#aaron live at paramount

[arch-obsessed]

Inside the Barbie Dreamhouse, a Fuchsia Fantasy Inspired by Palm Springs

Barbie’s Dreamhouse is no place for the bashful. “There are no walls and no doors,” says Greta Gerwig via email. “Dreamhouses assume that you never have anything you wish was private—there is no place to hide.” That layered domestic metaphor has proved rich fodder for the filmmaker, whose live-action homage to the iconic Mattel doll hits theaters July 21.

To translate this panopticon play world to the screen, Gerwig enlisted production designer Sarah Greenwood and set decorator Katie Spencer, the London-based team behind such period realms as Pride & Prejudice and Anna Karenina. The two took inspiration from Palm Springs midcentury modernism, including Richard Neutra’s 1946 Kaufmann House and other icons photographed by Slim Aarons. “Everything about that era was spot-on,” says Greenwood, who strove “to make Barbie real through this unreal world.”

Neither she nor Spencer had ever owned a Barbie before, so they ordered a Dreamhouse off Amazon to study. “The scale was quite strange,” recalls Spencer, explaining how they adjusted its rooms’ quirky proportions to 23 percent smaller than human size for the set. Says Gerwig: “The ceiling is actually quite close to one’s head, and it only takes a few paces to cross the room. It has the odd effect of making the actors seem big in the space but small overall.”

Erected at the Warner Bros. Studios lot outside London, Barbie’s cinematic home reinterprets Neutra’s work as a three-story fuchsia fantasy, with a slide that coils into a kidney-shaped pool. “I wanted to capture what was so ridiculously fun about the Dreamhouses,” says Gerwig, alluding to past incarnations like the bohemian 1970s model (outfitted with trompe l’oeil Tiffany lamps) and the 2000 Queen Anne Victorian manse, complete with Philippe Starck lounge chairs. “Why walk down stairs when you can slide into your pool? Why trudge up stairs when you take an elevator that matches your dress?” Her own references ranged from Pee-wee’s Big Adventure to Wayne Thiebaud’s paintings of pies to Gene Kelly’s tiny painter’s garret in An American in Paris.

For Barbie’s bedroom, the team paired a clamshell headboard upholstered in velvet with a sequined coverlet. Her closet, meanwhile, reveals coordinated outfits in toy-box vitrines. “It’s very definitely a house for a single woman,” says Greenwood, noting that when the first Dreamhouse (a cardboard foldout) was sold in 1962 it was rare for a woman to own her own home. Adds Spencer: “She is the ultimate feminist icon.”

In Barbie, as in previous films like Little Women and Lady Bird, Gerwig set out to realize a whole world. “We were literally creating the alternate universe of Barbie Land,” says the director, who aimed for “authentic artificiality” at every opportunity. As a case in point, she cites the use of a hand-painted backdrop rather than CGI to capture the sky and the San Jacinto Mountains. “Everything needed to be tactile, because toys are, above all, things you touch.”

Everything also needed to be pink. “Maintaining the ‘kid-ness’ was paramount,” Gerwig says. “I wanted the pinks to be very bright, and everything to be almost too much.” In other words, she continues, she didn’t want to “forget what made me love Barbie when I was a little girl.” Construction, Greenwood notes, caused an international run on the fluorescent shade of Rosco paint. “The world,” she laughs, “ran out of pink.”

[dailyanarchistposts]

“Revolutionary suicide does not mean that I and my comrades have a death wish; it means just the opposite. We have such a strong desire to live with hope and human dignity that existence without them is impossible. When reactionary forces crush us, we must move against these forces, even at the risk of death.” – Huey P. Newton, Revolutionary Suicide

“It seems to me that one ought to rejoice in the fact of death—ought to decide, indeed, to earn one’s death by confronting with passion the conundrum of life. One is responsible for life: It is the small beacon in that terrifying darkness from which we come and to which we shall return. One must negotiate this passage as nobly as possible, for the sake of those who are coming after us. But white Americans do not believe in death, and this is why the darkness of my skin so intimidates them.” – James Baldwin, The Fire Next Time

Aaron Bushnell, before self-immolating in front of the Israeli embassy in Washington, D.C., sent notice to a few radical platforms including CrimethInc. (henceforth: the Outlet) informing them of his decision to commit “an extreme act of protest” against the ongoing genocide in Gaza. He asked simply that they preserve the footage of his action and report on it. Most complied, but in the face of such a humble request, the Outlet was confused: “All afternoon, while other journalists were breaking the news, we discussed how we should speak about this. Some subjects are too complex to address in a hasty social media post.” It’s telling that they self-identify as journalists.

Still, the white man’s burden of “anarchist” journalism demanded that they not ponder too long before releasing a statement , even if half-formed. Within hours, they hastily published their garbage take. Putting Aaron’s actions in the context of another self-immolation that occurred on December 1st by a woman in Atlanta, (who, despite the Outlet’s misinformation, is still alive) they said: “It is not easy for us to know how to speak about their deaths.” Such dis-ease surely disquieted the spin-doctors and self-appointed spokespeople of revolution. For a project which only contributes to struggle by knowing what to say, the imperative to speak is paramount. In light of what they wrote, it would have been better for them to contemplate a little longer, or just say nothing at all.

After grossly overestimating their importance as journalists “speaking to people of action,” they ultimately write:

“Just as we have a responsibility not to show cowardice, we also have a responsibility not to promote sacrifice casually. We must not speak carelessly about taking risks, even risks that we have taken ourselves. It is one thing to expose oneself to risk; it is another thing to invite others to run risks, not knowing what the consequences might be for them. And here, we are not speaking about a risk, but about the worst of all certainties. Let’s not glamorize the decision to end one’s life, nor celebrate anything with such permanent repercussions. Rather than exalting Aaron as a martyr and encouraging others to emulate him, we honor his memory, but we exhort you to take a different path.”

While it would be easy to dismiss this as the Outlet cautiously mitigating any potential liability if self-immolation generalizes, the rejection of the framework of martyrdom demands attention. The question is not whether Aaron qualifies as a shahid within the Palestinian context, although demonstrators in Yemen have proclaimed Aaron a “martyr of humanity” and an argument can be made for him having become an anarchist martyr in the lineage of Louis Lingg, Avalon, and Mikhail Vasilievich Zhlobitsky. The bigger issue: the Outlet’s assertion that an individual’s death, particularly in the context of the US, is the “worst of all possible certainties” reveals a deep disconnect with the context of this entire decolonial struggle. In the days following October 7th, anti-colonial anarchist thinkers such as Zoé Samudzi argued that the figure of the martyr marked a fundamental contradiction for the secular left’s ability to fully comprehend and act in solidarity with the Palestinian resistance. The martyrs constitute a force in the present for all who live and continue to struggle. Aaron framed his self-immolation as “not that extreme” compared to the ascension to martyrdom of tens of thousands in Gaza. By implying that Aaron’s choice was too extreme, the Outlet dishonors the reality of the struggle within Palestine and undercuts the potential of Aaron’s sacrifice.

In denouncing any action taken with “such permanent repercussions,” the Outlet reproduces the anti-death paradigm of capitalism itself. The philosopher Byung Chul-Han, commenting on an exchange between the filmmaker Werner Schroeter and Michel Foucault, says:

“Schroeter describes the freedom unto death as an anarchist feeling: ‘I have no fear of death. It’s perhaps arrogant to say but it’s the truth… To look death in the face is an anarchist feeling dangerous to established society.’ Sovereignty, the freedom unto death, is threatening to a society that is organized around work and production, that tries to increase human capital by biopolitical means. That utopia is anarchist insofar as it represents a radical break with a form of life that declares pure life, continued existence, sacred. Suicide is the most radical rejection imaginable of the society of production. It challenges the system of production. It represents the symbolic exchange with death which undoes the separation of death from life brought about by capitalist production.”

The fact that an anarchist media syndicate cannot recognize the anarchic nature of a sovereign death, or the symbolic exchange of a uniformed US airman’s self-immolation (which cannot be simply reduced to suicide) is in and of itself a disgrace. Even worse, this conforms to a long established pattern where every time a comrade’s actions pass a certain threshold of intensity, the Outlet is first in line to call for restraint. While Michael Reinoehl was still on the run after shooting a fascist, they wasted no time issuing a hasty social media post denouncing his action and urging their followers to “reject the logic of the guillotine.” The Outlet preferred to remain palatable for liberal eyes, ears, and politicians, rather than express solidarity with a comrade on the run for his life.

In his “Letter to Michael Reinoehl,” Idris Robinson exposes the logic at the heart of the contradiction of those who chose to parse Reinoehl’s actions as nonstrategic:

“What the double-standard with regards to your situation reveals is how violence in America will always necessarily have a profoundly racial dimension. And it is precisely this—the terrifying core of racialized violence—that they are trying to repress when they lie to both themselves and others that their issue with what you did is a question of strategy or tactics. I mean, give me a break: in a country that is literally saturated in violence, from blind mass shooters to murderous police, no one can honestly claim that the few shots that you let off could in some way be construed as an escalation. There is simply no way to avoid the spiral of violence that began at the very moment when the first wooden ships reached the shores of the Atlantic.”

While the Outlet has no problem sanctioning enlistment in the fascist-dominated Armed Forces of Ukraine or calling for the US to keep troops in northern Syria, it seems even a single white death in the United States is a red-line they refuse to cross. For them, the self-sacrifice of a white person in the US military (a fact they fail to ever mention in their response but that was, without question, important to Aaron’s action) in solidarity with colonized people might be even worse. Rather than a liberatory or truly life-affirming position, this timidity betrays a fundamental discomfort with anything that challenges the fragile unity of whiteness and the American racial order. Neoconarchists at it again!

The Outlet quotes Kropotkin (who broke with anarchist internationalism by supporting the Allied imperialists in World War I and is therefore a fitting predecessor to their brand of pro-NATO anarcho-liberalism) on the contagious nature of courage, yet their analysis downplays Aaron’s courage again and again. They call death “the worst of all certainties,” showing that they share Western civilization’s pathological fear of death, yet feel confident in making pronouncements about the impact and efficacy of Aaron’s offering mere hours after it happened. Those who are truly comfortable with uncertainty know that it remains to be seen what the full repercussions will be. The Outlet assumes the universality of a rationalist teleological perspective in the context of a gesture that is best understood deontologically: its essence, independent of outcome, is of distinct and ineffable value.

It’s clear that the Outlet fears any form of struggle that challenges the sanctity of liberal democracy that they feel comfortable operating within. Echoing a line they have often used in the past, they frame themselves as protestors and militant lobbyists, not insurgents or practitioners of direct action (which is not about influencing government policy, but rather creating direct results of destruction and ungovernability.) They say: “The kind of protest activity that has taken place thus far in the United States has not served to compel the US government to halt the genocide in Gaza.” While Aaron did call his self-immolation an “extreme act of protest [within U.S solidarity with Palestine],” the resulting question for anarchists should not be what more effective forms of protest might be, but rather how to honor Aaron’s act of personal refusal through our own deeds. His action was directed towards the rest of us. He looks us in the eye and asks: “What will you do?”

While the authors of the Outlet have called Aaron’s decision “self destruction” and “sacrifice,” we read little in their text of the long tradition of self-immolation as an ultimate form of self-expression against repression and war. They make only a diminishing reference to Tunisian Mohamed Bouazizi’s self-immolation to protest police bribery, which lead to the Sidi Bouzid Revolt and impelled the Arab Spring. In 1965, Thich Nhat Hanh wrote to Rev. Martin Luther King:

“The self-burning of Vietnamese Buddhist monks in 1963 is somehow difficult for the Western Christian conscience to understand. The Press spoke then of suicide, but in the essence, it is not. It is not even a protest. What the monks said in the letters they left before burning themselves aimed only at alarming, at moving the hearts of the oppressors and at calling the attention of the world to the suffering endured then by the Vietnamese. To burn oneself by fire is to prove that what one is saying is of the utmost importance. There is nothing more painful than burning oneself. To say something while experiencing this kind of pain is to say it with the utmost of courage, frankness, determination and sincerity…

The monk who burns himself has lost neither courage nor hope; nor does he desire non-existence. On the contrary, he is very courageous and hopeful and aspires for something good in the future. He does not think that he is destroying himself; he believes in the good fruition of his act of self-sacrifice for the sake of others…”

The Outlet claims that Bushnell, in the rhetorical tradition of the notion of the selfishness of suicide, was “denying the rest of us a future with [him].” But the monks who self immolated in the sixties teach us that perhaps that is the pain we must bear as witness, just as those who chose fire bore the pain of their death or injury for the expression of their will.

“But why does he have to burn himself to death? The difference between burning oneself and burning oneself to death is only a difference in degree, not in nature. A man who burns himself too much must die. The importance is not to take one’s life, but to burn. What he really aims at is the expression of his will and determination, not death.”

Pain can be a motivating factor towards life, just as the witnessing of an autonomous death can inspire us to live deeper into our convictions now.

The question remains: what is the “different path” the Outlet urges readers to take? They admit that no act of solidarity in the US, however massive or targetedly destructive, has been able to slow the war machine. And yet they claim what the ruling class fears most is “collective action.” They give no examples of what said action might be. It doesn’t take too much creativity to imagine how disenchanted members of the US military could strike against the war machine, especially if they’ve overcome the fear of death. We could list those actions of desertion, sabotage, and fragging (and their long history in the anti-war movements of generations past) and theorize on their efficacy. However, we have no desire to reduce ourselves to the indignity of the anarcho-commentariat, issuing self-serving hot-takes about the grave actions of someone more courageous. We can only imagine what they will say when (not if) the war is brought home in even more escalated ways. What are they to do when a revolution based on summering in squats in European social democracies and engaging in ritualized playfights with police is no longer intelligible? Their greatest fear is not of state or economy but of an epochal shift that will render them incoherent.

The Outlet’s pontification on the inappropriateness of Aaron’s action is beyond disrespectful. Faced with such acts of self-sacrifice, the appropriate responses are pause, prayer, contemplation, remembrance, and solidarity. Instead, the Outlet doesn’t fail to make the selfless about themselves: “Choosing to intentionally end your life means foreclosing years or decades of possibility, denying the rest of us a future with you.” Lacking any real other direction, this future seems to amount to years of patient readership and faithfully following the lead of well-platformed self-declared strategists. Their obnoxious tendency to quote their own past texts illustrates their narcissism and self-importance. This self-reference demonstrates a deepening dogmatism on their part, a commitment to stay the course on a sinking ideological ship.

The ill-timed call for recruitment is made explicit in the closing paragraphs: “Prepare to take risks as your conscience demands, but don’t hurry towards self-destruction. We desperately need you alive, at our side, for all that is to come.” Just as in recent weeks they celebrated those who fight side-by-side with the Azov Battalion in the Ukraine, they would prefer active US military personnel alive and well, ready to fight for Western interests at home and abroad.

The time has long passed to dispense with these bloggers who, through their appeals for restraint and moderation, stand in the way of the resistance movements they imagine themselves to lead. The Outlet’s inadequacy was already evident in the “both sides” narrative of their initial coverage of Al-Aqsa Flood. Instead, we choose to act out of affinity and solidarity with the resistance axis of the Palestinian struggle itself. Compare the milquetoast equivocations of the Outlet to the statement of unconditional solidarity with Aaron Bushnell and his loved ones issued immediately by the PFLP:

“The act of an American soldier sacrificing himself for Palestine is the highest sacrifice and a medal, and a poignant message to the American administration to stop its involvement in the aggression.

The Popular Front for the Liberation of Palestine affirms that the act of the American soldier Aaron Bushnell from the U.S. Air Force by setting himself on fire in front of the zionist embassy in Washington, D.C., in protest against the war on Gaza, which he called for the “liberation of Palestine,” confirms the state of anger among the American people due to the official American involvement in the zionist genocide war being waged on the Gaza Strip. It also indicates that the status of the Palestinian cause, especially in American circles, is becoming more deeply entrenched in the global conscience, and reveals the truth of the zionist entity as a cheap colonial tool in the hands of savage imperialism.

The Front expresses its full solidarity with the soldier’s family and all the American sympathizers who took a honorable stance and whose struggle and pressure to stop the genocide on the Strip have not ceased, confirming that the act of an American soldier sacrificing his life to draw the attention of the American people and the world to the plight of the Palestinian people, despite its tragic nature and the great pain it involves, is considered the highest sacrifice and medal, and the most important poignant message directed to the American administration, that it is involved in the war crime in Gaza and that the American people have awakened and are rejecting this American involvement, calling on the American administration to stop this support and bias for the zionist entity.

The Front sends a message to the Arab soldier to take this American soldier who sacrificed his life for a noble cause like the Palestinian cause as an example and role model, and to leave the trenches of waiting, incapacity, and move to the trench of confrontation in support of Palestine and its people who are being slaughtered, besieged, and starved in full view and hearing of the world and just a few kilometers from Arab lands and meters from the borders.

Palestine will be victorious as long as it has deeply engraved itself in the conscience and consciences of the world, and history will record in golden letters the names of all the sympathizers and free people of the world who stood with it and sacrificed their lives for its sake.

The Popular Front for the Liberation of Palestine Central Media Department 26-2-2024″

Those golden letters of history will not record the name CrimethInc., whose version of anarchism cannot hold, comprehend, or move with the young militants taking increasingly bold and dire action. While the pro-Ukraine anarchists continue to stumble again and again over the question of militarism, Aaron’s act of self-negation resolved the contradiction. This is not to say his was the only way to resolve the contradiction, but it was a powerful way that threatens the worldview the Outlet desperately clings to: a view inextricably affixed to Western epistemological hegemony. The decline of the neoliberal consensus indicates the inevitable illegibility of their explanation of the world. The coming days and years will surely see a proliferation of increasingly drastic actions, marked by an intensity which surpasses what the Outlet can accept or condone, positioned as it is. For the Outlet, the death of this world conjures the existential anxiety of dissociation. For others, ourselves included, the end of this world is essential for the legibility of our perspective.

Aaron left us a will. That will, in the many senses of that term, is our inheritance. It reads: “I wish for my remains to be cremated. I do not wish for my ashes to be scattered or my remains to be buried as my body does not belong anywhere in this world. If a time comes when Palestinians regain control of their land, and if the people native to the land would be open to the possibility, I would love for my ashes to be scattered in a free Palestine.”

Whatever Aaron was in the preceding years of his life, he died as an anarchist, and will be remembered as one. His action points to a new organic anarchism emerging out of the present moment, one disconnected from the scenes, subcultures, and cults-of-personality that constitute the anarcho-mainstream. This development threatens the hegemony of the anarchist talking heads as much as the rest. His death is already drawing unprecedented attention, at new levels, to the cause of Palestinian liberation, and likely to anarchism as well. Those who cannot adapt to the changing tides will be washed into historic oblivion, toward which they’re already careening. The rest of us must act within the unsayable. Deeds must speak where words fail.

[sequinsmile-x]

Yield

She knows he’s wavering, something she’d counted on as she watched Penelope force a third glass of punch into his hands only twenty minutes ago. He was always desperate for her, but anytime he was drinking his ability to hide it was diminished.

AKA the one where Emily and Aaron hook up at Quantico's annual 4th July party, despite the fact no one knows they are together.

-x-

Hi friends!

I did a poll the other day asking which smut you guys wanted next, and secret relationship smut won by quite some margin.

So, I hope you enjoy this. I'm sure I say this every time, but I think this might well be the filthiest smut I've ever written haha

Let me know what you think <3

-x-

Words: 2.7k

Warning: Smut, 18+

Read over on Ao3, or below the cut

Emily hated the annual Quantico July 4th party. 

It reminded her too much of all of the parties she’d been forced to go to by her mother when she was younger. She spends as much of her time as she can standing in a corner, hiding away from everyone who wasn’t on the team, sipping the punch that Penelope had forced into her hand. 

The definitely spiked punch.

It had become a tradition of sorts over the years. Penelope would sneak whatever alcohol she deemed appropriate into the punchbowl like it was prom night and the next working day everyone would pretend they didn’t know it was her. 

“I think she went for tequila this year.” 

She smiles at the sound of Aaron’s voice, turning to look at him as she takes another sip of her drink, “It’s definitely tequila,” she says, looking him up and down. He’d taken off his jacket and tie, leaving him in just his suit pants and his white shirt, the top button undone and his sleeves rolled up, “I saw the bottle in her office.” 

Aaron chuckles and steps closer to her, staying far enough away for it to be considered appropriate in their current setting, “You look nice.” 

She looks down at herself, her red tank top and black pants the exact same outfit he’d watched her put on that morning. She hides her smile behind her glass of punch, taking a sip in a failed attempt to calm herself down, well aware that this was not the time or the place. 

“I was just thinking the same thing about you,” she replies, finding some comfort in the fact he looks as affected as she feels, a look in his eyes that she only usually saw in his apartment or hers. 

It had been almost three months since their first date. Aaron had been paramount in her finding her place in her life again after Paris. He was the only person who hadn’t expected her to be the same as she had been before. He took her as she was, welcoming her into his and his son’s life, both of them helping her piece herself back together. Over time she felt her affection for Aaron shifting from purely friendship to more. Although, if she was honest with herself, she knew those feelings had been around for much longer. 

He’d asked her out, something that surprised her because she was so sure she would have had to be the one to cross that line. He’d been nervous, tripping over his words in a way she’d never have expected from him, and it made him all the more endearing to her. Later, when they were curled up around each other in his bed, he’d admitted he’d never asked anyone out before, that Haley had been the one to ask him on a date all those years ago. 

They loved each other. They’d said it to each other on their third date, timing that would have scared her with anyone else but with him, it just felt right. As if they’d been slowly walking towards each other their whole lives, the bright light they both needed after the darkest of nights. 

No one, except Jess and Jack, knew about them yet. Emily knew that they had nothing to hide, but finding the right time to tell the team seemed to be impossible. It’s how they find themselves almost 12 weeks in with their relationship still a secret. She can’t say she doesn’t enjoy that aspect of it, the sneaking around and stolen moments with the man she loves, but she was also excited to be able to show how much they loved each other to their friends. They’d decided they’d tell them at Dave’s 4th July party in two days' time. A deadline that still felt so far away when all she could think about was kissing him even though they were in the office. 

Before she can say anything else, Penelope bounds over, clearly already a couple of glasses of the punch down, a wide smile on her face. 

“What are you two doing over here?” She asks enthusiastically. 

“Hiding,” Emily replies quickly, “You know I hate these things. Hotch was keeping me company.” 

They exchange a look over Penelope’s head, and something slightly dangerous flashes in Aaron’s eyes, making Emily’s stomach flip. 

It’s a couple of hours later when it gets too much for her, the heated glances across the room driving her crazy. She gives Penelope and JJ an excuse that was going to the bathroom, hoping that they’d actually think she was going to sneak a cigarette like she sometimes did when she was drinking. She walks into the supply closet on the same floor as the bullpen and closes the door behind her, firing off a text to Aaron before she pushes her phone into her pocket. 

He’s knocking on the door in less than two minutes, walking in with a curious look on his face. 

“Is everything ok, Em?” He asks as he closes the door behind him, walking towards her. 

She nods, reaching out for his hand and tugging him close, her arms around his waist as she stamps a kiss to his jaw, “Yes, I just wanted a moment alone with you.”

Aaron raises his eyebrow at her as he pulls back and looks down at her, “Em, you text me 911.” 

She shrugs, biting her lower lip as she grasps at the open collar of his shirt, “It is an emergency,” she says, kissing his cheek and then the corner of his lips, “I need you.” 

He groans as she pushes her hips against his, “Sweetheart,” he says, kissing her quickly, “We only have to stay for another couple of hours,” he pulls back, “Then I’ll take you home.” 

She looks up at him through her lashes, “Honey, we both know Penelope will convince us all we need to go to the bar,” she says, pouting in a way she’d later deny, “We won’t get home for hours.” 

He smiles at her and tucks her hair behind her ear. He wanted her too, he always did, but he knew logically this wasn’t a good idea. But he’d had a few glasses of punch, tequila and desire for her clouding his usual ironclad judgment. 

“Sweetheart…”

She knows he’s wavering, something she’d counted on as she watched Penelope force a third glass of punch into his hands only twenty minutes ago. He was always desperate for her, but anytime he was drinking his ability to hide it was diminished. She smiles as she pulls him back in for another kiss, her hands grasping the back of his shirt, creasing the material in her fists. He deepens the kiss this time, any apparent hesitance to this happening long gone. 

She reaches down and cups him through his pants, smirking as she feels how hard he is, groaning as he nips lightly at her neck, careful not to leave a mark that the others would see when they went back out to the party. He kisses his way back up her throat before he grabs her ear lobe between his teeth and whispers in her ear. 

“Turn around.” 

She shivers as his breath skips over her skin and she does as she’s told. She knows she should hate it, hate that she so quickly follows his demands, but she can’t bring herself to. He presses himself against her, trapping herself between his chest and the shelving unit as he wraps his arms around her, his hands drifting down to the button and zipper of her pants, undoing them with ease. He pulls them and her underwear down, letting them fall to her ankles, the material gathering around her boots. 

Aaron steps back to look at her, a growl rumbling in his chest at the sight of her. He crouches down behind her, his hands spreading her thighs as far apart as they will go with her feet still trapped in her pants. He lets his fingers trail over marks he’d left behind last night, bruises of his fingerprints and teeth tattooed into her inner thighs. She gasps as he kisses one of them, his name escaping her breathlessly. He knows they don’t have time to waste, that the others would come looking for them soon, and he feels his need for her becoming desperate. He buries his face in her, licking through her once from behind, groaning at the taste of her, at how slick she is.

“So ready for me already, Em,” he says, turning his head to nip at her thigh. 

“Fuck,” she grunts out as he does it again, her hands reaching out and grasping the shelf in front of her. She shivers as he hears Aaron stand up, followed by the rasp of his zipper and the sound of his pants falling past his hips. He steps closer, his hands on her hips as he tilts them towards him before he guides himself into her, her breath catching in her throat at the familiar stretch of him, her nails scratching against the metal shelving. 

“Oh, sweetheart,” he groans, resting his forehead against the back of her head, his grip on her hips tightening, “You feel so fucking good.”

She nods, her words stolen by the feeling of being overwhelmed by him. He doesn’t move, making her feel every inch of him as he remains seated deep within her, smirking against her temple as she clenches around, desperately trying to move her hips as he holds her in place. She has no choice but to let it happen, trapped between him and the shelves and his large hands, totally at his mercy in a way that she loves. In a way she’d never let anyone else do to her because she trusts him completely. 

“Aaron,” she breathes out, her lungs stuffed full of desire, “Please.” 

He’d loved to keep her here, to make her beg for what he knows she wants, but they don’t have time. They’ve already been gone too long and were walking a dangerous path. He knew the team would find out about them eventually, but he didn’t want it to be because they found them in a supply closet at work with their pants around their ankles. 

He finally starts to move against her and she rests her head back against his shoulder, turning to kiss his jaw. She smiles as he tilts his head so their lips meet, the kiss as messy as it was perfect. They fall into a familiar rhythm, both giving as good as the other, the small space they were in filling with the sound of their breathless moans and skin slapping against skin. She clenches around him as he thrusts into her, moaning as he hits so deeply inside of her because of the angle that she’s sure he’s carving out a space for himself, ensuring that she’ll be feeling him for days after this. 

He moves his hands from her hips, making her hiss as he does in a way that lets her know he’s left bruises behind, more evidence of his desperation for her left beneath her clothes. One of his hands moves downwards to draw soft circles against her clit, making her break their kiss with a gasp. He smiles as her breath skips across his skin. He grasps her chin with his other hand, holding her in place so he can watch her face as she falls apart. She grasps his arms, her nails digging into the bare skin of his forearms, 

“Aaron,” she gasps out, her hips stuttering against his. She can feel it building in her belly, fire threatening to spread throughout her body, her vision starting to go white. 

“Come for me, sweetheart,” he says, his words muffled against her cheek, “Let me feel it.” 

He swipes his thumb over her clit again and it pushes her over the edge. He captures her lips in a kiss again to swallow her moan, still just about aware enough of their surroundings to not want to draw attention to them. 

She knows the only reason she stays standing is because he’s holding her up, her legs feeling like jelly as her orgasm makes them shake. She feels him start to speed up, his thrusts getting messier and less consistent, his hand that had been on her clit drifting up and under her tank top, cupping her breast through her bra, his thumb pressing into the hickey he’d left the night before next to the brand mark. 

“Come on, baby,” she says, gasping again as he continues to thrust into her, her body still sensitive, she pulls back to look at him, ignoring the pull in her neck as their eyes meet, smiling as she repeats his words, “Let me feel it.” 

He comes inside of her with a growl he muffles into her neck, his hold on her tight as he lets go, the breath knocked out of him. 

It takes a few seconds but his grasp on her becomes softer, his lips gentle against her cheek as he kisses her, joining in as she chuckles. 

“Ok, now I really don’t want to go out with the others,” she says, stamping a kiss against his lips. He laughs and pulls away from her, both of them slightly bereft as he slips out of her. She’s quick to pull up her underwear and pants. She grimaces as she feels him leak out of her into the seat of her underwear, and she shifts her hips back and forth. She looks at him and watches as he pulls his pants back up, “When we get back to yours we’re doing that again, and then showering,” she says, smiling as she wraps her arms around his neck, “And maybe we’ll do it again in the shower.”

He wraps his arms around her, his hands on her hips, his touch more gentle than it had been just moments before. 

“Think we can get out of drinks?” He asks, already knowing the answer before she shakes her head as she laughs. 

“Absolutely not, you know how persuasive Pen can be.” 

___

“Just follow me.”

Derek groans as he follows Penelope down the hallway towards the supply closet, JJ, Dave and Spencer just behind him.

“Baby girl, I believe you ok, I don’t need to find people I work with hooking up.” 

“It happens every year,” she says, ignoring his protests, “And no one ever believes me.” 

“Maybe thats because you spike the punch,” JJ quips, smiling when Penelope turns and narrows her eyes at her.

“Where are Emily and Hotch?” Spencer asks, frowning as they turn the corner to the hallway with the supply closet

Penelope shrugs, “Emily is having one of her shame cigarettes, and I don’t know about Hotch.” 

“He said something about stepping out to call Jack,” Dave says as they all come to a stop outside of the supply closet, “Ok, we’re here. Are we going to burst in or wait whoever is in there out?”

“Well, I…”

Penelope drifts off as they hear voices coming from inside, the words dulled slightly by the closed door. 

“When we get back to yours we’re doing that again, and then showering, and maybe we’ll do it again in the shower.”

They all stand in stunned silence, and JJ is the first to speak, “Was that…Emily?” 

“Who would she be in there with?” Derek asks, his eyebrows shooting up his forehead. 

“I’d usually guess Mick Rawson but he’s away on-”

“Think we can get out of drinks?” 

The team audibly gasps this time, Aaron’s deep voice even clearer than Emily’s had been as it travels through the door. 

“Oh my God,” Penelope squeals, the laughter coming from inside the closet enough to ensure they won’t hear her. 

“Absolutely not, you know how persuasive Pen can be.” 

Emily’s words kick Penelope into action, and she opens the door, the smell of sex and sweat filtering out into the hallway.  

Emily and Aaron jump apart as they’ve been burned, both of them open-mouthed and staring at their friends, every one of their faces painted with a mixture of confusion and disgust. 

“You two are definitely coming to drinks,” Penelope says, her hands on her hips, “You both have a lot of explaining to do.” 

Emily’s shock wears off first, and she turns to Aaron, her eyebrows creased as she lightly hits his chest, narrowing her eyes as he grabs her hand and squeezes it as she glares at him, ignoring the team momentarily as she whispers through her teeth. 

“You didn’t lock the goddamn door?” 

-x-

Tag list:

@ssa-sparks, @lukeclvez, @lyds102, @glockleveledatyourcrotch, @hotchnissenthusiast, @danadeservesadrink, @ssamorganhotchner, @emilyprentissisgod, @notagentprentiss, @freesiasandfics, @emilyshotchniss, @thecharmingart, @paulitalblond, @hancydrewfan, @camille093, @whitecrossgirl, @moonlight-2-6, @rawr-jess, @florenceremingtonthethird, @jareauswife, @ms-black-a, @beebeelank, @aubreyprc, @zipzapboingg, @psychopath-at-heart, @criminalmindsgonewrong, @fionaloover, @kinqslcys, @prentissinred, @ccmattis-22, @denvivale317, @thrindis, @hotchsguccitie, @cmfouatslota77, @alexblakegf, @aliensaurusrex, @prentissxhotch, @emobabeyy, @victoiregranger, @stormyweatherth, @wanderingdreamer009, @ssablackbird, @luhwithah, @lex13cm, @prentiss-theorem, @dont-emily-me, @mrs-ssa-hotch, @jocyycreation, @itsmytimetoodream, @hotchnissgroupie, @controversialpooh, @capsshinyshield, @canuck-eh

Join my tag list here!

[brokehorrorfan]

Primal Fear will be released on 4K UHD + Blu-ray on March 26 via Paramount. The Golden Globe-winning 1996 mystery thriller is the 43rd entry in the Paramount Presents line of collector’s editions.

Gregory Hoblit (Fracture, Frequency) directs from a script by Steve Shagan (Gotti) and Ann Biderman (Public Enemies), based on William Diehl's 1993 novel. Richard Gere, Laura Linney, John Mahoney, Alfre Woodard, Frances McDormand, and Edward Norton star.

Primal Fear is presented in 4K with Dolby Vision and Dolby TrueHD 5.1 audio. Special features are listed below, where you can also see the complete, fold-out packaging.

Special features:

Commentary by director Gregory Hoblit, writer Ann Biderman, Producer Gary Lucchesi, Executive producer Hawk Koch and casting director Deborah Aquila

The Final Verdict

Star Witness: Casting Edward Norton

The Psychology of Guilt

Theatrical trailer

Richard Gere stars as Martin Vail, a famed defense lawyer who volunteers his services to Aaron Stampler (Edward Norton), a Kentucky teenager charged with the murder of a Chicago archbishop. Covered with blood, Aaron was captured after a foot chase broadcast live on TV, making a gleeful Vail certain that he could raise his profile by defending the obviously guilty suspect. Assigned to prosecute is Assistant District Attorney Janet Venable (Laura Linney), who is Vail's ex-girlfriend. Vail's case becomes more complicated than he expected when a psychologist, Dr. Molly Arrington (Frances McDormand) concludes that Stampler suffers from multiple personality disorder. Vail also uncovers evidence that the archbishop was involved in a corrupt land scheme and may have molested young parishioners. Now the cynical, opportunistic attorney is faced with a daunting prospect: a client who may actually deserve his best defense.

Pre-order Primal Fear.

[ptbf2002]

Everyone Hates Miraculous Tales Of LadyBug And Cat Noir

because of that shit, i stopped watching Disney Channel nowadays, proving that miraculous became Disney Chamberlain Cash Grabbing Machine. Marinette is the Mary Sue in this show. miraculous ladybug is keeps on milking the show all over again. it's also like Star Vs. The Forces Of Evil, which was fallen apart and turned into a romantic drama. because of only focusing on Star Butterfly And Marco Diaz. over a stupid Starco. Starco now became my guilty pleasure. i mean seriously?! what in the name of Mickey Mouse is going, airing Miraculous all over again?! this is ridiculous! Disney Channel was like a masterpiece that made a lot of great shows, such as, The Replacements, American Dragon: Jake Long, Recess, Kim Possible, Lilo And Stitch, House Of Mouse, Phineas And Ferb, Kick Buttowski and etc. even great live-action shows like The Suite Like Of Zack And Cody, Jonas, The wizards of waverly place, zeek and luther, aaron stone, K.C Undercover, and others. and now it's nothing but filling up Disney Channel with stupid Miraculous shit. this is why i stopped watching Disney Channel nowadays, and this is why i should move to Disney XD since i want to watch good Disney shows, or watch Disney+. i mean why would Disney has acquired Mediawan and The ZAG franchise, i almost feel embarassed

Original Templates:

https://www.deviantart.com/zmcdonald09/art/Who-Likes-or-Hates-Miraculous-Ladybug-1037238627

https://www.deviantart.com/tagirovo/art/40-Angry-Characters-Reaction-Template-1038191867

Credit Goes To @Tagirovo

SpongeBob SquarePants Belongs To Stephen Hillenburg, Rough Draft Studios, Inc. Carbunkle Cartoons, SEK Animation Studio, Wang Film Productions Co., Ltd. Rough Draft Korea Co., Ltd. United Plankton Pictures Inc. Joe Murray Productions Inc. Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Nicktoons, Nickelodeon Group, Nickelodeon Networks Inc. Paramount Kids and Family Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. And Paramount Global

Mickey Mouse (2013) Belongs To Walt Disney, Ub Iwerks, Paul Rudish, Mercury Filmworks, Disney Television Animation, Disney Channel, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

The Looney Tunes Show Belongs To Leon Schlesinger, Hugh Harman, Rudolf Ising, Sam Register, Spike Brandt, Tony Cervone, Yearim Productions Co., Ltd. Toon City Animation Inc. Lotto Animation, Inc. Rough Draft Korea Co., Ltd. Crew 972 Ltd. Warner Bros. Animation Inc. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Oggy and the Cockroaches Belongs To Jean-Yves Raimbaud, Big Star Enterprise, Armada TMT, Digital Emation, Inc. Neon Pumpkin, DongWoo Animation Co. Ltd. Gaumont Multimedia, The Gaumont Film Company, Xilam Animation, France 3, France Télévisions S.A. CANAL+ Family, CANAL+ S.A. Groupe CANAL+ S.A. Vivendi SE, Gulli, Canal J, Metropole Télévision S.A. And Groupe M6

The Simpsons Belongs To Matt Groening, Anivision, DR Movie, Film Roman, LLC Hanho Heung-Up Company, Klasky-Csupo, Inc. Rough Draft Korea Co., Ltd. Toon Boom Animation, Toonzone Entertainment, Wild Horse Animation Group, Gracie Films, 20th Television Animation, 20th Television, Disney Television Studios, Disney General Entertainment Content, Disney Entertainment, FOX Broadcasting Company, FOX Entertainment, FOX Corporation, And The Walt Disney Company

The New Woody Woodpecker Show Belongs To Walter Lantz, Bob Jaques, Kelly Armstrong, Big Star Enterprise, Inc. Studio B Productions, Inc. DHX Media Vancouver, WildBrain Studios, DHX Media, Ltd. WildBrain Ltd. Duck Soup Studios, Mercury Filmworks, Sunwoo & Company Co., Ltd. Walter Lantz Productions, Universal Cartoon Studios, Universal Animation Studios LLC, Universal Television LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Pink Panther and Pals Belongs To Blake Edwards, Maurice Richlin, David H. DePatie, Friz Freleng, Toon City Animation, Inc. DQ Entertainment Animation Studio, DQ Entertainment International Limited, Desert Panther Productions, Mirish-Geoffrey-DePatie-Freleng, Rubicon Studios, Rubicon Group Holding, MGM Worldwide Television Distribution, MGM Television, Metro-Goldwyn-Mayer Studios, Inc. MGM Holdings, Inc. Amazon MGM Studios, Amazon, Inc. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Hilda Belongs To Luke Pearson, Mercury Filmworks, Atomic Cartoons Inc. Thunderbird Entertainment Group Inc. Nobrow Press, Flying Eye Books, Silvergate Media Limited, Sony Pictures Television Kids, Sony Pictures Television Studios, Sony Pictures Television Inc. Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, Sony Group Corporation, And Netflix, Inc.

Animaniacs (2020 Reboot) Belongs To Tom Ruegger, Wellesley Wild, Steven Spielberg, Digital eMation, Inc. Saerom Animation, Inc. Snipple Animation Studios, Tiger Animation, Titmouse Animation, Inc. Tonic DNA Animation, Toon City Animation, Inc. Yowza! Animation, Giant Ant Animation, Studio Yotta, Birdo Studio, Flystudio, Screen Novelties, Amblin Television, Amblin Entertainment, Inc. Amblin Partners, LLC. Warner Bros. Animation Inc. Hulu, LLC. Disney Streaming, Disney Entertainment, The Walt Disney Company, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Danger Mouse (2015 TV series) Belongs To Brian Cosgrove, Mark Hall, Cosgrove Hall Fitzpatrick Entertainment, CHF Entertainment, FremantleMedia Kids & Family Entertainment, Fremantle Limited, Boulder Media Limited, Boat Rocker Media Inc. CBBC Production, Windmill Lane Studios, CBBC, BBC Television, BBC Worldwide Ltd. BBC Studios Ltd. And British Broadcasting Corporation (BBC)

Trolls The Beat Goes On! Belongs To Jonathan Aibel, Glenn Berger, Erica Rivinoja, Matthew Beans, Hannah Friedman, Sam Friedman, Digital emation, Inc. NE4U, Inc. DreamWorks Animation Television, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation And Netflix Inc.

The Loud House Belongs To Chris Savino, Jam Filled Entertainment, Boat Rocker Media Inc. Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Nicktoons, Nickelodeon Group, Nickelodeon Networks Inc. Paramount Kids and Family Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. And Paramount Global

The Casagrandes Belongs To Chris Savino, Michael Rubiner, Miguel Puga, Jam Filled Entertainment, Boat Rocker Media Inc. Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Nicktoons, Nickelodeon Group, Nickelodeon Networks Inc. Paramount Kids and Family Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. And Paramount Global

Magiki Belongs To Eryk Casemiro, Cyril Deydier, Pegbar Animation, Animasia Studio, Rainbow S.P.A. Paramount Media Networks, Inc. Paramount Global, DeAgostini Publishing Italy S.P.A. DeAgostini Editore S.P.A. DeAKids, DeA Junior, DeAgostini S.P.A. DeAPlaneta Kids And Family, DeAPlaneta Entertainment, Télé Images Productions, Zodiak Kids Studios France, Zodiak Kids & Family, Banijay Kids & Family, Banijay Entertainment S.A. Banijay Group N.V. Ketchup TV, KidsMe S.R.L. Gulli, TiJi, Metropole Télévision S.A. Groupe M6, Frisbee, Switchover Media, Discovery Italia S.R.L. Discovery Networks Italia, Discovery Networks EMEA, Discovery Networks International, Discovery, Inc. And Warner Bros. Discovery, Inc.

Amphibia Belongs To Matt Braly, Saerom Animation, Inc. Sunmin Image Pictures Co., Ltd. Sugarcube Animation Studio, Rough Draft Korea Co., Ltd. Disney Television Animation, Disney Channel, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Harvey Street Kids/Harvey Girls Forever! Belongs To Alfred Harvey, Emily Brundige, Dave Enterprises, Digital Emation, Inc. NE4U, Inc. The Harvey Entertainment Company, Classic Media, LLC, DreamWorks Classics, DreamWorks Animation Television, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation And Netflix Inc.

South Park Belongs To Trey Parker, Matt Stone, Bardel Entertainment, Inc. Titmouse Canada Animation Inc. Titmouse, Inc. Celluloid Studios, Braniff Productions, Parker-Stone Productions, South Park Studios, MTV Entertainment Studios, Comedy Central, Comedy Partners, MTV Entertainment Group, Paramount+, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Paramount Streaming And Paramount Global

Rise of the Teenage Mutant Ninja Turtles Belongs To Kevin Eastman, Peter Laird, Andy Suriano, Ant Ward, Digitoonz Media & Entertainment Pvt. Ltd. Flying Bark Productions Pty. Ltd. Studio 100 N.V. Mirage Studios, Image Comics, Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Nicktoons, Nickelodeon Group, Nickelodeon Networks Inc. Paramount Kids and Family Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. And Paramount Global

Atomic Betty Belongs To Trevor Bentley, Mauro Casalese, Rob Davies, Olaf Miller, 2 Minutes Animation, Hong Guang Animation (Su Zhou), Caribara, Atomic Cartoons Inc. Thunderbird Entertainment Group Inc. Breakthrough Entertainment, Télé Images Kids, Télé Images Productions, Marathon Media, Marathon Animation, Marathon Productions, Marathon Media Group, Zodiak Kids, Zodiak Kids Studios France, Zodiak Kids & Family, Banijay Kids & Family, Banijay S.A. TELETOON, TELETOON Canada, Inc. Corus Entertainment Inc. M6 (TV channel), Metropole Télévision S.A. Groupe M6, TÉLÉTOON+, CANAL+ S.A. Groupe CANAL+ S.A. Vivendi SE, Phil Roman Entertainment, Breakthrough Distribution, Cartoon Network, The Cartoon Network, Inc. Turner Broadcasting System, Inc. WarnerMedia Entertainment, WarnerMedia Studios & Networks, Warner Bros. Entertainment Inc. WarnerMedia, AT&T Inc. The Hub, Hub Network, Discovery Family, Hasbro Entertainment, Hasbro, Inc. Discovery Networks U.S. Discovery Networks International, Discovery, Inc. And Warner Bros. Discovery, Inc.

The Owl House Belongs To Dana Terrace, Sunmin Image Pictures Co., Ltd. Sugarcube Animation Studio, Rough Draft Korea Co., Ltd. Disney Television Animation, Disney Channel, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Sonic Prime Belongs To Yuji Naka, Naoto Ohshima, Hirokazu Yasuhara, Joe Kelly, Joe Casey, Duncan Rouleau, Steven T. Seagle, Jam Filled Entertainment, Boat Rocker Media Inc. Flixzilla Aura, Sonic Team, SEGA of America, SEGA Corporation, SEGA Sammy Holdings Inc. Man of Action Entertainment, WildBrain Studios, WildBrain Ltd. Netflix Animation Studios, Netflix Worldwide Entertainment, LLC, And Netflix, Inc.

Cleopatra in Space (TV series) Belongs To Doug Langdale, Fitzy Fitzmaurice, Titmouse, Inc. Inspidea Sdn. Bhd. Digitoonz Media & Entertainment Pvt. Ltd. DreamWorks Animation Television, DreamWorks Animation LLC, Hulu, LLC. Disney Streaming, Disney Entertainment, The Walt Disney Company, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Avatar: The Last Airbender Belongs To Michael Dante DiMartino, Bryan Konietzko, DR Movie Co., Ltd. JM Animation Co., Ltd. MOI Animation, Inc. Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Paramount+ Nickelodeon Group, Nickelodeon Networks Inc. Paramount Kids and Family Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. Paramount Streaming, And Paramount Global

The Legend of Korra Belongs To Michael Dante DiMartino, Bryan Konietzko, Studio Mir Co., Ltd. Pierrot Co., Ltd. Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Nickelodeon Group, Nickelodeon Networks Inc. Paramount Kids and Family Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. And Paramount Global

The Curse of Molly McGee/The Ghost and Molly McGee Belongs To Bill Motz, Bob Roth, Mercury Filmworks, Disney Television Animation, Disney Channel, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

The Proud Family: Louder and Prouder Belongs To Bruce W. Smith, Ralph Farquhar, Snipple Animation Studios, WildBrain Studios, WildBrain Ltd. Bar Productions, Disney Television Animation, Disney+, Disney Streaming, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Hazbin Hotel Belongs To Vivienne Medrano, Bento Box Animation, Princess Pictures, SpindleHorse Toons, Bento Box Entertainment, FOX Entertainment, FOX Corporation, A24 Television, A24 Films LLC, Amazon Prime Video, Amazon MGM Studios, Amazon Content Services, LLC, And Amazon, Inc.

Unikitty! Belongs To Phil Lord, Christopher Miller, Ed Skudder, Lynn Wang, Renegade Animation, Snipple Animation Studios, Rideback, Lord Miller Productions, VERTIGO Entertainment, LEGO System A/S, Warner Bros. Animation Inc. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, HBO Max, WarnerMedia Direct, LLC. Warner Bros. Discovery Global Streaming and Interactive Entertainment, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Star vs the Forces of Evil Belongs To Daron Nefcy, Mercury Filmworks Toon City Animation, Inc. Rough Draft Korea Co, Ltd. Sugarcube Animation, Disney Television Animation, Disney Channel, Disney XD, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Rocko's Modern Life Belongs To Joe Murray, Animal-Ya, Klasky-Csupo, Inc. Pacific Rim Productions, Inc. Rough Draft Korea Co., Ltd. Wang Film Productions Co., Ltd. Sunwoo Entertainment, Co., Ltd. Shanghai Rainbow Animation Tama Production, Wang Film Productions Company, Joe Murray Productions Inc. Games Animation Inc. Nickelodeon Animation Studio, Nickelodeon, Nickelodeon Group, Nickelodeon Networks Inc. Paramount Kids and Family Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. And Paramount Global

Angry Birds: Summer Madness Belongs To Rob Doherty, Scott Sonneborn, Yowza! Animation, Kickstart Entertainment, CAKE Entertainment Ltd. Rovio Animation, Ltd. Rovio Entertainment Corporation, SEGA Corporation, SEGA Sammy Holdings Inc. Sony Pictures Television Studios, Sony Pictures Television Inc. Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, Sony Group Corporation, And Netflix, Inc.

Moon Girl and Devil Dinosaur Belongs To Brandon Montclare, Amy Reeder, Natacha Bustos, Jack Kirby, Steve Loter, Jeffrey M. Howard, Kate Kondell, Flying Bark Productions Pty. Ltd. Studio 100 N.V. Cinema Gypsy Productions, MARVEL Animation, Inc. MARVEL Television, MARVEL Studios, LLC, MARVEL Entertainment, LLC, Disney Television Animation, Disney Channel, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Family Guy Belongs To Seth MacFarlane, Digital eMation, Inc. Film Roman, LLC, CNK International, Grimsaem Animation Co. Ltd. Sunwoo Entertainment, Co., Ltd. Rough Draft Korea Co., Ltd. Rough Draft Studios, Inc. Toon Boom Animation Inc. Yeson Entertainment, Yearim Productions Co., Ltd. Fuzzy Door Productions, Inc. 20th Television Animation, 20th Television, Disney Television Studios, Disney General Entertainment Content, Disney Entertainment, FOX Broadcasting Company, FOX Entertainment, FOX Corporation, And The Walt Disney Company

Teen Titans Belongs To Bob Haney, Bruno Premiani, Glen Murakami, David Slack, Sam Register, MOI Animation Co., Ltd. Lotto Animation, Inc. DongWoo Animation Co. Ltd. DC Comics, Inc. DC Studios, DC Entertainment, Warner Bros. Animation Inc. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

My Life as a Teenage Robot Belongs To Rob Renzetti, Rough Draft Studios, Inc. Frederator Studios, Frederator Networks, Inc. WOW! Unlimited Media Inc. Kartoon Studios, Inc. Nelvana Limited, Corus Entertainment Inc. Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Nicktoons, Nickelodeon Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. And Paramount Global

Ninjago Belongs To Thomas Sørensen, Tommy Andreasen, Thomas Kristensen, Simon Lucas, Nelson LaMonica, Menelaos Florides, William Stahl, Scott Godon-Decoteau, Maarten Simons, Michael Svane Knap, Toby Dutkiewicz, Brian Nielsen, Lars Danielsen, Tommy Kalmar, Cerim Manovi, Robert May, Heidi Rathschau Nielsen, Kevin Burke, Chris "Doc" Wyatt, LEGO System A/S, WILFilm ApS, WildBrain Studios, WildBrain Ltd. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution, Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Lego Monkie Kid Belongs To Simon Lucas, LEGO System A/S, Flying Bark Productions Pty. Ltd. Studio 100 N.V. WildBrain Studios, WildBrain Ltd. Tencent Video, Tencent Holdings Ltd. Youku Tudou Inc. Alibaba Group Holding Limited, iQIYI, Baidu, Inc. 9Go! Nine Network, Nine Entertainment Co. Holdings Limited, Cartoon Network (Australia & New Zealand), Discovery NZ Limited, Turner Broadcasting System Asia Pacific, WarnerMedia Entertainment Networks Asia Pacific, Turner Broadcasting System International, WarnerMedia International, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Kung Fu Panda: The Dragon Knight Belongs To Mitch Watson, Peter Hastings, Technicolor Animation Productions, Mikros Animation, Dave Enterprises, Stellar Creative Labs, 88 Pictures, DreamWorks Animation Television, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation And Netflix Inc.

Hailey's On It! Belongs To Devin Bunje, Nick Stanton, Saerom Animation, Inc. Rough Draft Korea Co., Ltd. Disney Television Animation, Disney Channel, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Bravest Warriors Belongs To Pendleton Ward, Breehn Burns, Will McRobb, Chris Viscardi, Portfolio Animation, Portfolio Entertainment Inc. 9 Story Media Group Inc. Frederator Studios, Frederator Networks, Inc. WOW! Unlimited Media Inc. Kartoon Studios, Inc. Nelvana Limited, Corus Entertainment Inc. YouTube Studio, YouTube, Google LLC, Alphabet Inc. TELETOON, TELETOON Canada, Inc. VRV, Crunchyroll, LLC, Aniplex, Inc. Sony Music Entertainment (Japan) Inc. Sony Group Corporation, Disney XD (Canada), Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, The Walt Disney Company Cartoon Network (Japan), Discovery Japan, Turner Broadcasting System Asia Pacific, WarnerMedia Entertainment Networks Asia Pacific, Turner Broadcasting System International, WarnerMedia International, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

[blogger360ncislarules]

PETE’S EX-WIFE, CAROL, SHOWS UP AT WOODSTONE MANSION DURING SAM AND JAY’S HALLOWEEN PARTY, WHERE THEY’RE TRYING TO IMPRESS SOME COOL FRIENDS, AND THE GHOSTS HOPE TO BRING FLOWER BACK WITH A SEANCE, ON “GHOSTS,” THURSDAY, MARCH 7

Caroline Aaron Returns as Carol, Pete’s Ex-Wife;

John Reynolds and Christine Ko Guest Star as Sam and Jay’s Cool Friends

“Halloween 3: The Guest Who Wouldn’t Leave” – Pete’s ex-wife, Carol (Caroline Aaron), shows up at Woodstone Mansion during Sam and Jay’s Halloween party, where they’re trying to impress some cool friends (John Reynolds and Christine Ko). Also, the ghosts hope to bring Flower back with a seance, on the CBS Original series GHOSTS, Thursday, March 7 (8:30-9:00 PM, ET/PT) on the CBS Television Network, and streaming on Paramount+ (live and on demand for Paramount+ with SHOWTIME subscribers, or on demand for Paramount+ Essential subscribers the day after the episode airs)*.

WRITTEN BY: Josh Malmuth

DIRECTED BY: Pete Chatmon

[jtargaryen18]

It's Golden Globes Time! Pt 3

Who else you got? https://goldenglobes.com/nominations/2024

Best Original Score, Motion Picture 

Ludwig Göransson — “Oppenheimer” Jerskin Fendrix — “Poor Things” Robbie Robertson — “Killers of the Flower Moon” Mica Levi — “The Zone of Interest” Daniel Pemberton — “Spider-Man: Across the Spider-Verse” Joe Hisaishi — “The Boy and the Heron”

My Choice:

Best Picture, Non-English Language 

“Anatomy of a Fall” (Neon) — France “Fallen Leaves” (Mubi) — Finland “Io Capitano” (01 Distribution) — Italy “Past Lives” (A24) — United States “Society of the Snow” (Netflix) — Spain “The Zone of Interest” (A24) — United Kingdom

My Choice:

Best Original Song, Motion Picture 

“Barbie” — “What Was I Made For?” by Billie Eilish and Finneas “Barbie” — “Dance the Night” by Caroline Ailin, Dua Lipa, Mark Ronson and Andrew Wyatt “She Came to Me” — “Addicted to Romance” by Bruce Springsteen and Patti Scialfa “The Super Mario Bros. Movie” — “Peaches” by Jack Black, Aaron Horvath, Michael Jelenic, Eric Osmond, and John Spiker “Barbie” — “I’m Just Ken” by Mark Ronson, Andrew Wyatt “Rustin” — “Road to Freedom” by Lenny Kravitz

My Choice:

“Barbie” — “What Was I Made For?” by Billie Eilish and Finneas

Best Motion Picture, Animated 

“The Boy and the Heron” (GKids) “Elemental” (Disney) “Spider-Man: Across the Spider-Verse” (Sony Pictures) “The Super Mario Bros. Movie” (Universal Pictures) “Suzume” (Toho Co.) “Wish” (Disney)

My Choice:

Cinematic and Box Office Achievement

“Barbie” (Warner Bros.) “Guardians of the Galaxy Vol. 3” (Disney) “John Wick: Chapter 4” (Lionsgate Films) “Mission: Impossible — Dead Reckoning Part One” (Paramount Pictures) “Oppenheimer” (Universal Pictures) “Spider-Man: Across the Spider-Verse” (Sony Pictures) “The Super Mario Bros. Movie” (Universal Pictures) “Taylor Swift: The Eras Tour” (AMC Theatres)

My Choice:

[loveforbobandeliza]

Global sales for ‘Love Me’

A slew of broadcasters and platforms have struck pre-sale deals for the second season of drama series Love Me with UK distributor DCD Rights.

Hulu (US), Acorn TV (UK, Ireland, Spain, Portugal, Netherlands, India), Viaplay (Sweden, Norway, Denmark, Finland, Iceland, Estonia, Latvia, Lithuania, Poland and Netherlands) have all boarded season two.

Meanwhile, Paramount+ (Italy, France, Germany) and Paramount Global across Latin America (including Brazil) and the Caribbean have acquired both seasons one and two. Sales have also been secured for the first season of Love Me with SBS (Belgium) and Proximus, Pickx + (Belgium).

Produced by Warner Bros. International Television Australia for the Foxtel Group, and financed with support from Screen Victoria, the second season sees the return of the Mathieson family, Glen, his daughter Clara and his son Aaron, who have picked up the pieces of their complex lives following Christine’s death and are each grappling with a new reality that poses the challenging question – is love enough?

Nicky Davies Williams, CEO of DCD Rights says, “The international success of Love Me is well justified as it is a cleverly written drama that resonates with us all.  Beautifully acted by an exceptional ensemble cast, it is completely relatable for viewers throughout the world.  We are delighted to have a second exceptional season to offer our clients.”

[ncisladaily]

NCIS INVESTIGATES AN ARSON ATTACK AT A NAVAL DEFENSE CONTRACTOR, ON “NCIS: LOS ANGELES,” SUNDAY, NOV. 27

“Let It Burn” – NCIS investigates an arson attack at Global West Ventures Corp, a naval defense contractor. Also, Rountree connects with an ex and Kilbride gives Callen files on Pembrook, on the CBS Original series NCIS: LOS ANGELES, Sunday, Nov. 27 (10:00-11:00 PM, ET/PT) on the CBS Television Network, and available to stream live and on demand on Paramount+*.

REGULAR CAST:

Chris O’Donnell

(Special Agent G. Callen)

LL COOL J

(Special Agent Sam Hanna)

Linda Hunt

(Operations Manager Henrietta “Hetty” Lange)

Daniela Ruah

(Special Agent Kensi Blye)

Eric Christian Olsen

(NCIS Investigator Marty Deeks)

Medalion Rahimi

(Special Agent Fatima Namazi)

Caleb Castille

(Special Agent Devin Rountree)

Gerald McRaney

(Retired Admiral Hollace Kilbride)

GUEST CAST:

Duncan Campbell

(NCIS Special Agent Castor)

Ashlei Sharpe Chestnut

(FBI Special Agent Summer Morehurst)

Romi Dias

(Denise Perez)

Thal Gondim

(Crystal Perez)

Justin Huen

(Randall Perez)

Brian Leigh Smith

(Bomb Tech Aaron Roberts)

Rhomeyn Johnson

Joe Corzo

(Terrell)

(Foreman/Michael Duncan)

WRITTEN BY: Indira Gibson Wilson

DIRECTED BY: Rick Tunell

[rookie-critic]

The Super Mario Bros. Movie (2023, dir. Aaron Horvath & Michael Jelenic) - review by Rookie-Critic

We no longer live in a world where video game adaptations can be written off as soon as they're introduced. Modern adaptations like Paramount's Sonic the Hedgehog films or HBO's The Last of Us series have started to change the landscape and the expectation for what these adaptations can do and how good they can be. So, when Illumination announced they had partnered with Nintendo to put a new Super Mario Bros. film project into production, naturally hackles went up. The Mario franchise does house one of the most classic examples of a video game film adaptation gone bad, but there were also a fair number of people who wanted to wait and see what happened. I, at this point, was unsure. I was excited at the prospect of a new film starring some of my favorite video game characters, but at the same time Illumination doesn't have a fantastic track record with me. I love the first Despicable Me film, and I think the second one is ok, but since then I almost actively despise the Minions as a thing that exists and think a lot of Illumination's other films have this really cheap and obvious humor that only children and middle-aged moms would find funny. I also get that this is the exact audience they're trying to please, but I could easily point to animation studios like DreamWorks and a film like Puss in Boots: The Last Wish that manage to be naturally hilarious without ever feeling forced or cringey. Regardless, I was worried. My uncertainty was only deepened when the cast list was announced and I saw that Chris Pratt would be voicing Mario. The plucky, Italian plumber was going to be voiced by Star-Lord, but the rest of the cast looked perfect, so I still held out hope. Then the trailer dropped and my whole outlook changed. It looked good. Really good. Now, after having watched it, I'll come out and say that it was... just fine.

My worry about Illumination injecting their sense of humor into it was well-placed, because they absolutely packed the film with it. Characters deliver one-liners that are neither funny nor clever in places where it completely disrupts the flow of the scene (seriously, sometimes it almost felt like they paused to wait for the laughter they assumed they would get), and there's even a Luma (a little star creature that was first introduced in the Super Mario Galaxy games) that is, in my opinion, a really poor and unnecessary attempt at edgy dark humor that I immediately hated. This thing gets a massive amount of screen time for something that actively detracted from the film's quality (in its defense, I will say I've talked to a handful of people that thought that Luma was the best part of the movie, so maybe it's just a me thing), and every time it showed up to say some really cringey line about the only escape from suffering being death or whatever, I would audibly groan. A lot of the film has an air of an Illumination film that just happens to have Mario characters in it as opposed to a true blue (or red, rather) Mario film. To me, nothing makes this more apparent than the incessant use of licensed songs throughout the film. With a library of music as vast as the Mario franchise's, why would I ever need to hear "Thunderstruck" or "Holding Out for a Hero?" What's weirder is that they do a very good job of working classic themes and music from the games into the film's score already. Why even bother with the licensed music when you clearly are adept at doing it the better way, anyway?

So far, I'm making it seem like I hated it, but that really isn't true at all. I can almost forgive a lot of the very blatant cheap humor because the film is incredibly fun. For fans of the games, it throws a ton of references at the screen, so you're never at a loss for a good dose of nostalgia. Between a fun play on the classic "The princess is in another castle" line, to taking a shortcut on Rainbow Road, to the ringtone on Luigi's phone, to a massively meme'd rap song about a certain red-tie-wearing gorilla, you're being bombarded with beautiful callbacks and hilarious references. The playful ribbing at the fact that Bowser is hopelessly in love with Princess Peach while also constantly in an attempt to take over the kingdom she rules over was very cute and fun, and, while the film's story is very formulaic, the characters feel dynamic and fully realized. The loving, brotherly relationship between Mario and Luigi is very touching, and I loved that they took the baseline personalities the games give the brothers and molded them into this loving sibling unit that always has each other's backs. It's the sibling dynamic I've always wanted out of the duo, and I love that this film gave it to me (even if there could have been way more Luigi, but I feel that way about most Mario properties).

The last two compliments I'll give the Mario movie before I wrap up this incredibly long-winded review are these: the animation is gorgeous. They brought so many set pieces from the games to wondrous, big-budget animation life and it was great to see all these locations and characters that I've grown up with on the big screen. Lastly, the voice acting in the film is impeccable. Chris Pratt did better than I thought he was going to (my main concern was that it would just sound like Chris Pratt coming out of Mario's mouth, which it didn't), and Charlie Day, Jack Black, and Seth Rogen steal every single second of screen time they get. I really do hope they give Luigi a larger role in the sequel, because Charlie Day needs to be this character more. Ultimately, I'm glad that The Super Mario Bros. Movie exists. Sure, it has its flaws, but for fans of the games and fans of Illumination's films in general, this is a fun time. However, if you're not a fan of Illumination or Mario, this isn't going to convert you.

Score: 7/10

Currently only in theaters.

[ncisfranchise-source]

WHEN AN ELITE SPECIAL FORCES MARINE CAPTAIN IS MURDERED, THE NCIS TEAM FINDS A SUSPECT IN A REALLY UNUSUAL PLACE, ON “NCIS: HAWAI’I,” MONDAY, JAN. 23

“Shields Up” – When an elite special forces Marine captain is murdered, the NCIS team finds a suspect in a really unusual place, on the CBS Original series NCIS: HAWAI’I, Monday, Jan. 23 (10:00-11:00 PM, ET/PT) on the CBS Television Network, and available to stream live and on demand on Paramount+.

REGULAR CAST:

Vanessa Lachey

(Special Agent in Charge Jane Tennant)

Alex Tarrant

(Kai Holman)

Noah Mills

(Jesse Boone)

Yasmine Al-Bustami

(Lucy Tara)

Jason Antoon

(Ernie Malik)

Tori Anderson

(Kate Whistler)

Kian Talan

(Alex Tennant)

GUEST CAST:

Seana Kofoed

Sierra Swartz

Aaron Densley

Greg Finley

Sharinna Allan

Moise Amadou

Wes Chatham

Juani Feliz

Dollar Tan

(Commander Chase)

(Cassandra)

(Willem Dennison)

(SGT. Justin Baxter)

(Corporal Nadiya Grange)

(Marine)

(Brother Ellis Kane)

(CID Summer Westmore)

(Corporal Yang)

WRITTEN BY: Jan Nash & Amy Rutberg

DIRECTED BY: Norman Buckley

[laresearchette]

Tuesday, September 17, 2024 Canadian TV Listings (Times Eastern)

WHERE CAN I FIND THOSE PREMIERES? CHILD STAR (Disney + Star) ANNIHILATION (Paramount+ Canada) THE LOUD HOUSE: THE REALLY LOUD HOUSE (Paramount+ Canada) NÖTHIN’ BUT A GOOD TIME: THE UNCENSORED STORY OF ’80S HAIR METAL (Paramount+ Canada) STOP-LOSS (Paramount+ Canada) CAUGHT IN THE ACT: UNFAITHFUL (MTV Canada) 9:00pm STOPPING THE STEAL (HBO Canada) 9:00pm HIGH POTENTIAL (CTV) 10:00pm AMERICAN SPORTS STORY: AARON HERNANDEZ (FX Canada) 10:00pm

WHAT IS NOT PREMIERING IN CANADA TONIGHT? SIN CITY TOW (Premiering on September 18 on Discovery Channel Canada at 9:00pm) 30 FOR 30: STOLEN GOLD (Premiering on September 20 on TSN3 at 8:00pm) DANCING WITH THE STARS (Premiering on September 21 on City TV at 8:00pm)

NEW TO AMAZON PRIME CANADA/CBC GEM/CRAVE TV/DISNEY + STAR/NETFLIX CANADA:

AMAZON PRIME CANADA CIVIL WAR

DISNEY + STAR CHILD STAR DANCING WITH THE STARS (Season 33, premiere episode @ 8pm ET/ 5pm PT)

NETFLIX CANADA CULINARY CLASS WARS (KR) LIVE FROM THE OTHER SIDE WITH TYLER HENRY

MLB BASEBALL (SN1) 6:30pm: Dodgers vs. Marlins (SN Now) 6:30pm: Giants vs. Orioles (SN) 7:30pm: Jays vs. Rangers (TSN3/TSN5) Orioles vs. Red Sox (SN1) 9:30pm: Yankees vs. Mariners

WNBA BASKETBALL (TSN2/TSN4) 7:00pm: Lynx vs. Sun

CHUCK AND THE FIRST PEOPLES' KITCHEN (APTN) 7:00pm: Chuck visits Metepenagiag to fish for striped bass; he meets Stephen Paul, a local fisherman and guide; they catch two striped bass and gather fiddleheads.

2024 EVEREST NORTH AMERICA CURLING CLUB WOMEN'S CHAMPIONSHIP (TSN5) 8:00pm: USA vs. Canada

DANA WHITE'S CONTENDER SERIES (SN360) 8:00pm

THIS HOUR HAS 22 MINUTES (CBC) 8:00pm (SEASON PREMIERE)

TOP GEAR AMERICA (Discovery Velocity) 8:30pm/9:15pm (SEASON PREMIERE): Dax, Rob and Jethro call on the spirit of Evel Knievel to determine if 200 mph is a reasonable and prudent speed limit for a Bugatti, a Lamborghini and a Ford GT; Rob dispels an urban myth about his first car, a Ford Pinto. In Episode Two, while in Carmel, Calif., Dax, Rob and Jethro build three prototype Jaguars that are destined to appeal to the American buyer; Jethro heads to the desert in a Cadillac CT5-V Blackwing, where he discovers an icon in the making.

CBC WINNIPEG COMEDY FESTIVAL (CBC) 9:00pm: Hosted by Pete Zedlacher with performances by Matt Falk, Danish Anwar, Jess Salomon, Martha Chaves, Nitish Sahkuja, Ryan Williams.

LITTLE BIG COMMUNITY (APTN) 9:00pm: The Warm Springs people have thrived in Oregon's high desert for millennia; Elke and Jefferson are reconnecting with their ancestral lands and fighting for their rights to preserve their way of life linked to the Columbia River.

SLAG WARS (Out TV) 9:00pm (SEASON PREMIERE): Rebecca and Sophie search for the next LGBTQ+ icon.

A GOOD GAME (APTN) 10:30pm: The Anishinaabe community of Fort William First Nation has a beautiful arena. With two ice surfaces, this complex is bustling with activity and John discovers it's the people behind the scenes that make it all come together.

[chrisryanspeaks]

Katy Perry Announces Dance Album ‘143’ and Arrival Date!

Katy Perry has unveiled a thrilling new chapter in her illustrious pop career, announcing the release of her sixth studio album, *143*, set to drop on September 20 via Capitol Records. "I aimed to craft a bold, exuberant, celebratory dance-pop album with the symbolic '143' expression of love as a central theme," Perry explains. The album promises a sultry, audacious return for the versatile artist, brimming with the empowering and provocative pop anthems that her fans adore. *143* is packed with heart and high-energy beats. The lead single, "Woman’s World," stands out as a potent anthem celebrating womanhood in all its facets. Co-written by Perry with Chloe Angelides and produced by Dr. Luke, Vaughn Oliver, Aaron Joseph, and Rocco Did It Again!, this track sets a powerful tone. Fans can pre-save or pre-order "Woman’s World" and access exclusive signed vinyl, limited edition pink vinyl, CD singles, 7-inch orange vinyl, and cassettes. The music video, directed by Charlotte Rutherford, will premiere across MTV Live, mtvU, MTV’s Biggest Pop, and the Paramount+ Times Square billboards, debuting alongside the single on July 11 at 4:00 PM PT. Perry will headline the Rock in Rio festival in Brazil on September 20, her first performance at the event since 2015. At Paris Fashion Week 2024, she made a surprise appearance at Vogue World: Paris in a striking Noir Kei Ninomiya dress, later sporting a mini dress with a supersized train featuring lyrics from "Woman’s World," designed by Heather Picchiottino. She also engaged with fans in a live stream from the Eiffel Tower, which was illuminated in sparkling gold. With 115 billion cumulative streams, over 70 million adjusted album sales, and 143 million tracks sold worldwide, Katy Perry remains one of the best-selling music artists of all time. She is among an elite group of twelve artists who have surpassed 100 million certified units. Read the full article

[audiofuzz]

Katy Perry Announces Dance Album ‘143’ and Arrival Date!

Katy Perry has unveiled a thrilling new chapter in her illustrious pop career, announcing the release of her sixth studio album, *143*, set to drop on September 20 via Capitol Records. "I aimed to craft a bold, exuberant, celebratory dance-pop album with the symbolic '143' expression of love as a central theme," Perry explains. The album promises a sultry, audacious return for the versatile artist, brimming with the empowering and provocative pop anthems that her fans adore. *143* is packed with heart and high-energy beats. The lead single, "Woman’s World," stands out as a potent anthem celebrating womanhood in all its facets. Co-written by Perry with Chloe Angelides and produced by Dr. Luke, Vaughn Oliver, Aaron Joseph, and Rocco Did It Again!, this track sets a powerful tone. Fans can pre-save or pre-order "Woman’s World" and access exclusive signed vinyl, limited edition pink vinyl, CD singles, 7-inch orange vinyl, and cassettes. The music video, directed by Charlotte Rutherford, will premiere across MTV Live, mtvU, MTV’s Biggest Pop, and the Paramount+ Times Square billboards, debuting alongside the single on July 11 at 4:00 PM PT. Perry will headline the Rock in Rio festival in Brazil on September 20, her first performance at the event since 2015. At Paris Fashion Week 2024, she made a surprise appearance at Vogue World: Paris in a striking Noir Kei Ninomiya dress, later sporting a mini dress with a supersized train featuring lyrics from "Woman’s World," designed by Heather Picchiottino. She also engaged with fans in a live stream from the Eiffel Tower, which was illuminated in sparkling gold. With 115 billion cumulative streams, over 70 million adjusted album sales, and 143 million tracks sold worldwide, Katy Perry remains one of the best-selling music artists of all time. She is among an elite group of twelve artists who have surpassed 100 million certified units. Read the full article