Yeah, OVO ns is dck riders / Tell ’em run to America to imitate heritage, they can’t imitate this violence”*

Kendrick disses Drake’s OVO crew and suggest that they all left Canadian and came to the US to appropriate the culture in the states. Probablem is, as Kendrick says, they’re unable imitate everything including Kendrick’s level of aggression and violence on “Euphoria.”

“Don’t speak on the family, crodie / It can get deep in the family, crodie / Talk about me and my family, crodie? / Someone go bleed in your family, crodie”

Kendrick warns Drake about dissing his loved ones as things will get violent if the Toronto native decides to ignore his warning. Kendrick also mocks Drake by using a Toronto accent and the word “crodie,” a crip variation of “brodie” that Toronto rapper and member of the crip Wassa gang, in these bars.

“Whoever that’s fckin’ with him, fck you ns, and fck the industry too”*

Drake’s friends and the overall industry won’t stop Kendrick from going to war, and he’s ready to battle anyone who wants to stand beside Drake.

[kumarseo]

Richard Jefferson has a candid discussion on Ja Morant

#ESPN #NBAonESPN #NBAToday

[saturdaynightmatinee]

CALIFICACIÓN PERSONAL: 8 / 10

Título Original: Jack the Ripper

Año: 1988

Duración: 182 min

País:  Reino Unido  

Dirección: David Wickes

Guion: David Wickes, Derek Marlowe

Música: John Cameron

Fotografía: Alan Hume

Reparto: Michael Caine, Armand Assante, Ray McAnally, Lewis Collins, Ken Bones, Susan George, Jane Seymour, Harry Andrews, Lysette Anthony, Roger Ashton-Griffiths, Peter Armitage, Desmond Askew, Trevor Baxter, Mike Carnell, Ann Castle, Michael Gothard, Hugh Fraser, George Sweeney, Jonathan Moore, Jon Laurimore, Michael Hughes, Richard Morant

Productora: Coproducción Reino Unido-Estados Unidos; Thames Television, Lorimar Television, Euston Films. Emitida por: CBS

Género: Drama; Crime; Mystery

https://www.imdb.com/title/tt0095388/

TRAILER:

[linkmlre2525]

[Richard Jefferson] on Ja Morant and Dillon Brooks declining to speak with media: "You can't talk the talk and then not walk the walk. ... If you're not going to talk to the media after two straight games, that to me is cowardice."

[docrotten]

THE COMPANY OF WOLVES (1984) – Episode 226 – Decades Of Horror 1980s

“Never stray from the path, never eat a windfall apple, and never trust a man whose eyebrows meet.” “Good advice,” he said after first checking in the mirror. Join your faithful Grue-Crew – Chad Hunt, Bill Mulligan, Crystal Cleveland, and Jeff Mohr – as they check out maybe a more accurate telling of “Little Red Riding Hood” than you’re used to in The Company of Wolves (1984), as envisioned in three stories from The Bloody Chamber, a short story collection by Angela Carter.

Decades of Horror 1980s Episode 226 – The Company of Wolves (1984)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

A teenage girl in a country manor falls asleep while reading a magazine, and has a disturbing dream involving wolves prowling the woods below her bedroom window.

Director: Neil Jordan

Writers: Angela Carter & Neil Jordan (screenplay); Charles Perrault (Quotations from “Petit Chaperon Rouge”)

Adapted from: “The Company of Wolves,” “Wolf-Alice,” and “The Werewolf” in the short story collection The Bloody Chamber (1979) by Angela Carter

Production Design: Anton Furst

Selected Cast:

Sarah Patterson as Rosaleen

Angela Lansbury as Granny

David Warner as Father

Tusse Silberg as Mother

Micha Bergese as Huntsman (his first role in a feature film)

Brian Glover as Amorous Boy’s father

Graham Crowden as Old Priest

Kathryn Pogson as Young Bride

Stephen Rea as Young Groom

Georgia Slowe as Alice, Girl Killed by Wolves

Susan Porrett as Amorous Boy’s mother

Shane Johnstone as Amorous Boy

Dawn Archibald as Witch Woman

Richard Morant as Wealthy Groom

Danielle Dax as Wolfgirl (a non-speaking role)

Jim Carter as Second Husband (uncredited)

Terence Stamp as The Devil (uncredited)

The Company of Wolves is directed by Neil Jordan (The Crying Game, Interview with a Vampire) and stars Angela Lansbury, David Warner, Micha Bergese, and Sarah Patterson in her film debut. The tales woven into Jordan’s second feature film are primarily based on three werewolf stories (“The Company of Wolves,” “Wolf-Alice,” and “The Werewolf”) in Angela Carter’s short story collection The Bloody Chamber (1979).

An entirely different kind of werewolf movie, The Company of Wolves (1984) is definitely one you should consider for your must-watch list. Join the Grue-Crew as they revisit this wicked twist on fairy tales featuring Granny and Rosaleen – familiar, yet creatively original.

At the time of this writing, The Company of Wolves is available to stream from Peacock, Tubi, and Kanopy, among others. It is also available as a 4K UHD Collector’s Edition from Shout! Factory.

Every two weeks, Gruesome Magazine’s Decades of Horror 1980s podcast will cover another horror film from the 1980s. The next episode’s film, chosen by Crystal, will be Vampire’s Kiss (1988). Is everyone ready for some Nicolas Cage energy?

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans – so leave them a message or comment on the gruesome Magazine Youtube channel, on the website, or email the Decades of Horror 1980s podcast hosts at feedback@gruesomemagazine.com.

Check out this episode!

[ofallingstar]

The Company of Wolves (1984)