#adam's mad about ed's comments last year

[fazcinatingblog]

YES ADAM GET HIM

[gale-gentlepenguin]

Gale Reacts: Masters of the Universe: Revelation episode 5

Spoilers below

TL:DR I was not crazy about it and if you did enjoy episode 5 and like the series. I recommend skipping this reaction/review

-So they host a little funeral for Orko. Yep, gotta milk all you can out of the character ya set up to die since his introduction. Well they gave Orko more respect than He-man. Good on Adam for being a decent human being. (I will stop being cynical about this)

-Well Preternia is cool.

-Moss man is the forest.

-Adam had the sword and he is like

-"Welp you are all stuck in heaven now."

-Andra is adorable. (Also side note. I havent really seen Andra and Teela be couple like since episode 2. Like where is the couple stuff? Evil-lyn and Teela have had more dialouge together?)

-Adam and Teela being awkward which understandable.

-And Teela is still salty. At least its fleshed out a bit more. But you would think she would be OVER this by now.

-King of Grayskull? Oh this will be cool.

-Hoverboards in Heaven!

-The tower looks cool.

-Hero is his name?

-Hero is shook by the split the sword.

-Andra making a forge.

-They competitive friends in the hunt!

-Well this is somewhat cute.

-OH S***! KING GRAYSKULL LOOKS EPIC! HE RIDES A TRICERATOPS!

-Adam chose that form? Like he could have taken his He-man form? But chose that one? Okay I am genuinely curious.

-King was the first Castle Grayskull champion. Wow okay. And the guy is now talking smack about the castle.

-I like feral sorcerer lady.

-So they made a heaven forge.

-the last bit of magic!

-Roboto is like "Yea I am not sure at all but I am gonna try." He is going to die too.

-So Teela and Adam moment.

-Adam has a point. He was dead. Not like he was like "Lol i am gonna die and make you feel bad" He was saving the Universe!

-Adam is totally gonna go back because he has unfinished business.

-Adam might not get back to paradise if he goes back.

-Mossman is a million years old. Lol

-Roboto is doing it.

-The forge scene is epic.

-Roboto gonna die.

-He did it though... and it blew up in his face.

-The sword is forged tho.

-But now Roboto is dead. And he made a roboto is afraid to die.

-Wow that is f***Ed up.

-Rip Roboto

-Adam wants to go back. Okay so now we will have Adam/He-man be a more prominent part of the show now. It took some time, but hey at least he is back now.

-Adam he is owning it up to it.

-Adam be a real one.

-What the s*** he almost died right after getting back. Okay so is that the fake out.

-And tech cultists.

-Welp Man-at-arms is here to defend. LOL

-Adam reveals he is back.

-Cringer missed him. (This was cute)

-So now they back to where he died. He about to do what they need to do.

-He be calling back the magic. Now it starting to feel like He-man again

-Sorceress is BACK BABY!

-And Grayskull looks good again.

-And... Adam got F***ING STABBED. Did, did they REALLY JUST KILL HIM TWICE?! I had this feeling like they were saying "You cant come back if you die again" But I thought no There is no way they would be stupid enough to kill him TWICE.

-So Skeletor survived by putting his essence into the staff Evil-lyn had and if she had left it all of this could have been avoided

-Evil lyn is back to being bad. Because Skeletor just came back. So much for all that development Lyn.

-Skeletor just called on the power of GREYSKULL. So can anyone do that?! Does this mean Skeletor can go to Preternia?

-Skeletor's form is... well it is something. I mean its cool. But... I dont really feel like its earned. Like I wish we had some foreshadowing or something. Like he is just like "BTW I was here the whole time just in case." Now if Adam was like pushed aside or like knocked back and Skelator took it so he could show off, that would be more He-Man like. Cause then you get the moral on WHY Adam chose this form in Preternia.

-Also Skeletor getting the power sword SHOULD be a much bigger and much more earned moment. This scene should have been like the penultimate episode before the final battle. Also him Stabbing He-man/Adam would have had way more impact if this was the first time they pulled this.

-But in all seriousness. Did they REALLY JUST KILL ADAM AGAIN!?

-They took all of that development and just... KILLED HIM AGAIN.

-Side note: if ANYONE could use the power, Why not just have he-man pass the torch to Andra or Teela. Because now Adam cant even chill in heaven. He is just a dying little flea who basically got set up to DIE AGAIN. Like the writers clearly do not like Adam.

-How am I suppose to be excited? Lol Skelator is back sure but he just killed He-man. Are they gonna do a fake out death? Have him Die but then get revived by the sorceress? Regardless its in bad fucking taste.

____________________________________________________________

2.5/10

Look, Skeletor's comeback was cool and all (He and the designs of King Greyskull are the reasons this isnt a 1 out of 10). But WOW they really did Adam dirty. I was expecting He-man in a show that is named after half his old show. Even the earlier trailers showed a bunch of him... but he only shows up in flashbacks after episode 1.

If Adam doesnt die, he will likely get heal in the nick of time and and die again later anyway. Considering how predictable the show is I can already predict that they will beat skeletor. Teela's Power that was hinted at in episode 4 will make her the new Sorceress and Andra will be revealed to be a descendant of King Greyskull thus making her the TRUE heir to Castle Greyskull an have her be the new champion or reverse of that where Teela is the new champion and Andra is the sorceress. If Adam does survive he will just be Adam at the end of the series and not He-man because whatever reason about him not actually feeling like He-man was him. But my bet is that they kill him again if he isnt already dead.

Which means that He-man just becomes She-ra. But there is already a She-Ra and it actually has She-Ra in the title. And that She-Ra actually has better writing in it because it actually cares.

Because lets face it this show was not about he-man. It was about Teela.

I know its called Masters of the Universe Revelation. But they should have called it Teela: and Everyone else dies.

But I seriously have to ask. WHO IS THIS FOR?

Its not for die hard He-Man fans because it kills off or changes all the characters they know.

It isnt for new fans because most of them would have no idea who any of these characters are. The show expects you to know them already.

It isnt for Feminists. Teela's characterization is a bad stereotype of written 'strong woman'. I made a comment that it was basically a 'Guy that tried to write a Strong woman character' but it is STUPIDLY ACCURATE at this point.

She-Ra: Princess of Power 2018 already exists and does it better.

If I had to make a bet. It feels like the writers were targeting the demographic that watched He-man and hated it, then writing a Salt fic about the characters after turning one of them into a self insert.

I hate that the writing sucks, because the animation is gorgeous, there are somethings that are really cool. In fact when they show off the ideas from the original He-Man, it looks amazing. Those flashbacks? They are the best parts of each episode.

Now I am no die hard fanboy for he-man. But I did like the 2002 show. I am actually chill with some of the changes made. Not all of them, but some. But I hate lazy and manipulative writing. Writing in a show purely for shock value.

The trailers they put out for this show were manipulative. Showing much more He-man then there was.

I wasnt expecting god tier level writing for this. This was based on a 1980's show. It didnt need amazing writing, it just needed to be good enough and show it cares about its fans. But it didnt.

Lets say we removed He-man from the equation entirely. make this its own thing. Change the names, alter a few appearances. Would that have changed my opinion.

It would make me less mad, but I would also still call it a bad show because the writing is generic at best. Its hackneyed and the characters with any appeal get killed off.

How am I supposed to be excited for this?

Do you know how angry this makes me. I WANTED to be hyped as hell for the fact that Skeletor has the power of Greyskull and is getting ready to be this super big bad for the end of the season. But I am not.

I just feel annoyed and disinterested.

Will I watch the other episodes if they get released?

I dont think I have the stomach for it. They would need to do a LOT to make me want to watch the other half.

[recentanimenews]

FEATURE: Will The Future Rule? Making Sense Of Chainsaw Man's Anime Adaptation

  Chainsaw Man is a comic where the hero rides on the back of a shark through a hurricane. It’s also a non-stop series of narrative rug-pulls exploring the psyche of a teenage boy struggling to grow up in a world where everything and everyone is expendable. Chainsaw Man is one of my favorite reading experiences of last year: I laughed, then cried, then yelled at the sheer audacity of what was happening on the page. A mash-up of Devilman, FLCL, and grindhouse schlock, it wormed its way into my heart in a way a comic has not in a while.

  And I’m not alone: Look online and you will find Chainsaw Man animation reels and Chainsaw Man MADs. You’ll find these two excellent fan-made EDs, and this great (but spoilery!!)  write-up on The Comics Journal. You’ll find plenty of fan-art and folks shrieking 24/7 about Makima, Aki, and Power. As the joke goes, “Why animate Chainsaw Man when all of Chainsaw Man is animated already?” Well, joke’s on them. Do you hear that sound in the distance? The shriek of metal against metal? Chainsaw Man is getting an anime, folks.

    Adapting Chainsaw Man is a tricky proposition. At first glance, the comic was practically made for it, with its cinematic layouts and spectacle. But the monster designs are complex, and the balance of tone and content is deceptively easy to spoil. Focus too much on the character drama and you miss the comic’s knowing stupidity. Gloss over Denji’s weakness and the story tips over into insufferable power fantasy — or depending on your tastes, an even more insufferable power fantasy. Adaptation is about interpretation, and about choice; rendering Denji’s story as literally as possible on the screen would be a fool’s errand, especially for a comic that so deeply loves movies. 

  The trailer MAPPA released is pre-animated, but that’s fine! As sakuga fanatic and anime industry expert Kevin Cirugeda has pointed out on Twitter, some of the best anime productions of all time started with pre-animated trailers. We don’t know release date details or its final look, but based on what we’ve been given, we can make educated guesses.

    What stood out immediately to me on the list of staff were two names: Kensuke Ushio and Kiyotaka Oshiyama. Ushio’s a former member of the great rock band LAMA who’s since composed for anime including Ping Pong the Animation and Liz and the Blue Bird. Oshiyama’s a genius, capable of everything from monster designs to directing and animating whole episodes of anime by himself (plus, he directed FLIP FLAPPERS!) When did these two folks last work together? On Masaaki Yuasa’s Devilman Crybaby, of course! Ushio composed the score, while Oshiyama was put in charge of devil designs and directed an episode as well. Now they’re back in the same positions, with Ushio writing the music and Oshiyama handling the monster designs. 

  The director of the series is Ryu Nakayama. Some might call him “inexperienced,” but this isn’t quite true: looking through Nakayama’s past work reveals some impressive credits ranging from directing and storyboarding an episode of Fate/Grand Order Absolute Demonic Front: Babylonia to handling GAMERS!’ entertaining opening sequence. Best of all, Ryu Nakayama collaborated with character designers Mai Yoneyama and 7ZEL to direct “raison d'etre,” an animated music video for singer-songwriter EVE. EVE’s YouTube channel of music videos is shockingly consistent, starring a murderer’s row of talented animators. “raison d’etre” is up there with the best of them, featuring striking color design and an ever-changing oneiric cityscape. I can’t say this early on if Nakayama will succeed in grappling with what is sure to be a challenging production, but the chance to see what one of EVE’s collaborators might make of a series like Chainsaw Man is a gift.

    There’s another name on this list that’s just as important as Nakayama’s: Tatsuya Yoshihara, credited as the Action Director. You probably know Yoshihara from his work directing Black Clover. I know him from Muromi-san, a series with a truly deranged opening animation that begins with cute dancing mermaids and ends with shrieking heavy metal and the complete extinction of life on Earth. Yoshihara and Nakayama have collaborated in the past, most memorably for me on an episode of Yatterman Night. Nakayama contributed a significant amount of work to Black Clover, and now Yoshihara has his back on perhaps the most important project thus far of Nakayama’s career.

  The remainder of the staff list is similarly loaded. Yusuke Takada is an art director who’s contributed great work to series like The Eccentric Family, where he worked directly with Chainsaw Man’s current color designer Naomi Nakano. Hiroshi Seko’s a scriptwriter credited on countless popular action series, such as the best action series of the past decade Mob Psycho 100 — but also on last year’s weird science fiction extravaganza DECA-DENCE! Technical director Makoto Nakazono acquitted himself well at Trigger on SSSS.Gridman and Little Witch Academia. Yohei Miyahara’s an accomplished photography and CG director. There really isn’t a weak link on this team — the folks producing the series clearly want a hit, and they’ve hired the talent to ensure that is what they will get.

    Will the Chainsaw Man anime be good? I’m personally very excited! But I don’t know. Anime is hard to make. Too much of it is made too quickly. Producers in the anime industry have been ramping up their efforts to recruit more foreign talent so as to fuel the industry machine, and Chainsaw Man’s production will likely result in the line between “anime fan” and “animator” becoming even muddier. This isn’t even including the factor of continued COVID-19 prevalence in the world. There are a lot of variables, and any one of them could make life difficult for folks on the Chainsaw Man team.

  Here’s what I can say: I’ve watched that Chainsaw Man trailer an embarrassingly large number of times. I believe that Nakayama and his crew are capable of creating a worthy adaptation. I trust that MAPPA currently sees the series as their golden goose, regardless of where things stand in a year or two. It’s almost certain that this show is going to make or break many, many people’s careers. Until it airs, all I can hope is that those working on the project are given the time and resources they need to do their best work. After all — THE FUTURE RULES!

  Are you a fan of Chainsaw Man? What’s your favorite EVE video? Do you think you could defeat Kobeni in Dance Dance Revolution? Let us know in the comments!

      Adam W is a Features Writer at Crunchyroll. When he is not playing this very challenging video game, he sporadically contributes with a loose group of friends to a blog called Isn't it Electrifying? You can find him on Twitter at @wendeego

    Do you love writing? Do you love anime? If you have an idea for a feature, pitch it to Crunchyroll Features!

By: Adam Wescott

[sailorbellewrites]

Fools Rush In... VIII

characters — yoongi x reader (ft. members of bts and other original characters)

summary — min yoongi, music executive and perpetual bachelor, marries a las vegas stripper he’s only known for six months. chaos ensues.

inspiration —  fools rush in (1997 rom-com starring salma hayek and matthew perry)

information — a drabble series loosely based on the 1997 movie fools rush in. drabbles not posted in any linear order and written as a creative writing outlet. 

warnings — mentions of sex work; age-difference; light sugar daddy themes; smut; light angst (specifically in parts V & VI).

I - II - III - IV - V - VI - VII - VIII - IX - X - XI

VIII — latte (ft. various original characters)

You fucked up.

Or at least, you had made a very big mistake in coming to Kim Hana’s Sunday brunch. It was your first time at her biweekly event and you already wanted to go home. All of the women there were older, faces tight with botox and fillers as they ooh-ed and ahh-ed at one woman’s jewelry and another’s purse. They made surface level comments about politics and fashion and so-and-so’s son who was seen walking around Apgujeong with you-know-who’s daughter. It was mind numbing, but Hana ate it up in a way you didn’t fully understand. Yet, you couldn’t let yourself text Yoongi, couldn’t bear to see the disappointment on his face at you wanting to ditch. He had been doing so much for you recently, so adamant that he had to be sure he didn’t make a mistake in convincing you to marry him. There was nothing you could say to make him believe that you would follow him into an active volcano if he wanted. So you had to at least try.

Still, it’s hard to keep up the facade of a dutiful wife when Kim Hana yells out, “Oh, you’re finally here! I was thinking you’d never arrive! Please, come over. I have someone I want you to meet,” into your ear. The woman who just walked into the private area, lithe and pale with long dark hair, freezes briefly, seemingly unaccustomed to being spoken to so directly. She recovers quickly though, throwing on a blinding white smile as she saunters over to where you and Hana sit at the head of the table.

“Hello, Kim Hana. It’s nice to see you again,” the woman offers, bowing deeply to Hana as though they were worlds apart in the hierarchy that was this brunch.

“A pleasure to see you too. Choi Mina, might I introduce you to our friend Min Yoongi’s new wife? She’s such a doll,” Hana says, tone light despite the suggestiveness of her words. She would have been a great stripper in another life, with her ability to placate people even as she was readying for attack. 

“Oh,” Mina responds quietly, eyes trained on your seated form in a way that you were more than used to. Every woman Hana introduced to you had looked at you in the same exact way. She was sizing you up. “It’s nice to meet you.”

“Likewise,” you say, bowing your head to her slightly.

“I know this can be a bit strange, seeing as you two have been with the same man. But I actually think you guys have a lot in common and would be great friends,” Hana explains, eyes bright with an excitement that you suspect is rooted in her innate desire to make everyone else feel inferior. You end up glaring at Hana due to her words—of course, she’d find a way to bring you around one of Yoongi’s exes. With this new information, the weight of Mina’s stare increases. You hate it. “Ah, you should sit near us. There is so much to discuss.”

As it turns out, there isn’t much to discuss. You didn’t have a lot in common with Yoongi’s ex outside of you both being “dancers”. In fact, it’s hard to see what he would have seen in a professional ballerina who spent half of the year performing in Europe. She speaks in a soft voice, laughter ringing out like windchimes at every joke that was not so secretly told at your expense and she moves so gracefully that even the act of her chewing makes you feel like a slob. She has the type of polish Yoongi often said made him uncomfortable. But, as the conversation progresses, you find it hard to see what Yoongi has seen in you. It is made all too clear that women like Choi Mina and Kim Hana were the expectation for men with money and influence. You weren’t even good enough to qualify as an exception to the rule.

Your resolve weakens. You text Yoongi. Right as you put your phone down, Mina asks, “Your marriage to our Yoongi must have been recent right? I wasn’t even aware that he was dating someone.” A few women murmur in agreement at her observation.

You roll your eyes when she refers to him as “our Yoongi” and shrug. Hana answers for you, “He wasn’t dating someone last year! They rushed right to the altar. It’s incredible. They didn’t even have a wedding here. They got married in America!”

“Oh?” Mina says, a perfect act of curiosity. “Well, how long did you two date?”

Your phone lets out a long vibration as Yoongi’s picture flashes across the screen. Hana again answers for you, excitedly saying, “Only six months! Can you believe it? Namjoon and I didn’t even know he was dating anyone. He must have felt like he had something to hide, though I don’t know why.”

You pick up the phone, only to be greeted by his exasperated tone asking, “Which ex is there exactly?” 

The women continue talking about your relationship as though you aren’t there, but Kim Hana’s continued glances towards you lets you know that she is listening. Instead of answering his question outright, you say, “Hi honey,” in a voice far too sweet to be subtle. 

Yoongi sighs on the end of the line.“Is it the politician's daughter?” 

“Oh no, I’m having a great time! You don’t have to worry,” you respond, hoping he picks up on what you’re trying to say. You can hear a womea say how happy she is that Yoongi is finally sharing you with the world the way he used to in his other relationships.

“Okay… or is the ballerina?”

“Yes, that’s alright,” you answer, patience wearing thin.

“I’ll be there in ten minutes,” he responds, sounding sad. You feel sad too. You fucked up again.

The ten minutes pass by slowly and in that time, you learn several things. Yoongi and Choi Mina had been considering marriage before they broke up. They dated on and off for three years. It had been a rough breakup. Jimin did not like her. Namjoon did. Mina is now engaged to a professor in Nice. She will always have love Yoongi and hopes that he is happy with you. That last part sounds like a lie. 

The ‘I’m outside’ text you receive feels like someone just handed you a tank of oxygen. You take a deep breath, keeping calm as you explain to the women that your husband had to pick you up early due to another appointment. The excuse seems to appease most of them, though Mina insists that she walk you outside so she can say hello to her “dear old Yoongi.”

Your husband sits behind the wheel of his car, paying no attention to his surroundings as he taps away on his cell phone. You feel tension melt from your shoulders as you open the passenger door, sliding inside even though he doesn’t acknowledge your presence. Mina helps you close your door, sticking her face in the open window to say, “Hello Min Yoongi!”

“Hi Choi Mina,” he murmurs, not looking up from his phone. 

She is undeterred. “It’s been quite a while since we have seen each other.”

“It has,” he answers, before cussing softly under his breath and angrily throwing the phone in the empty cup. Mina’s eyes widen at his actions, making you giggle. You knew Yoongi wasn’t really angry, just irritated—nothing that would cause the concern the ballerina was showing.

“I just wanted to tell you that your wife is lovely. Truly, we all couldn’t take our eyes off her. You really picked a winner,” she states diplomatically, playing her part well. 

Yoongi finally looks up at her, eyes bored as he moves to rest a hand on your thigh. “You really think so? I think she’s kind of awful,” he says darkly, though the pads of his fingers rub small circles onto the skin of your thigh. You try to scoff at his words, but it transforms into a quiet laugh. “She’s cute enough I guess, but I wouldn’t call her lovely. I mean she’s not a ballet dancer or anything. Just a stripper. And she spends all my money, too. I don’t even think we would be together if I was broke.” The ballerina’s mouth drops open in shock at his words and you press your lips together hard to stop from laughing. After three years of dating and so much supposed love between them, she should have been able to tell when Yoongi was joking; but it was clear she had no idea. 

“Min Yoongi, that’s no way to talk about the woman you married! If you are having a bad day, you do not take it out on others,” she chides, turning her head to you finally. “I’m so sorry he is being this way with you. I hope his actions don’t stop you from coming to the next brunch and that he cleans up this act!” Mina bows her head to you slightly before turning swiftly and heading back inside the restaurant.

You let out a deep sigh and Yoongi squeezes your thigh gently. “Thanks for playing along,” he tells you sincerely. You shrug, but he continues, “Not just with Mina, you know. I mean with this whole… thing.”

“It was just brunch. No need to thank me.”

“It was a brunch with my ex present. That’s just… not right.”

“Yoongi, it’s okay. You wanted me to go, so I went. I’m just sorry that I made you pick me up early.” 

He clicks his tongue at you in disbelief, removing his hand from your thigh to put the car in drive and pull away from the curb. He is silent for a few minutes, leading you to believe that he has accepted your lies until he says, “I didn’t want you to go. Namjoon suggested it. I knew you wouldn’t have a good time, but he insisted that you might make some friends.” 

You hum quietly at his words, wondering if that’s who he was texting when you first got in the car. “So you’re not mad that I left early?”

He shakes his head. “I’m surprised you didn’t ask to leave earlier. I was waiting for you to call for hours.”

Your heart swells at his admission. He knows you well. “Yoongi?”

“Yes?”

“I love you.” He nods in acknowledgement of your words, but says nothing. You try again. “You make me happy.” He reaches a hand over the center console to grab your own, a small smirk resting on his lips as he continues to stare ahead. “I’m happy I’m here with you.” 

“I love you, too,” he finally responds. You know he believes you. 

[7-wonders]

Everything All At Once

Summary: Summers are supposed to be fun, not stressful. Whatever deity is pulling the strings in your life never got that memo, apparently.

Word Count: 3651

A/N: Sorry for how long it’s taken me to post this! Life has been crazy lately. Enjoy, and if you did I would love if you left a like, comment, or reblogged!

Read Mad Love (part one) HERE | Read Totally F***ed (part two) HERE | Read The Isle of Flightless Birds (part three) HERE | Read A Hard Day’s Night (part four) HERE | Read Pour One Out (part five) HERE | Read Where Angels Fear to Tread (part six) HERE | Read Naked & Afraid (part seven) HERE | Read Ironically Alive (part eight) HERE | Read Blame It On My Youth (part nine) HERE

The process of moving, while normally quite stressful, is made simple with magic on your side. Boxes are packed according to room in a matter of minutes, dirty floors are cleaned with a glance, and the need for a moving truck is eliminated when items can just be transmuted to your new home. Even dealing with the bigger pieces of furniture that you no longer need, such as your bed and the couch, is an easy task when your new Antichrist roommate can just snap his fingers and send them to a thrift store in need. That last act is done much to Michael’s chagrin, who presents the admittedly tempting option of dropping them on your enemies. In mere hours, your once-full apartment is now completely empty. You’d be lying, however, if you said you were going to miss it. If anything, you’ll miss the certain sentimental value that your first apartment holds within its walls, but the cons of this place (a shower that never heats up, testy thermostat, that one time there was a family of mice living under your kitchen sink, and so much more) far outweigh any pros that could convince you to stay.

Adjusting to living with Michael full-time, however, proves to be the main challenge of your move. Just redecorating your room caused his face to turn a sickly shade of white, horrified that the once-pristine black and silver color scheme has been taken over by tapestries and fairy lights. It was especially painful for him to comply with your request to remove the large pentagram on one of the walls, but you suspect he did it because he doesn’t want to make you mad. He’s already aware of just how monumental a concession of living with him was, and he would rather not push his luck. Your new living arrangement, though, is going to be the only victory you give him if you have anything to say about it.

“No school for three months, then?” Michael had asked when you were hanging clothes up in your closet. 

“Thankfully.”

“So I suppose I’ll be seeing a lot more of you since you won’t be darting in and out between classes.” His tone was all too hopeful, and you hid a smirk at the meaning that he wasn't doing a good job of hiding.

“Well yeah, when I’m not working.” You weren’t looking at him, but you knew that his jaw was clenched tightly.

“Why would you be working? You’re aware of how much money I have at my disposal; there’s no logical reason why you need to have a job.”

“How else am I going to pay you rent?” He breathed in harshly through his nose, and you buried your face is a shirt to keep from laughing.

“Excuse me? You--you don’t have to pay me rent, (Y/N), you’re my wife.”

“You’re letting me live with you, it’s the least I could do.”

“If,” Michael stopped, choosing his words carefully, “if that’s what you would like to do, then I suppose I cannot stop you.”

“Thank you!” you said cheerfully, going back to the task at hand while humming a song that had been stuck in your head.

It’s not like you’re that determined to keep paying rent now that you live with Michael. In fact, if this was any other person and not the Antichrist insisting that you don’t need to pay to live on their property, you would happily oblige. With Michael, though, things have to be made a little difficult for him. Ever since the contract negotiations during your first weekend at what you’ve come to refer to as Langdon Manor, you had remained adamant that nothing would change just because you were now bonded in unholy matrimony. For the most part, that has remained the case. It’s also just fun to see how mad you can make him before he needs to go be alone in his office, but that’s besides the point.

Nannying, although not glamorous work, pays better than any other job you’ve had. Getting to look after cute children is also a plus, and they keep you busy enough where there’s never a dull moment. The two kids that you nanny, sisters Maggie and Sarah, love going to the pool and playing make believe. They play so well together that you often find yourself just reading a book and keeping an eye on them while they decide to run a daycare or start a school. Easy work, even if the hours are sometimes less than ideal. Their parents, a doctor and a police officer, work odd hours and have a penchant for date nights on Fridays, which is often their only time off without the kids. It’s not an inconvenience to you; extra hours equal extra money, and the girls go to sleep early enough that you can just watch videos on your phone until they arrive home.

The only one who has a problem with your hours is Michael, of course. You’ve suspected since the house party three weeks ago that he’s been trying to figure out how to ask you out on another date, but obstacles have managed to shake up any plans he may have. He’s not the most subtle, asking you on every Wednesday what your plans are for Friday while trying too hard to look like he’s not invested in your answer. By this week, your third straight Friday date night shift, he’s over it. 

“But tomorrow you don’t work, right?” Michael asks from the speakerphone. Your phone is resting on the kitchen counter, the girls in the living room while you make a dinner of chicken and rice for everybody.

“Nope,” you say, leaning back to make sure the girls are still watching their movie instead of beating each other over the head. 

“We’re having a movie night tomorrow.”

The tone of finality in Michael’s voice makes you laugh. “A movie night? Michael, have you ever even seen a movie before?”

“Yes, (Y/N), I have seen a movie before.” You can almost hear how he’s rolling his eyes right now. “You can pick the movies, and I’ll worry about the snacks?”

“No. Knowing you, your snacks will be something like pickled eyeballs washed down with a tall glass of ice cold blood. I’ll be the one in charge of snacks.” You can’t resist slipping a joke in there, and Michael sighs heavily. 

“Fine. I’ll see you when you get home?”

“Yep, bye.” You hang up the phone curtly when the oven beeps, more focused on pulling the chicken out than crafting a sincere goodbye.

Turning around to put the pan down so you can slice the chicken, it’s not at all surprising to see the girls sitting at the table and staring at you. The two love to eavesdrop, especially when it comes to people talking on the phone.

“Is he your boyfriend?” Sarah asks, her blonde curls bouncing in her ponytails. 

“No, he’s not, and you shouldn’t be listening in on other people’s conversations.” It’s impossible to be serious, and a smile plays on your lips as you dish up three plates and put them on the table. 

Right as everybody starts to eat, Sarah gasps and bolts up from her chair. “I forgot Aunt Stephanie!” You look at Maggie for an answer as Sarah runs off, but the older girl just rolls her eyes and shakes her head.

“Do you have an aunt coming over? Your mom didn’t tell me anyone else was going to be here tonight,” you ask. 

“No, it’s a picture that Sarah keeps in her room, sometimes she likes to have it with her.” Sarah comes back as Maggie explains her sister’s actions, clutching a framed photograph to her chest. Setting it down next to her, you see the senior portrait of a smiling blonde girl staring back at you. Her hair is crimped in some places and straight in others, reminding you of the 90s, and she’s wearing classic goth makeup. 

“She’s pretty,” you compliment, smiling as Sarah digs in.

“She’s up in Heaven, so we never met her,” Sarah replies in that easygoing tone that all young children use to reveal information in.

“Oh, I’m sorry,” you say awkwardly, not really sure how to respond.

“Dad hardly knew her, either,” Maggie retorts. “He was little when she was killed.”

“Your aunt was killed?”

Maggie nods, smirking since she knows something you don’t (ten year olds are going to be the death of you), “uh huh, she died in that school shooting, the one at Westfield High School?”

“Well, at least you get to hear some neat things about her from your family.”

The girls both nod and go back to eating their food, but you just stare down at your full plate, pushing the food around with your fork as your hands shake imperceptibly. Like a puzzle, the pieces all click together. You nanny for the Boggs family, the patriarch of which had a sister named Stephanie, who was killed in the Westfield High massacre. The massacre that was perpetrated by the unwilling sperm donor from which Michael sprung, Tate Langdon. Everybody knows about the infamous Westfield shooting in the way that everybody knows about Columbine or Sandy Hook. You just didn’t know that the family of one of the victims was now employing you.

It’s something that sticks with you long after the girls have gone to bed, and even as you drive home after their parents (the Boggs’, you remind yourself) arrive back from their date. Whether Tate was influenced by the Devil or not, he is still ultimately responsible for the choices that he made. This legacy, the dark thoughts and the murders and the horrible things, extends far beyond Michael. Tate may consider Michael to be the penultimate evil, one who he could never be associated with, but it’s true when they say that the apple doesn’t fall far from the tree. 

Michael’s still awake when you get home, having gotten in the habit of waiting up for you since you still lived at your old apartment and he would wait for your text to let him know you had made it safely. He’s sitting in the main living room (of which there are three), reading a book and petting your cat, who’s curled up peacefully on his lap. You toss your shoes and bag in your room before sitting down next to him, picking up your now-disgruntled cat and cuddling her to your chest.

“What are you reading?” you ask him, not able to see the cover that’s obscured by his hands.

“One of those Harry Potter books you told me to read. I must say, I am enjoying it a lot more than I thought I would.”

“Goblet of Fire, that’s a good one. I’m glad you like it.” 

Michael marks his place in the book, setting it down next to him before giving you his full attention. “How was your day at work?”

“It was...okay?” Michael frowns slightly, not pleased with that answer.

“Did something happen? Did the children finally act out with their parents gone?”

“No, it’s nothing like that, it’s just--something they said,” you trail off, picking the skin around your thumbnail instead.

“What did a ten-year-old and a six-year-old say to you that rattled you this much?”

“There’s no easy way to say this, especially when you’re looking at me with those eyes,” you mutter, looking up at him. “Their aunt, I guess, was killed in a school shooting. The Westfield High one?”

Michael looks at you seriously, your recollection of the girls’ words obviously catching him off-guard. “And that got you thinking--” “Not in a bad way or anything, you know I don’t blame you at all for Tate’s sins. It just...got me thinking, I guess.”

“About how much fate must hate us?” Michael laughs bitterly.

“Tate,” you ignore Michael’s last comment, too lost in your thoughts, “loves acting like he had nothing to do with you and that you two couldn’t be more different when, in reality, you’re more alike than he cares to admit. I mean, he shot up a goddamn high school and set his stepfather on fire years before you were born. It really should not have surprised him that he fathered the Antichrist, whether it was willingly or not.”

“I wouldn’t shoot high schoolers, that’s far too messy.”

“I know that, but what I’m trying to get at is that everything, in some sick and twisted way, all comes back to you. I can’t even go to work now without being reminded of you and the carnage that the Langdon name has wrought upon the world. The same name that I carry now too, I guess.” You laugh bitterly at your misfortune, knowing that you can never escape Michael wherever you go.

“You’re being too introspective for your own good tonight, (Y/N). You need to breathe, okay?” Michael takes your hands and forces you to focus on him, making you realize that you’re barely huffing out shaky breaths. “Like you said, you don’t blame me for Tate’s sins. While I have done bad things, they are all to serve a greater purpose. Tate--he was just a dumb kid who hated the world and wanted to kill people in an attempt to feel something.”

You stare at him, repeating Michael’s movements and taking deep breaths while trying to calm down. You’re not sure why this has freaked you out so much: maybe it’s because you’re married to the sire of this mass shooter, or it could be concerns that any future children that you may have with Michael (God forbid that ever happens) would carry a bit of that darkness in their souls.

“We’re having an impromptu movie night tonight,” Michael says suddenly.

“Why not wait until tomorrow?” Maybe it was a distraction tactic, but it certainly did its job. 

“You’re too worked up to sleep, and I worry about you being alone with these dark thoughts swirling in your mind. You need something to take your mind off of it.”

“But we don’t even have snacks.”

“Go check in the kitchen, the staff tends to overstock it with food I would never eat. I’ll pick the movie. Put on some clothes to watch a movie,” the thought of sweatpants calls your name at that, “and meet back here in ten?”

You nod, running your hands over your feverish cheeks before standing up and walking towards your room. As you throw on your favorite sweatshirt and a pair of sweatpants, you can’t stop thinking about your outburst. The knowledge that you were babysitting the nieces of one of Tate’s victims shouldn’t have messed you up like it did, and maybe it’s just you being overly paranoid. Whatever the reason, you’re more than eager to find some candy and popcorn and eat enough sugar to make your thoughts go numb. 

There’s plenty of candy hidden on one of the shelves of the staff pantry, and you leave an apologetic note explaining that there was an emergency and promising to restock tomorrow. The popcorn selections are endless, and you end up popping two bags when you can’t decide. Carrying the goodies back to the living room, you see that the lights are dimmed and there’s a nest of pillows and blankets on the couch. The movie’s already cued up on the television, and you smile at the familiar music playing through the speakers.

“Sorcerer’s Stone?” you ask, sitting down next to Michael and pulling a blanket over your lap.

“I’ve never seen the movie before, and since I already finished the book I want to see which one I like better,” Michael explains sheepishly, stealing some popcorn from you and pressing ‘play’ on the remote.

It’s easy to get lost in the magic of Hogwarts, even though Michael keeps making snide comments about how he doesn’t need a wand to do more impressive magic than that. You let them slide, not too bothered about it when you constantly point out differences between the book and the movie. You both finish the first movie strong, albeit with a lack of snacks, and eagerly pop in the second to continue the marathon. 

Throughout the course of the movie, you had inched closer to each other ever so slowly. Using the excuse of forgetting to move back after stealing a snack, or having to move in order to have an equal amount of blankets, results in the most awkward move you’ve ever seen someone pull. Michael, under the guise of shifting to get more comfortable, tries to sneakily slide his arm around your shoulders. You notice the ploy almost immediately, and smirk at him when he thinks he’s pulled it off.

“Really? What teen movies have you been watching lately?”

“You knew?” Michael asks, withdrawing his arm from where it’s sitting around your shoulders.

“Michael, that’s one of the oldest tricks in the book. Of course I knew.”

“Sorry,” he mumbles, cheeks bright red as he looks back at the screen.

“Just because I called you out on it doesn’t mean that I’m not fine with it.” You’re not sure where this sudden streak of bravery came from, but you’re going to take it and run with it. Grabbing his hand, you place it in the previous position of being draped over your shoulders. Leaning into Michael’s side, your head rests on his chest as your eyes go back to the movie. “This good?”

“Yeah, this is--it’s fine,” Michael’s voice comes out at a higher pitch than normal, and you bite your lip to keep from laughing.

It’s a lot more difficult to continue watching the movie as the night wears on, and you find yourself more focused on just trying to keep your eyes open than on how Harry and his friends are going to figure out what’s petrifying the students. Michael can tell that you’re on the verge of sleep, nudging you gently every time you start to nod off. “I’m up,” you’ll always reply, “just resting my eyes for a sec.” It’s amusing, and he would send you to bed were you not so adamant that you’re completely awake.

“(Y/N)?” Michael calls gently, your tired eyes flickering up to him. 

“Hmm?”

“Do you think that...well, do you think that you could ever, uh, like me?”

“I do like you, dumbass. Why else do you think I’m sitting here watching movies with you?”

“I know you like me as a friend, but I mean--could you ever see yourself thinking of me as something more?”

“Is this because of what I said earlier, about your legacy?”

“Yes and no. This is something that has been on my mind for quite some time.” You’re awake now, and you sit up and pull yourself out of his embrace.

“Can we talk about this tomorrow?” 

“I’d rather we discuss it now,” Michael says carefully, knowing that you’re starting to get stand-offish. “(Y/N), you’re very aware of my feelings for you and that I believe what my father has told me about the two of us. I just want to know--I deserve to know how you feel about me.”

“Do you even know how hard it was for me to trust you after you kidnapped me?” you ask, standing up and clicking the TV off. Michael stands up with you, making sure you don’t run off before he’s gotten some answers.

“I thought we were over that by now!”

“We are, but--”

“Then what’s the issue?”

“The issue is that you’ve been in love with me from the moment you first saw me, and I don’t even know if I can let myself have romantic feelings for the fucking Antichrist!” The anger in Michael’s eyes is extinguished, replaced with a crushing sadness.

“You told me that you didn’t blame me for how I was born,” he says quietly. You bite your lip, realizing you just hit him in his weak spot.

“I don’t, Michael, but you’ve also done a lot of bad things, you’re doing bad things, and you’ll continue to do bad things.”

“I would never do those bad things to you. Everything I do is to benefit the plan that my father has.”

“But what if one day his plan changes and you have to kill me?” you shake your head, wrapping your arms around yourself to protect against the sudden chill in the air. “You can make all of the excuses you want, but at the end of the day you’re still the Devil’s son, murdering and plotting the end of the world.”

You should have stopped long before this, but the words just won’t stop flowing out of you now that you’ve spilled them. Michael runs his hand down his jaw, nodding slowly. “Thank you for being honest with me.”

He’s thrown you off, and you’re sure it’s obvious that he has. “What?” You’re expecting him to yell, throw things, and maybe slap you again. Instead, he’s eerily calm.

“I asked for you to be honest, and you were, so thank you.” He turns to leave, his movements stilting and robotic.

“Michael,” you reach for him, unsure of what you should do.

“Get some sleep, you’ve had a long day.” Michael smiles weakly at you, his hand resting on the door frame. “I’ll see you tomorrow.”

You nod dumbly, mutely, unable to do anything but watch as he leaves. Suddenly, you’re entirely too aware of how he must have felt all the times he wounded you with only his words. It’s a bitter feeling, one that replaces the lingering sweet taste of candy with sour words you had spilled so recklessly. It’s a taste that won’t go away, long after brushing your teeth and falling asleep with the taste of salty tears on your tongue.

/////////////////////////

Tag List: @sammythankyou @girlycakepops @ultragibbycentralworld @sebastianshoe @nana15774 @queencocoakimmie @lichellaw @grim-adventures58 @dandycandy75 @trimbooohgodplsnoooo @everything-is-awesomesauce @ccodyfern @jimmlangdon @omgsuperstarg @queenie435 @dextergirl12345 @sloppy-little-witch-bitch26 @coloursunlimited @punkysouls @kahhlo @storminmytwistedmind @1-800-bitchcraft @langdonsdemon @langdonslove @carousallie @cuddletothecake @born-on-stgeorges-day @mega-combusken @michaelsapostle @babyloutattoo89 @divinelangdon @venusxxlangdon @idespac @hexqueensupreme @hecohansen31 @rocketgirl2410 @gold-dragon-slayer @tcc-gizmachine @90sroger @atombombastic @stephanie-everlasting @nsainmoonchild

[greeneyesandsunshine28]

Things About Me

200: My crush’s name is: louise

199: I was born in: Pittsburgh, PA

198: I am really: stressed and anxious all the time

197: My cellphone company is: verizon

196: My eye color is: blue

195: My shoe size is: 7

194: My ring size is: no idea

193: My height is: 5'5"

192: I am allergic to: nothing

191: My 1st car was: ford edge

190: My 1st job was: a marketing assistant

189: Last book you read: a view from the bridge

188: My bed is: one of my favorite things in the world

187: My pet: don't have one

186: My best friend: i miss her

185: My favorite shampoo is: function of beauty

184: Xbox or ps3: don't care

183: Piggy banks are: cute when you're a kid

182: In my pockets: my phone and ID, ventra

181: On my calendar: hw assignments, finals and shows coming up

180: Marriage is: beautiful

179: Spongebob can: ?

178: My mom: love her more than anything

177: The last three songs I bought were? Home-edward sharpe and the magnetic zeros, i see fire-ed sheeran and so long lonesome-explosions in the sky

176: Last YouTube video watched: we haven't been doing too good...karin&skyler

175: How many cousins do you have? 17

174: Do you have any siblings? A younger brother

173: Are your parents divorced? No, my dad is deceased tho:(

172: Are you taller than your mom? Same height

171: Do you play an instrument? No I wish

170: What did you do yesterday? Went to classes and did homework

[ I Believe In ]

169: Love at first sight: no

168: Luck: yes

167: Fate: no

166: Yourself: no

165: Aliens: no

164: Heaven: yes

163: Hell: yes

162: God: sometimes

161: Horoscopes: no

160: Soul mates: yes

159: Ghosts: no

158: Gay Marriage: yes

157: War: yes

156: Orbs: no

155: Magic: no

[ This or That ]

154: Hugs or Kisses: hugs

153: Drunk or High: drunk

152: Phone or Online: phone

151: Red heads or Black haired: red heads

150: Blondes or Brunettes: blondes on girls, brunettes on guys

149: Hot or cold: hot

148: Summer or winter: summer

147: Autumn or Spring: spring

146: Chocolate or vanilla: vanilla

145: Night or Day: night

144: Oranges or Apples: apples

143: Curly or Straight hair: curly

142: McDonalds or Burger King: McDonalds

141: White Chocolate or Milk Chocolate: white chocolate

140: Mac or PC: mac

139: Flip flops or high heals: flip floos

138: Ugly and rich OR sweet and poor: sweet and poor

137: Coke or Pepsi: neither

136: Hillary or Obama: Obama

135: Burried or cremated: buried

134: Singing or Dancing: dancing

133: Coach or Chanel: Chanel

132: Kat McPhee or Taylor Hicks: don't care

131: Small town or Big city: small town

130: Wal-Mart or Target: targey

129: Ben Stiller or Adam Sandler: Can't choose

128: Manicure or Pedicure: pedicure

127: East Coast or West Coast: east coast

126: Your Birthday or Christmas: Christmas

125: Chocolate or Flowers: flowers

124: Disney or Six Flags: disney

123: Yankees or Red Sox: don't care

[ Here’s What I Think About ]

122: War: ugly

121: George Bush: no opinion

120: Gay Marriage: completely accept it

119: The presidential election: rigged

118: Abortion: no comment

117: MySpace: nostalgia

116: Reality TV: is ok sometimes

115: Parents: caring

114: Back stabbers: two-faced

113: Ebay: cool

112: Facebook: addictive

111: Work: dumb

110: My Neighbors: very kind

109: Gas Prices: too high

108: Designer Clothes: ehh

107: College: scam

106: Sports: don't care for them

105: My family: love them

104: The future: scary

[ Last time I ]

103: Hugged someone: brooke at formal?

102: Last time you ate: 2 minutes ago

101: Saw someone I haven’t seen in awhile: my family a month ago

100: Cried in front of someone: probably mari jo

99: Went to a movie theater: months ago

98: Took a vacation: January

97: Swam in a pool: January

96: Changed a diaper: never

95: Got my nails done: at least 6 months ago

94: Went to a wedding: june 2018

93: Broke a bone: never

92: Got a peircing: 8th grade

91: Broke the law: 2 years ago

90: Texted: 10 hours ago

[ MISC ]

89: Who makes you laugh the most: ryan stiles, wayne Brady, colin mochrie, louis tomlinson

88: Something I will really miss when I leave home is: my brother

87: The last movie I saw: a simple favor--so good

86: The thing that I’m looking forward to the most: summer

85: The thing im not looking forward to: finals

84: People call me: idk

83: The most difficult thing to do is: act like you're happy when you're not

82: I have gotten a speeding ticket: no

81: My zodiac sign is: leo

80: The first person i talked to today was: my roommate

79: First time you had a crush: 3rd grade

78: The one person who i can’t hide things from: my mom

77: Last time someone said something you were thinking: not sure

76: Right now I am talking to: no one

75: What are you going to do when you grow up: hopefully be a dance teacher

74: I have/will get a job: next year hopefully

73: Tomorrow: i get to go home!

72: Today: was ok

71: Next Summer: i hope i'll be happy

70: Next Weekend: i have 3 dance shows!

69: I have these pets: none

68: The worst sound in the world: nails on a chalkboard

67: The person that makes me cry the most is: not sure

66: People that make you happy: larry, summer mckeen, jess conte, lucy, my brother

65: Last time I cried: an hour ago

64: My friends are: awesome

63: My computer is: always on

62: My School: ok

61: My Car: cool

60: I lose all respect for people who: are rude/ignorant/selfless

59: The movie I cried at was: safe haven

58: Your hair color is: blonde

57: TV shows you watch: gilmore girls, single parents, one tree hill, gossip girl, chilling adventures of Sabrina, glee, the office, the list could go on

56: Favorite web site: tumblr

55: Your dream vacation: Santorini

54: The worst pain I was ever in was: either my first period cramps or any ear infection I've had

53: How do you like your steak cooked: i'm a vegetarian

52: My room is: very me

51: My favorite celebrity is: can't choose one-miley cyrus, ariana grande, louis tomlinson, harry styles, tarjei sandvok moe, dianna agron, kiernan shipka

50: Where would you like to be: santorini

49: Do you want children: yes

48: Ever been in love: no

47: Who’s your best friend: emily

46: More guy friends or girl friends: girl friends

45: One thing that makes you feel great is: people complementing me

44: One person that you wish you could see right now: my dad

43: Do you have a 5 year plan: no

42: Have you made a list of things to do before you die: no

41: Have you pre-named your children: yes

40: Last person I got mad at: one of my professors

39: I would like to move to: somewhere on the east coast

38: I wish I was a professional: ballerina

[ My Favorites ]

37: Candy: nerds

36: Vehicle: idk

35: President: Obama

34: State visited: Arizona

33: Cellphone provider: sprint

32: Athlete: simone biles

31: Actor: tarjei sandvik moe

30: Actress: amanda bynes

29: Singer: ariana grande

28: Band: the 1975

27: Clothing store: target

26: Grocery store: kroger

25: TV show: one tree hill

24: Movie: the blind side

23: Website: tumblr or pinterest

22: Animal: cat

21: Theme park: not a huge fan

20: Holiday: Christmas

19: Sport to watch: gymnastics

18: Sport to play: volleyball

17: Magazine: cosmo

16: Book: the english roses

15: Day of the week: friday

14: Beach: any beach in FL

13: Concert attended: hannah montana/miley cyrus

12: Thing to cook: pasta

11: Food: pasta with vodka sauce

10: Restaurant: macaroni grill

9: Radio station: don't listen to the radio

8: Yankee candle scent: I honestly love them all

7: Perfume: don't have one

6: Flower: rose

5: Color: blue

4: Talk show host: james corden

3: Comedian: wayne brady

2: Dog breed: don't know

1: Did you answer all these truthfully? Yup

Copy/paste and repost!

[taytay4ever]

Amid So Many Stories About Bad Men In The Media, Taylor Swift Strikes Back With ‘Reputation’

In the run-up to her sixth album, Reputation, Taylor Swift has been discussed first as a global brand, with the media analyzing her every machination and whether it has induced her possible “obsolescence,” and then as a musician. But now that this record is finally in the world, let’s start with Swift’s music for a change.

Reputation is a cold, convoluted, often surly record, heavily weighted with overly complicated prog-R&B arrangements, awkward attempts at rapping, and lyrics that underline every reference to Swift’s casual hook-ups and late-night binge-drinking. At the risk of libeling Swift’s usual stable of expensive pop-auteur collaborators — headlined by Max Martin, Shellback, and Jack Antonoff — some of the songs seem almost pasted together, with verses barging indelicately into pre-choruses as tempos shift in jarring fashion. The elegance of previous Swift blockbusters like 2012’s Red and 2014’s 1989 has gone missing.

And yet, Reputation adds up to a fascinating and often moving, self-portrait. On the biggest possible stage, Swift has fearlessly exposed some of her rawest vulnerabilities. For the first time in years, Swift seems like a rather ordinary human being, with all the unattractive flaws and nagging hang-ups that suggests.

As was the case with Reputation‘s bewildering first single, “Look What You Made Me Do,” the album is initially off-putting, as sour and difficult to like as Swift’s previous pop album, the candy-coated retro-pop showcase 1989, was sweet and catchy. Swift is nothing if not a pop-music prodigy, a seasoned hitmaker at age 27 who already displayed preternatural gifts for crafting heart-rending earworms more than a decade ago, at a time when her peers were struggling to write essays on The Great Gatsby (which Swift pointedly references on Reputation) in high school.

Swift’s franchise is creating the types of songs that people like without even trying to like them. And yet Reputation is decidedly not in that tradition — sure enough, the album’s early singles have not captured the public’s imagination the way those undeniable world-beaters of 1989 did. It seems intuitive that this represents a failure on Swift’s part. But then you dwell on this album’s lyrics, which are laced with violent imagery and obsessed with control and score-settling, and all of a sudden the turbulent, herky-jerky music makes more sense.

Reputation doesn’t fail at being likable, because being likable for once doesn’t seem to be Swift’s agenda. Rather, this album succeeds at expressing a litany of deep, intractable resentments by a world-famous pop star who seems alienated from all but a tight circle of trusted confidantes. “Here’s a toast to my real friends,” she crows on the album’s bitterest track, “This Is Why We Can’t Have Nice Things.” You suspect she’s not addressing more than a few people.

Who is Taylor mad at? Who do you got? No specific names are mentioned in the lyrics to Reputation, so instead there are opaque references to “older guys,” “the world,” “what I can’t have,” and “the liars.” But, above all, what haunts Taylor is the proverbial “they” — in “I Did Something Bad,” they are “burning all the witches, even if you aren’t one.” In “This Is Why We Can’t Have Nice Things,” Swift loves her baby because “he ain’t reading what theycall me lately.”

The songs on Reputation don’t necessarily lend themselves to the sort of “Which boyfriend is this one about?” parlor games that people usually play with Taylor Swift albums. The animus instead here feels intangible and existential, which is why Swift’s belated embrace of hip-hop, while artistically tenuous and bound to be viewed cynically by those who believe Swift is an opportunist, is such a crucial development on Reputation.

It’s easy to laugh at Swift’s stilted flow in “…Ready For It?” or puzzle at the ill-advised “street speak” of the chorus. (“I, I, I see how this is gon’ go.”) But the overt feistiness of rap allows Swift to front-load emotions that she has previously kept concealed behind frothy pop hooks and that iconic “Oh, I can’t believe my good fortune!” award-show face. “I bury hatchets, but I keep maps of where I put ’em,” Swift spits in “End Game,” which shoehorns cameos by Future and Ed Sheeran that would seem preordained by a streaming-service algorithm if Swift were more enthusiastic about streaming. (Reputation is not yet available on any streaming platform.)

Swift has written similarly barbed lyrics in the past, of course, but back then there was usually a trace of playfulness. When she refers to herself as “insane” in “Blank Space,” you can sense the self-deprecation and implied eye roll. But Reputation — aside from that stray cat joke in “Gorgeous” — is mirthless. This time, when Swift buries a hatchet, she draws blood.

Swift has been a magnet for criticism lately — some of it fair, much of it not. The media narrative has turned so rapidly against her that it’s almost hard to remember that, for much of her career, Swift was a darling of the press. As late as 2015, the New York Times was still inclined to refer to her as an “underdog,” and there were no shortage of Swift defenders in the press eager to call out perceived slights, whether it was an indie-music site not reviewing 1989 (even as virtually every other outlet on the planet lavished the album with coverage) or the sexism of Ryan Adams covering the album in its entirety.

But nobody sees Swift as an underdog in 2017. Now, she’s an establishment foil for Cardi B, whose scrappy smash “Bodak Yellow” removed “Look What You Made Me Do” from the top of the pop charts after “just” three weeks this fall. “Look What You Made Me Do” has sunk precipitously ever since, along with the followup single “…Ready For It,” which peaked at No. 4.

Certainly, it’s worth noting that these songs haven’t made the impact that singles like “Blank Space” and “Shake It Off” did. But the whispers that Swift is now finished as a pop star, as Spotify-powered rappers storm the charts seems a tad premature, given that Reputation is projected to move an impressive-in-any-era two million units in its first week.

Did anyone really expect Swift to keep on churning out 1989-sized pop bangers in perpetuity? Who faulted Beyoncé when Lemonade — which like Reputation is clearly conceived as an album rather than a playlist of singles — also didn’t produce any lasting chart hits? (The highest charting single from Lemonade, “Formation,” peaked at No. 10. At least Taylor spent the better part of a month at No. 1.)

Here’s a criticism I agree with: Swift should condemn the alt-right cult that reveres her as some sort of blonde Aryan goddess. Her apparent stubbornness on this issue is strange, considering that sending out a press release against Nazis is literally the easiest thing in the world to do. (I suspect she doesn’t deem it necessary to declare her anti-Nazi bonafides, as opposed to being reluctant to anger conservatives, a frequent charge from critics. But letting the controversy linger nonetheless is nonsensical.) However, the larger argument that Swift’s stock as a pop star has slipped because she’s maintained a largely apolitical public persona doesn’t wash.

Swift, like virtually every artist, is a narcissist. And, by and large, that’s why people like her, because when Swift sings about herself, she does it in a way that makes millions of people believe she’s actually singing about them. That is the job of a pop star. This weird insistence that a musician who has previously shown no inclination to be a political commentator must suddenly register her yay-or-nay take on Donald Trump, Black Lives Matter, or Hillary vs. Bernie says more about our displaced reverence for pop stars than it does about Swift’s supposed moral obligations.

Isn’t it possible that Taylor Swift genuinely has nothing to say on these matters? And isn’t that okay? If given the choice between performative wokeness and authentic non-engagement, I’ll take the latter, please. Besides, as we’ve seen demonstrated time and again lately, the personal is political, particularly when it comes to one of Swift’s primary subjects: The power struggles between men and women.

Reputation arrives in the midst of an ongoing moral apocalypse in the entertainment industry, in which sexual harassment and assault have been properly re-contextualized in the popular consciousness as expressions of dominance and humiliation, typically by straight white men over women. Swift herself has been victimized by this power imbalance, by a Colorado radio DJ who groped her during a station visit in 2013, when Swift was 23. (Swift won a civil suit against the DJ this summer.)

It might be hard to conceive of Swift, one of the world’s most famous women, as somehow subordinate to a faceless radio jock. But consider how country radio has suppressed women, or how chart success (which is still enabled greatly by radio airplay) has come to dominate, dubiously, how we determine relevance or even artistic merit in popular music. If the fallout from the Harvey Weinstein scandal has taught us anything, it’s that even famous women can be abused by much less famous but nonetheless well-connected men behind the scenes.

But with Reputation, I sense that Swift is finished with that. In her new songs, Swift always has the upper hand. If anyone is going to get broken, it’s the guy in the equation, who’s typically an older (and therefore patriarchal) figure. (“I’ve been breaking hearts for a long time / And toyin’ with them older guys / just playthings for me to use,” she seethes in the dirge-like “Don’t Blame Me.”) If she does decide to settle down, it’s up to the other person to accept her shortcomings, not the other way around. (“Even in my worst times, you could see the best of me,” she sings on “Dress.”) Either way, she gets to be the dominant one, the person who always gets what she wants, including the last word.

After listening to Reputation, I think I understand why Swift’s been seemingly indifferent about her recent bad PR choices, including her threat, via a lawyer, to sue a blogger who criticized her silence on the white supremacist issue. And I get why she’s retreated from the media to the comfort of her massive cult on Tumblr, an audience inclined to perceive her venting and femme-fatale posturing as cathartic, rather than merely petulant.

If Reputation had a nutgraf, it would be, “Why should I have to explain myself?” To Swift, going through the paces of tending to her “perfect” public image seemingly provokes the most resentment of all, since it only seems to make people expect even more from her. Haven’t they already taken enough?

Uproxx

[brokehorrorfan]

Best New Horror Movies on Netflix: Autumn 2017

There's an overwhelming amount of horror movies to sift through on Netflix, so I've decided to take out some of the legwork by compiling a list of the season's best new genre titles on Netflix's instant streaming service.

Please feel free to leave a comment with any I may have missed and share your thoughts on any of the films you watch. You can also peruse past installments of Best New Horror Moves on Netflix for more suggestions.

1. The Void

Not afraid to wear its influences on its sleeve, The Void is a fun amalgam of genre favorites such as The Thing, Hellraiser, Prince of Darkness, The Beyond, and Assault on Precinct 13, along with a healthy dose of H.P. Lovecraft for good measure. The '80s inspiration is furthered by a plethora of practical effects and a pulsating, John Carpenter-esque synthesizer score. Set in the most understaffed hospital since Halloween 2, a small group of people fight to survive against Lovecraftian monsters and cultists. A lot of the plot points are familiar, but the astonishing effects are more than enough to make it feel fresh and exciting.

2. The Transfiguration

Like a modern take on George A. Romero's Martin, The Transfiguration is a subversive vampire film. It's also an urban coming-of-age tale with social commentary. The plot concerns an adolescent boy (Eric Ruffin, The Good Wife) who is a practicing vampire in New York City. Not just an avid watcher of horror films - although he name-checks plenty of them - he partakes in murder to drink blood. He begins to question his outlook on life when he befriends a girl who's also an outcast (Chloe Levine, The Defenders). Although largely a somber, dramatic film, there are a couple of truly shocking moments. Due to how raw and real it feels, this one will stick with you.

3. The Devil's Candy

Written and directed by Sean Byrne (The Loved Ones), The Devil's Candy combines elements of haunted house, demonic possession, and home invasion movies, all with a lean toward heavy metal music. It follows a struggling artist (a nearly unrecognizable Ethan Embry, Can’t Hardly Wait), his wife (Shiri Appleby, Roswell), and their teenage daughter (Kiara Glasco, Map to the Stars) as they move into a new home. Meanwhile, the house's disturbed former resident (the great Pruitt Taylor Vince, Constantine) returns, and he takes a liking to the young girl. It's akin to a 1970s slow-burner with modern sensibilities. The restrained approach allows the audience to become more invested in the characters, building toward an unpredictable and emotionally draining final act. Read my full review of the film here.

4. A Dark Song

A Dark Song is an engrossing slow-burn horror film predominantly told with two actors in one location. The story involves a grieving woman (Catherine Walker, Ferocious Planet) who seeks the aid of an unstable cultist (Steve Oram, Sightseers) to perform an elaborate ritual that allows you to ask a guardian angel for a favor. She wants her deceased child back, but this is far from a Pet Sematary retread. It's all about the build-up, with some genuinely creepy moments along the way before it culminates in a tense finale. Irish writer-director Liam Gavin makes a powerful debut anchored by strong performances.

5. What Happened to Monday

What Happened to Monday is set in the not too distant future, when a strict one-child policy is enforced in an effort to preserve the planet. Noomi Rapace (Prometheus) stars as septuplets, who hide from the government by sharing a life; each one only goes out during the day of the week for which they’re named. When Monday disappears, the other six siblings must track her down before someone else does. Rapace wonderfully diversifies the seven parts, and it's quite impressive to see them all seamlessly interacting with one another in the same shot. Willem Dafoe (Spider-Man) plays the girls' grandfather who raised them, while Glenn Close (Fatal Attraction) is the head of the agency stripping families of their children. Tommy Wirkola (Dead Snow) directs some superb action sequences in this sci-fi mystery thriller.

6. American Fable

American Fable is true to its name, often playing out like something of a dark fairy tale in the country’s heartland, but its fantastical elements largely take a backseat to a rural drama with mystery/thriller elements. Writer-director Anne Hamilton, who got her start as an intern on Terrence Malick’s The Tree of Life, makes a dynamic feature debut. Set in the 1980s, the story revolves around Gitty (Peyton Kennedy, Odd Squad), an 11-year-old girl with an affinity for storytelling. She finds herself in a real-life fairy tale upon discovering a man (Richard Schiff, The West Wing) imprisoned in a silo on her family's struggling farm. The picture is an admirable American complement to Guillermo del Toro's Pan's Labyrinth; not only are their stories thematically analogous, but they also share a similar horned creature. Read my full review of the film here.

7. Here Alone

Here Alone is a zombie movie in which the zombies are almost never on screen - and that's not a bad thing. It depicts the hardships Ann (Lucy Walters, Power) must endure and the elaborate precautions she must take in order to survive, weaving between two different points in time: early in the apocalypse with her husband (Shane West, A Walk to Remember) and their baby, and the present when she befriends a fellow survivor (Adam David Thompson, Mozart in the Jungle) and his teenage daughter. Director Rod Blackhurst (Amanda Knox) delivers a subtle, dramatic character piece with shades of The Walking Dead by crafting dynamic characters backed by engaging performances.

8. Little Evil

Tucker and Dale vs Evil writer-director Eli Craig returns to horror-comedy with Little Evil. Having perfected his deadpan delivery on Parks and Recreation, Adam Scott makes awkward an artform as a man who believes his new wife's (Evangeline Lilly, Lost) 6-year-old son is the literal Antrichrist. The supporting cast, underutilized as they may be, is also great, including Bridget Everett (Patti Cakes), Clancy Brown (The Shawshank Redemption), Tyler Labine (Tucker and Dale vs Evil), Donald Faison (Scrubs), and Sally Field (Forrest Gump), who is Craig's mother. The most obvious influence is The Omen - it's even name-dropped in the movie - but there are also references to the likes of Poltergeist, Ghostbusters, Children of the Corn, Rosemary's Baby, Child's Play, and The Shining. It's not always laugh-out-loud funny, but it remains entertaining throughout.

9. Patchwork

Patchwork is like a modern take on Frankenhooker with a dash of Re-Animator for good measure. It may not be as masterful a blend of horror and comedy as those '80s classics, but it's delightfully absurd just the same. It also offers a bit of social commentary, namely regarding the issues modern dating women face. Three girls - stuck up Jennifer (Tory Stolper), naive Ellie (Tracey Fairaway, Hellraiser: Revelations), and weird Madeline (Maria Blasucci) - are murdered, sewn together, and brought back to life by a mad scientist. They must learn to coexist in the same body in order to exact revenge. Cleverly conceived by director Tyler MacIntyre (Tragedy Girls), the girls are portrayed as one Frankenstein-ed creature in some shots and as three individual women in others.

10. Death Note

While purists decry the changes that Death Note made from the popular Japanese manga on which it's based, those with an open mind (or, like me, unfamiliar with the source material) ought to enjoy this Netflix original film. A book labeled Death Note literally falls from the sky to the feet of Light (Nat Wolff, Paper Towns), granting the high school student the power to take the life of anyone whose name he writes inside. Quickly realizing its power without fully recognizing the responsibility, Light dishes out vigilante justice remotely, killing criminals and becoming a worldwide phenomenon. Also mixed up in it are Light's love interest (Margaret Qualley, The Leftovers), his detective father (Shea Whigham, American Hustle), a mysterious man trying to catch him (Lakeith Stanfield, Get Out), and Ryuk (Willem Dafoe, Spider-Man), the monstrous keeper of the book. There's a definite sense that the story has been condensed, things may have been lost in translation, and the fast pacing takes away from the weight of the situation. It may not be a highlight of his filmography, but director Adam Wingard (Blair Witch, You’re Next) delivers a fun, stylish movie with some gory, Rube Goldbergian deaths a la Final Destination.

Bonus: Castlevania: Season 1

Castlevania is a Netflix original animated series based on the classic Konami video game series. Season 1 consists of only four episodes totaling around 90 minutes, resembling more of an anime film than a show, but it ends without a conclusion to the story. Thankfully, a second season is already in the works. Following the murder of his wife, Dracula summons a scourge of goblins to destroy the region of Wallachia and dismember every person along the way. Trevor Belmont, the last in an infamous family excommunicated for dealing in black magic while slaying monsters, leads the charge to bring down the legendary vampire. It's heavy on exposition, but each episode contains a couple of big action scenes to hold viewers over through the abundance of dialogue. Adult language, violence, and gore are on full display, looking great in old-school-style animation. The series is written by comic book scribe Warren Ellis (Red) and stars the voice talents of Richard Armitage (The Hobbit), James Callis (Battlestar Galactica), and Graham McTavish (Preacher).

[thank-your-lucky-stars]

Do you think they'll allow Aaron to heal when he gets out? I just keep seeing people prophesying more long-running angst after and the thought of that makes me sad:(.

Honestly, Aaron is always going to be a “damaged” character and there’s always going to be drama in his life (unfortunately).

HOWEVER. While I obviously don’t know anything for certain, I serious don’t believe Emmerdale can keep torturing him. I mean jfc it is getting to be almost laughable (apart from the fact that it’s like, not even funny??? it’s just hideously painful) and I don’t think they can maintain this level of misery for much longer.

I expect him to be released by the end of week 12 (in two weeks), and then I expect maybe four-to-six weeks of him like....getting back on his feet/dealing with everything (trauma from prison/drugs/finding out about the R+R incident etc), getting some therapy (PLEASE) and then I HOPE AND PRAY there will be some serious downtime and some light-relief. I’m expecting to not see a lot of them probably during May/June (again, this is based on NOTHING apart from the fact they have featured so heavily since, like, October and they can’t be in it constantly forever) which I am totally fine with tbh.

So I’m quite hopeful/optimistic for a relatively quiet summer. Which by god, we all need! It has been non-stop drama for too long now!!!! 

So to answer your question: yeah, I think they will. Because they will have seen all the comments on social media, and while I know that isn’t going to completely change stories, they will recognise that people are - quite frankly - bored by the constant crap that is thrown Aaron’s way. Bored at best, horrified at worst. 

Like they HAVE to cut him some slack at some point. They will know that there comes a point where it isn’t entertaining and people have been saying since Robron got engaged 5 months ago “please just let them be happy”. And no, I don’t expect them to be happy all the time, but there needs to be some joy at least. And they haven’t really had a chance to properly experience that. Even their wedded bliss lasted....half an episode. 

So I think if Emmerdale throw anything else too major at Aaron/Robron this year then....they’d be mad tbh. There can be drama without it being horrific and distressing and without it tearing them apart and torturing them. They have so much potential as individuals, and as a couple, but not only that....there are so many characters around them that they can get involved with!! All of the Dingles, Vic/Adam.....and Andy will be back at some point this year, so that’ll be interesting to have him thrown into the mix, and interesting to see how he rebuilds his life and his relationship with Robert.

Like there is just so much potential for mild, family drama without it being like....really horrific, traumatic, marriage-shattering, life-threatening drama?? I mean that’s the beauty of soap; we have literally decades worth of family history to reflect on, both for Aaron and Robert, and there are just so many stones that have been left unturned for both of them (Robert especially) that would just be amazing???? All without threats of cheating or Aaron being emotionally tortured in some way!!

Sorry....I’m sort of rambling now and talking about something else entirely!!!! But what I’m trying to say is I am hopeful for the future because I honestly think Emmerdale will shoot themselves in the foot if they carry on throwing so much shit at Aaron/Robron. I put tonights episode on and turned it off right away because I honestly just couldn’t be bothered, mainly because I saw Whites stuff/Piece and Rhona, and after the misery of the last two episodes I just couldn’t stomach it tonight (I’ll watch it tomorrow though!) and honestly....while I care about all the characters (well....most of them anyway!), seeing my favourites relentlessly being dealt so much shite makes it difficult for me to care too much about certain other characters (I can’t stand the Whites at the best of times, but now????? nah mate). So.....ED need to be careful really.

[thesinglesjukebox]

ZEDD & KATY PERRY - 365 [4.22] Title means a year, score can't even break a week.

Katie Gill: Jesus Christ, we get it Zedd! You like the ticking clock noise! You don't have to put it in all of your songs! And now you're extending the clock & time theme to the lyrics of the chorus? You can tell this is Zedd trying to move past the fact that he can only write one song while kind of flailing at the whole 'write a different song' part. At least Katy Perry sounds decent. [3]

Joshua Minsoo Kim: Even without the music video, one gets the sense that Katy Perry is playing the role of someone who's utterly obsessed, their behaviors so extreme that they're acting like a programmed robot. You'd think that for the lack of humanness that Katy has successfully displayed throughout her entire career, this would be her moment to shine. Perhaps unsurprisingly, it's not; she's unable to create a sad or grim undertone to her lifeless vocalizing, and nothing about this is secretly poignant. Katy's popular because of her innocuous nature, and her existence is so uninteresting that even her most controversial singles don't turn away fans -- these people are only listening because her music is always the safest approximation of whatever slightly-dated music trend is most acceptable. In that way, "365" is Katy at her best. [2]

Katherine St Asaph: I can see this being a grower like "One Kiss"; it shares a nocturnal tenseness and just-simmering-over lust. Both Zedd and Katy Perry keep their usual song-ruining to a minimum, though Zedd's still attached to that damn ticking sound, and the amount of computer processing it took to make Katy's voice that high and fluting could probably be used to crash the bitcoin market. It's also way too short, though that's nothing a strobing dark-dance remix couldn't fix. [7]

Iris Xie: Katy Perry is attempting to channel her Orientalist, racist colonizer energy again that was pulled off to a severely nonconsensual and hypnotizing effect in "E.T." and "Dark Horse." She tries to be captivating, but Perry actually trips and falls out of rhythm with the instrumental while trying to sing quickly to embody some sort of catchiness, like she's frantically trying to turn back time to her glory days by talk-singing a contemplative version of the rising and falling verses in "Peacock." Zedd prepares the instrumental with a beat that sounds like fingers tapping against a filled metal water bottle with the dynamics stretched out. Additionally, the use of the chimes and flutes is meant to evoke a more mysterious feeling, but it comes off as more like a flattened exoticism than anything else. The main redeeming quality is the somewhat fluid post-chorus that calls back to the greatness of using the cadence of a sequence of numbers to create a well-wrapped package, but that is barely utilized. I just don't need a racist pop star who makes blackface shoes, yellowface with geisha appropriation, and mediocre songs. What am I supposed to reluctantly dance to during Pride weekend in the basic-ass white gay clubs? "Firework" was at least "cash in on the gays" levels of opportunistic awful, so you can intentionally dance away to your oblivion and exploitation. Katy Perry was reliably there for you if you needed a problematic bop! But this has almost nothing redeeming, except the ability to elicit bored disgust from me and a compulsion to buy Oriental rugs. [3]

Ryo Miyauchi: Zedd injects some blood to his usually-plastic brand of EDM with steadily rocking kick drums and a ringing synth so metallic, you can sort of taste it. But the actual human connection in "365" is more soulless than the music of his peers. While the post-Purpose production might call for Katy Perry's breathy vocals, it lands in an awkward dead zone of a mood that feels a little too cold for it to feel sincerely affectionate yet too limp for it to scan as manic obsession. [5]

Alfred Soto: Maybe the ticking clock that's Zedd's aural corsage is his way of reminding listeners unwittingly of The Tell-Tale Heart. Yet for once Katy Perry underplays as if she knew what made "Friday I'm in Love" and "Saturday Love" work like mad, even if Zedd nips and tucks her voice like Joan Crawford did her face. [6]

Thomas Inskeep: There's no popstar alive I loathe more than Katy Perry -- really, I'd even rather listen to Ed Sheeran -- so it brings me minor joy to report that this is just as shit as I expected. "365" is nowhere as good a song as "The Middle" (thinking that Zedd just got lucky with that one), and Perry's vocal of course is obnoxious, since, y'know, she's not actually a good singer. Here Zedd reduces her to just another EDM/pop "girl singer" presence, except that her inherent awfulness can't help but imprint itself on the record. Oh, and said record is trop-house -- how au courant in 2019! [0]

Stephen Eisermann: Katy Perry does a good job of matching Zedd's interesting, faux exotic, production, which is a huge step up for the embarrassing attempts at hip-hop relevance from the last album. The song is more of the same lyrically, but sonically it's so pleasing and so clearly meant for a dance floor that the lyrics are easy to overlook. [6]

Will Adams: The clock ticking doesn't work not just because the gimmick is played out, but because it doesn't fit with the timeframe Katy's in. 365 days is a long time, but there are those crushes, missed connections, and dying flames whose lingering what-ifs can haunt you for at least that time. In the song, this is played out in the bridge, switching from her wanting someone around all the time to thinking about them all the time, desperation mounting as the melody does the same. It adds stakes, which is more than can be said for most of Zedd's recent output. [6]

[Read, comment and vote on The Singles Jukebox ]

[latoyarubalcava3546]

You May Now Officially Compare Trump To Hitler — And Plenty On Twitter Are Doing So!

Godwin's Law is an Internet rule that says every argument online eventually escalates to someone being compared to Hitler.

Over the years, all that hyperbolic Hitler talk has severely lessened the impact of such a comparison.

Of course all that was in a time when no one had any legitimate fear his kind of racist dictatorship could rise again, and certainly not in the U.S.

But now Donald Trump and his administration are creating frightening parallels that require actual consideration. Trump is dehumanizing immigrants, praising dictators, even dropping the U.S. out of the U.N.'s Human Rights council. Oh, and don't forget there are actual Nazis running for office as Republicans this year.

Related: Donald & Melania Respond As Government Releases Video Of Immigrant Children In Cages

Even the Anne Frank Center made the comparison last year -- and they would know!

We're past Godwin's Law. We're past discrediting these comparisons as frivolous.

Keep that in mind as you check out what some other folks are saying about Trump's most recent comments about immigrant (below):

"These are not cages. They are enclosed spaces made with chain link fences."

The redefinition of common words is something the Nazis did. It worked. — Kumail Nanjiani (@kumailn) June 18, 2018

"Infest" https://t.co/AIpFvuy5c8 — Patton Oswalt (@pattonoswalt) June 19, 2018

President Trump just said that immigrants "pour into and infest our country." This is more than reminiscent of the language of Hitler's Germany as is his monstrous policy of snatching crying children from their parents at the border. https://t.co/K2cvwlJDEk — Barbra Streisand (@BarbraStreisand) June 19, 2018

Notice how Trump dehumanizes people who are brown and black to justify atrocities. Hitler did this too with the Jews (untermensch).

Starting on his campaign "Mexican rapists" in sanctuary cities "breeding" calling people with brown skin "animals" saying immigrants "infest" pic.twitter.com/hJ1ZzstKy0 — Amy Siskind (@Amy_Siskind) June 19, 2018

When they taught us about Nazi Germany in school, I could never understand how Hitler managed to get everyone onside, I mean, I really could not understand how that happened. I look at what’s happening now and tactics being used and I’m starting to see how. — LILY ALLEN (@lilyallen) June 19, 2018

This is Adam Nagorsky from his book Hitlerland. He's talking about Hitler. pic.twitter.com/illiFXdZh0 — Soledad O'Brien (@soledadobrien) June 19, 2018

"This contamination will not subside, this poisoning of the nation will not end, until the carrier himself, the Jew, has been banished from our midst." - Hitler "Democrats...want illegal immigrants... to pour into and infest our Country..." - Trump For those with eyes to see... — Leonard Pitts, Jr. (@LeonardPittsJr1) June 19, 2018

So, Predator trump has now used the word "infest" to describe immigrants who are coming to America. He’s referring to human beings he dislikes as if they were a disease. Such disgusting, inhumane phrasing was used by Nazis in the 1930s. Wannabe Hitler. — Ricky Davila (@TheRickyDavila) June 19, 2018

"Yet formerly Germany, without blinking an eyelid, for whole decades admitted these Jews by the hundred thousand. But now… when the nation is no longer willing to be sucked dry by these parasites, on every side one hears nothing but laments."

— Adolf Hitler, September 12, 1938 https://t.co/sJXXWJsAXl — 𝖲𝖺𝗋𝖺𝗁 𝖢𝗅𝖺𝗉𝗉 (@SarahClapp) June 19, 2018

One’s every instinct is to avoid the Hitler comparison. But it can’t be avoided now. This is Hitler’s language and Hitler’s method. What Jews were for Hitler, immigrants are for Trump. https://t.co/6lPrp23gXT — James Gleick (@JamesGleick) June 19, 2018

In the 1930s, Hitler and the Nazis constantly used infestation metaphors to refer to the Jews, often comparing them to swarms of mice or rats. Then 6 Million Jews were killed!

Today Trump claimed that immigrants are "infesting" America.

DO NOT ALLOW HISTORY TO REPEAT ITSELF! — Ed Krassenstein (@EdKrassen) June 19, 2018

Trump uses the word "INFEST" to describe immigrants.

THIS IS DEHUMANIZATION.

This is PRECISELY the verb Hitler used to describe Jews. https://t.co/bYCzYDSEzU — Mikel Jollett (@Mikel_Jollett) June 19, 2018

Trump is continually using Nazi propaganda in his tweets and speeches and people are still mad at me for comparing him to Hitler — Lex Michael (@lexforchange) June 19, 2018

Telling people to stop comparing Trump to Hitler in 2018 is the new telling people not to worry about Hitler in 1938. — Richard Hine (@richardhine) June 19, 2018

[Image via Johnny Louis/WENN.]

[lorettalivingston6911]

You May Now Officially Compare Trump To Hitler — And Plenty On Twitter Are Doing So!

people always ask me if I've been getting Botox

Godwin's Law is an Internet rule that says every argument online eventually escalates to someone being compared to Hitler.

Over the years, all that hyperbolic Hitler talk has severely lessened the impact of such a comparison.

Of course all that was in a time when no one had any legitimate fear his kind of racist dictatorship could rise again, and certainly not in the U.S.

But now Donald Trump and his administration are creating frightening parallels that require actual consideration. Trump is dehumanizing immigrants, praising dictators, even dropping the U.S. out of the U.N.'s Human Rights council. Oh, and don't forget there are actual Nazis running for office as Republicans this year.

Related: Donald & Melania Respond As Government Releases Video Of Immigrant Children In Cages

Even the Anne Frank Center made the comparison last year -- and they would know!

We're past Godwin's Law. We're past discrediting these comparisons as frivolous.

Keep that in mind as you check out what some other folks are saying about Trump's most recent comments about immigrant (below):

"These are not cages. They are enclosed spaces made with chain link fences."

The redefinition of common words is something the Nazis did. It worked. — Kumail Nanjiani (@kumailn) June 18, 2018

"Infest" https://t.co/AIpFvuy5c8 — Patton Oswalt (@pattonoswalt) June 19, 2018

President Trump just said that immigrants "pour into and infest our country." This is more than reminiscent of the language of Hitler's Germany as is his monstrous policy of snatching crying children from their parents at the border. https://t.co/K2cvwlJDEk — Barbra Streisand (@BarbraStreisand) June 19, 2018

Notice how Trump dehumanizes people who are brown and black to justify atrocities. Hitler did this too with the Jews (untermensch).

Starting on his campaign "Mexican rapists" in sanctuary cities "breeding" calling people with brown skin "animals" saying immigrants "infest" pic.twitter.com/hJ1ZzstKy0 — Amy Siskind (@Amy_Siskind) June 19, 2018

When they taught us about Nazi Germany in school, I could never understand how Hitler managed to get everyone onside, I mean, I really could not understand how that happened. I look at what’s happening now and tactics being used and I’m starting to see how. — LILY ALLEN (@lilyallen) June 19, 2018

This is Adam Nagorsky from his book Hitlerland. He's talking about Hitler. pic.twitter.com/illiFXdZh0 — Soledad O'Brien (@soledadobrien) June 19, 2018

"This contamination will not subside, this poisoning of the nation will not end, until the carrier himself, the Jew, has been banished from our midst." - Hitler "Democrats...want illegal immigrants... to pour into and infest our Country..." - Trump For those with eyes to see... — Leonard Pitts, Jr. (@LeonardPittsJr1) June 19, 2018

So, Predator trump has now used the word "infest" to describe immigrants who are coming to America. He’s referring to human beings he dislikes as if they were a disease. Such disgusting, inhumane phrasing was used by Nazis in the 1930s. Wannabe Hitler. — Ricky Davila (@TheRickyDavila) June 19, 2018

"Yet formerly Germany, without blinking an eyelid, for whole decades admitted these Jews by the hundred thousand. But now… when the nation is no longer willing to be sucked dry by these parasites, on every side one hears nothing but laments."

— Adolf Hitler, September 12, 1938 https://t.co/sJXXWJsAXl — 𝖲𝖺𝗋𝖺𝗁 𝖢𝗅𝖺𝗉𝗉 (@SarahClapp) June 19, 2018

One’s every instinct is to avoid the Hitler comparison. But it can’t be avoided now. This is Hitler’s language and Hitler’s method. What Jews were for Hitler, immigrants are for Trump. https://t.co/6lPrp23gXT — James Gleick (@JamesGleick) June 19, 2018

In the 1930s, Hitler and the Nazis constantly used infestation metaphors to refer to the Jews, often comparing them to swarms of mice or rats. Then 6 Million Jews were killed!

Today Trump claimed that immigrants are "infesting" America.

DO NOT ALLOW HISTORY TO REPEAT ITSELF! — Ed Krassenstein (@EdKrassen) June 19, 2018

Trump uses the word "INFEST" to describe immigrants.

THIS IS DEHUMANIZATION.

This is PRECISELY the verb Hitler used to describe Jews. https://t.co/bYCzYDSEzU — Mikel Jollett (@Mikel_Jollett) June 19, 2018

Trump is continually using Nazi propaganda in his tweets and speeches and people are still mad at me for comparing him to Hitler — Lex Michael (@lexforchange) June 19, 2018

Telling people to stop comparing Trump to Hitler in 2018 is the new telling people not to worry about Hitler in 1938. — Richard Hine (@richardhine) June 19, 2018

[Image via Johnny Louis/WENN.]

all shit of items at home is why real celebrities even some cereal killers

from LL Celeb Fueads https://ift.tt/2JXefkZ via IFTTT

[pardontheglueman]

Marching Through the Streets of Rhydyfelin

A response to The Wales Arts Review’s Roundtable discussion

Pop Music: Searching for the young soul rebels- why has pop given up on politics.

For an unreconstructed Socialist, who is also a passionate believer in the power of protest music, this opening discussion promised to be the ideal way to launch The Wales Arts Review’s much anticipated Millennium Centre symposium. The inclusion of Rhian E Jones (Critic and author of Clampdown: Pop-Cultural Wars on Class and Gender), Richard Parfitt (Songwriter / Former member of 60ft Dolls and senior lecturer in Music and Performing Arts, Bath Spa University) and Gray Taylor (writer and member of Goldie Lookin’ Chain), on a panel to be chaired by our very own Craig Austin, promised a forensic examination of a key cultural question. We seemed in safe hands, what could go wrong?

Perhaps the writing was on the wall, even before the debate began. Following Adrian Masters and Adam Somerset’s warmly received introductory remarks, most of the critics present decided to take up the undoubtedly tempting option of attending the launch of The Wales Arts Review’s excellent ‘Fiction Map Of Wales’ anthology in an adjoining room. It was immediately noticeable how many younger critics had joined the exodus – further proof perhaps of youthful dis-engagement with politics, or pop, or both?  A quick glance around the Victor Salvi Function Room revealed that just three dozen or so hardy souls had remained behind to man the barricades.

I wasn’t altogether surprised. The evening before, I had cast my bread upon the listless waters of the internet, randomly pitching phrases into the all-powerful search engine like ‘Why pop isn’t political anymore?’ or ‘Why isn’t pop angry?’, to be met by and large, with barely a ripple upon the stagnant pond of political discourse. An inexact science for sure, but somewhat discouraging, nevertheless.There was the obligatory rallying call by Billy Bragg, but little else. A piece in Village Voice, from 2006, another American piece ‘Apocalypse Then: Why Rock isn’t angry any more’, dating from 2010, a short analysis by Smashing Pumpkin’s frontman Billy Corgan, headed ‘Billy Corgan thinks rock isn’t reaching teenagers anymore’ and, lastly, a blog by John Robb, ‘Why politics and music don’t mix anymore’, which provided a glimmer of hope, or, at least one heartfelt response to it did -

‘Well maybe some people just aren’t trying

We are

Hack attack

We just put it out today,

Suburban Mousewife

This seemed to warrant investigation. A quick search revealed a promising list of song titles that made explicit the radical, feminist protest music, I could expect to hear – ‘Botox Skin’, ‘Shopping’, ‘Gulags for Slags’, while their handful of youtube videos unveiled an all-girl, multi-racial, five-piece combo, playing a spiky brand of garage rock, behind a lead singer wielding a mean tambourine. It looked and sounded too good to be true, and indeed it was. A quick glance at their facebook page revealed the following message, dated 13th Feb 2013:

‘Big thanks to all you lovely people for your support. The band is on an extended break at the moment.’

An ill omen perhaps? The waste of a bloody excellent band name, certainly.

Suburban Mousewife

Disappointingly, the panel’s discussion never really got past first base, partly as a result of unavoidable time constraints, but mainly because the debate was strangely sidetracked into a cultural cul de sac which, to paraphrase Dylan, might best be termed Stuck inside of Newport, with the Bristol blues again. This amiable detour down memory lane was entertaining enough in its own right, but did little to address the wider political context the panel was supposed to be engaging with. Craig and Rhian tried bravely to steer the discussion away from the confines of South East Wales with a perceptive analysis of Ben Drew’s ‘Ill Manors,’ a genuinely threatening pop-protest song. Unfortunately, the forum never quite re-focused itself on the central proposition.

Incredibly, the whole debate passed by without any reference to the current political landscape. For the best part of twenty years, the mainstream political parties have been busy stealing each other’s clothes, cross-dressing their way to the mythical centre ground of British Politics. The Tories actually went into the last General Election with a manifesto commitment to ring-fence spending on the NHS, something which Labour, its creator and proud champion, steadfastly refused to do. Furthermore, the coalition between Britain’s then most right-wing and left-wing mainstream parties, desperately cobbled together after the last election, has increasingly served to apply a brake to radical dissent. It’s in this context of unprincipled allegiances and bipartisan accommodations, that the weak-kneed response of today’s musicians can best be understood. Equally, the genuine prospect of this now fragile consensus being smashed apart at the next election by UKIP, and how this just might kick-start a slumbering protest movement into action, went altogether unexplored. It’s entirely possible that the resurrection of Rock against Racism, (the historical significance of which was barely mentioned), may now be more than this 52 yr old pop fan’s ultimate fantasy. In a fevered post-election climate, where the race card will not only be played, but undoubtedly dealt from the bottom of the pack too, an imaginative grassroots resistance could take many forms. Rap against Racism, anyone?

Similarly, Two–Tone, another protest movement with its roots in the politics of race, was never mentioned at all, despite it arguably producing the greatest pop protest song of all time – The Special’s number 1 hit,’ Ghost Town’. Indeed, UB40, a band on the fringes of Two-Tone, charted regularly at the time, with the most radical sequence of songs ever to infiltrate the playlists of mainstream radio. Between March 1980 and August 1981 the band scored five top twenty hits with songs about Third world starvation; ‘Food For Thought’, Racism in America; ‘King’, Nuclear war; ‘Earth Dies Screaming’, Atheism; ‘Don’t Let It Pass You By’, and Mass Unemployment; ‘One In Ten’.

Plausible reasons for the decline of political pop were flagged up, but not followed up, (the immediacy of the internet as a first preference for those with a personal manifesto, and conventional record company insouciance, being amongst the most convincing explanations.)  At the same time, rather too much of the discussion was given over to boxing Ed Sheeran about the ears, not that he didn’t deserve it following his cringe-worthy attempts to gladhand David Cameron at a recent gig. Even here, though, the chance was missed to broaden the discussion, by asking tough questions about why the recent folk revival was so insipid and non-political in nature.

Even where the discussion briefly came to life - every one of the panelists made perceptive comments about the impact of Brit Pop, and particularly the best song to come out of it, Pulp’s ‘Common People’- the theme could not be sustained. In all fairness, I should acknowledge here, the herculean nature of this particular task. It was a time after all, when Tony Blair was ruthlessly triangulating dissident opinion out of existence, constructing New Labour’s big tent, in which there was room for everyone, except Socialists of course. This was an age when there wasn’t any politics in politics, never mind in popular music.

Pop Music may be a young person’s game, but in the year when Pete Seeger passed away, where was the discussion about the role of the elder statesman in popular culture? Billy Bragg, our Seeger, justly escapes censure, but with Springsteen and Young still energetically campaigning in the USA, what do we make of Weller and Costello’s extended leave of absence from the front?

Admittedly, not everything could have been covered in the allotted 50 minutes, though it was clearly a mistake to guillotine the Q&A at the end, where some of these issues might have been taken up. The critic who ignored Craig’s genuine apology, and rattled off her question about the dominance of ex-public school pupils in today’s chart, caused quite a stir. I too, would have liked the chance to ask whether anybody had actually heard of Suburban Mousewife, and if not, whose fault would that have been - the band’s, the mediums or ourselves (in our guise as both critic and consumer)?  Or, I might have posited my pet theory that The Mighty Sparrow’s 1983 Soca classic, ‘Capitalism Gone Mad’, a diatribe about the cost of living crisis in Trinidad, if re-released now, in an age of economic meltdown, might just be the spark that ignites a world-wide revolution. The first verse alone, is enough to persuade me to get the red flag down from the attic, dust it off and start waving it about the streets of Rhydyfelin-

‘You got to be a millionaire or some kind of petit-bourgeoisie

Any time you’re living here in this country

You got to be in skulduggery, or making money illicitly

To live like somebody in this country

It’s outrageous and insane, them crazy prices in the Port Of Spain

And like the merchants going out dey brain

And the working man, like he only toiling in vain.’

The Mighty Sparrow - Champion of the Oppressed

Finally, though the panel saw little cause for optimism, the radicalisation of Scottish Youth in the referendum campaign has apparently made little impression on our guests, there is every prospect of a generational re-engagement with politics. The next election could be something of a watershed for Wales. A crass marriage of convenience between UKIP and the Tories could see things turn ugly very quickly. The cheap shot mantra “English votes for English laws”, has the potential to disseminate the seeds of division throughout the UK, which in all probability, will be seriously destabilised by massive constitutional change and the endless re-packaging of austerity. More positively though, a space seems to be opening up on the left, that an enlightened Green Party are well positioned to occupy.

England might be on the verge of electing the most right-wing Government in its history, at the exact same time that the people of Scotland are voting into office its most left-wing Parliament. Trapped in the vacuum, between two opposing philosophies, Wales will have to forge a new identity for itself. The conditions will then exist for freshly radicalised, free-thinking artists, to do the same.  

[journaljason]

MTB Season Recap: Part I

September is nearly here and these days that means #CrossIsComing. Because of REASONS the IMBCS schedule has a hard cutoff at the end of August. I understand it and it has been nice to focus on one discipline at a time but frankly, let’s just blame Jingle Cross for totally messing up the CX schedule around here (I already have enough issues with that event - another day, another post). It also leaves little wiggle room for reschedules or in the rare case of a dry summer, we cram a bunch of races in the last month. Not super realistic or fun, to be honest. Congrats on getting the Iowa CX Series off the ground but SIXTEEN races is insanity. I digress...this is turning into a rant about cyclocross and not a recap of the MTB season. Moving on...

After having a temporary bout of insanity and deciding to race the “marathon” category in 2016, I came back down to Earth for this season: good ol’ Cat 2! It was my first year in Cat 2 and I had pretty good idea of what to expect: a good mix of experienced veterans as well as up-and-coming youngsters - a “sweet-spot” if you will. I knew it would be competitive too as Cat 2 typically has the largest fields. What I didn’t know, was how competitive and deep the Cat 2 field would be for the 20-somethings. Forewarning: it was STACKED but also had plenty of parity.

RACE 1: Illiniwek Abermination (April 23)

On somewhat of a WHIM, I decided to ride with Slaymaker and Ludwig to the series opener over in the Quad Cities. I hadn’t originally planned to do this race but I couldn’t pass up a free ride and new trails. I figured it would spread my races out too, which wouldn’t hurt and would lessen the burden in June and August.

Illiniwek is essentially laid out with two loops - a southern loop and a northern one - and is famous for its wooden berms hence the “Abermination” name. We had time to preride the south loop, which is what we’d hit first off the start line AND featured the wooden berms on the descent back down to the start/finish area. We lined up and after 15-plus-minute delay we finally got going. There was a LONG u-shaped grass start, which was fantastic considering the huge field of nearly 60 riders in Cat 2.

I made it to the trees somewhere around top 15, which I felt was appropriate. I was looking forward to the climb to start the race. It’s not that steep or that long but it helped settle things down a little and I had no problem holding the wheel in front. We got to the top and things opened up a little in a grass field. A guy wanted to go around so I complied. Unfortunately he slid out right in front of me. No time to react and down we both went. I got up, banged my seat back straight and took off. I lost about 5 spots with all that ruckus.

^^^ Riding the wooden berms at Illiniwek

Things settled down and I found my groove while I explored the northern loop. There was a bigger climb to start the north loop and I loved gaining time there. I came around after lap one and just kept the hammer down. I grabbed another guy on the south climb. I wanted to let him (Kris Adams) go by before we descended on the berms because I knew he’d be faster. He kept declining. I made the decision easier by wiping out on some gravel before we turned towards the berms and he went by. I said, “I told you!” I smiled and brushed it off. I was back on him on the north loop climb and set my sights on the next guy.

The third lap was fairly calm...I could see a guy a bit ahead and chased like mad to get to him but it was too little too late as he finished about 9 seconds ahead. Overall, though, I was pleased with how I rode. For not knowing the trails, I went about as fast as I could’ve. My fitness was fine and I tried to use it to my advantage. 19th overall and 4th in my age group was a nice result. My lap times we pretty consistent too. Results are here (PDF).

I enjoyed my first time at Illiniwek. Other than the late start, it was a good event. The trails are challenging but not too technical and pretty friendly for singlespeeders. If anything I wish they had more climbing but I’m often wishing that. :)

RACE 2: Summerset Shootout (June 10)

After Illiniwek, it would be nearly two months before Ma Nature would let me race again. April and May are always a challenging time to host a race. Regardless, Banner is usually dry and can handle some precipitation. This year Banner was EXCEPTIONALLY dry and was nice and slick during my preride a couple days before the race. I managed to completely biff it on a sandy descent in Corner Pocket. I took note and remembered that for the race.

Race day arrived and I rode down with Slaymaker. I opted to wear a hydration pack as it was MIGHTY toasty and Banner allows few opportunities to sip a bottle (save for the couple road sections). We prerode Coal Miner’s Daughter and I was pleased to see it wasn’t quite as loose and slick as it was a couple days prior. I had my running sections noted and was ready to roll.

I gave a good kick on the start road. I really wanted Slaymaker to pull through before we hit the woods but alas he doesn’t like to start so fast. I hit the woods in 5th maybe? Tyler, Chris, Jim, and Kris were ahead. I held my own and somewhere I fucked up a little and Cooney went by. What better guy to follow so Todd and I sat on his wheel for a bit. At the end of CMD I went by and rocketed up through New Ed Beach. No problems there and on Missing Link. Into Corner Pocket and that damned sandy descent. I approached cautiously and LO AND FUCKING BEHOLD I wiped out. Again. But this time I didn’t just eat a bunch of sand...I slid down the hill and used my arm and a tree to stop my slide:

^^^ Got literal with the tree-hugging (looks worse than it was)

Cooney and Todd went by. I banged my seat back into place and let a couple others by (one was Alex). Refocused and started chasing. Between Riverside and Extra Credit I moved back into 7th. Was back on Cooney at the start of the second lap. Stayed behind him for all of CMD and passed him again at the start of New Ed. He made some smartass comment about “oh you again, at the same exact spot” probably figuring I would hit the same damn tree in Corner Pocket (I didn’t). Mashed as much as I could but couldn’t get back to Alex so I settled for 6th. Not bad for all the running I had to do. Was way overgeared (36x18) and the course definitely doesn’t favor an overgeared SS with how punchy it is. Hard and technical day but another solid outing. Banner is always tough and coming out relatively unscathed is usually a victory in itself.

^^^ Out of New Ed Beach and into Missing Link - such a FUN corner! Photo by Doctor Krohse.

Congrats to Todd on working that second lap and moving onto the podium! In my tumble with the tree I apparently rolled all around in some poison ivy cause I was ITCHY AF for the next couple weeks - pretty bad coverage especially on my thighs. FUN FUN.

An illustration of the aforementioned competitiveness: 4 of the top 6 riders in Cat 2 were from the 19-29 age group. Woof! Some fast young dudes. At this point I’d have something like 7 weeks off before the final push at the end of the season: 4 races in 5 weekends/4 weeks. Eeek! Now you can see why I was bitching about the scheduling. C’est la vie! Until next time...

[helloworlddemo1122-yahoopar-blog]

'Twin Peaks': A Comprehensive Guide to Every New Character in the Revival

When Twin Peaks revealed its cast list for The Return, the number of actors totaled over 200. While several dozen are returning cast members from the original series, most of the ensemble is made up of new faces.

The Twin Peaks newbies range from veteran actors Jim Belushi, Laura Dern and Robert Forster to relative unknowns like Chrysta Bell and Pierce Gagnon, with a few famous musicians thrown in for good measure, like Nine Inch Nails frontman Trent Reznor and Pearl Jam lead singer Eddie Vedder.

If you're having trouble keeping track of everyone who's new to the Twin Peaks universe, ET is here to help with a handy guide to all the newcomers as they make their debuts.

RELATED: 'Twin Peaks' Revival Delves Deeper Into 'Fire Walk With Me' -- and It's Absolutely Insane

Showtime

Jane Adams as Constance Talbot

Talbot is the medical examiner in Buckhorn, South Dakota, who is helping the police investigate Ruth Davenport's (Mary Stofle) murder. Adams is a veteran of Fraiser and Hung.

Showtime

Michael Bisping as Guard

This mixed martial artist certainly filled out his guard's uniform as the man in charge with keep-ing watch over the mysterious New York City glass box experiment.

Showtime

Brent Briscoe as Det. Dave Macklay

Macklay is one of the investigators on the Davenport murder, which Briscoe is no stranger to. The quintessential "hey, it's that guy!" has played a law enforcement official in nearly a dozen projects, including Lynch's 2001 film Mulholland Drive. Television fans might know him best, however, as the owner of J.J.'s diner on Parks and Recreation.

Showtime

Bailey Chase as Det. Don Harrison

Macklay's partner, Harrison is also investigating the Davenport murder, so he's sure to keep pop-ping up throughout the beginning of The Return. Fans know him as a lawman on Longmire and a member of season four's The Initiative on Buffy the Vampire Slayer.

Showtime

Neil Dickson as George Bautzer

George is the man Phyllis Hastings (Cornelia Guest) is having an affair with, though he might also be acting as her husband Bill's (Matthew Lillard) attorney. Awkward. Of course, that's assuming George stays out of prison himself. Evil Cooper (Kyle MacLachlan) used George's gun to shoot Phyllis in the head in the premiere episode. If Lynch fans recognize him, it's because Dickson had a role in the 2006 film Inland Empire.

RELATED: 'Twin Peaks' Returns as Confusing and Terrifying as Ever -- Here's What Happened!

Showtime

Patrick Fishler as Duncan Todd

Duncan is seen briefly in the premiere telling his assistant Roger (Joe Adler) to inform an unseen woman that she got the job. The assistant then asks Duncan, "Why do you let him make you do these things?" to which Duncan replies, "Roger, you better hope that you never get involved with someone like him, never have someone like him in your life." Who is this mysterious "him"? We don't know yet. But this Lost and Mad Men alum owes a lot to Lynch; his breakout role was in Mulholland Drive.

Showtime

Cornelia Guest as Phyllis Hastings

Good ol' Phyllis is somehow wrapped up in the plot to frame her husband Bill for murdering Ruth Davenport. She knew he was having at least one affair (though to be fair, so is she) and she recognizes Evil Cooper when he shows up at her house. But Evil Cooper quickly dispenses of Phyllis by shooting her in the head as she tries to run away. RIP, Phyllis. You seemed like the worst.

Showtime

Ashley Judd as Beverly Paige

We've only gotten a brief introduction to Benjamin Horne's (Richard Beymer) new Gal Friday, Beverly, though we did learn that she's married. It's Ben's primary reason for not trying to sleep with her.

Showtime

Nicole LaLiberte as Darya

Darya is part of the plot to frame Hastings for Ruth's murder, and after Ray Monroe gets himself locked up, she's the target of Evil Cooper's wrath after he learns they were planning to kill him. He shoots her in a hotel room after learning everything he can from Darya.

Showtime

Jennifer Jason Leigh as Chantal Hutchens

We don't know much about Chantal yet, except for the fact that she's sleeping with Evil Cooper and he asks her to clean up the mess left behind after he shoots Darya. Evil Cooper also asked Chantal to meet up with him (and bring her husband) in a few days, but that was before his car accident and subsequent incarceration.

Showtime

Matthew Lillard as Bill Hastings

Poor Bill. He's a high school principal in Buckhorn, accused of murdering local librarian Ruth Davenport. It appears to be an obvious frame job, though he's not completely innocent. He may have been having an affair with either or both Davenport and his secretary, Betty. But still, that doesn't mean he should go to jail for a murder he didn't commit.

RELATED: The Unexpected, Groundbreaking, Cult Phenomenon of 'Twin Peaks'

Showtime

Ben Rosenfield as Sam Colby

Sam kicks off the action on Twin Peaks: The Return as the subject of an experiment in New York City wherein he sits in a basement warehouse-type room on a couch and watches a glass box for hours on end while some cameras roll. He's not sure what he's looking for, but he definitely knows when he sees it... right before it brutally murders him. The glass box is somehow connect-ed to the Black Lodge, because it's where Cooper briefly ends up after he is expelled. But exactly what emerged from the box after Cooper left it and slaughtered Sam and his booty call, Tracey (Madeline Zima), is not yet known.

Showtime

Jessica Szohr as Renee

The Gossip Girl alum was seen in the premiere episode drinking with Shelly (Madchen Amick) and two other gal pals at the Bang Bang Bar in Twin Peaks. Shelly comments that she thinks James Hurley (James Marshall) is interested in Renee, but we aren't so sure it wasn't Shelly who had caught James' eye.

Showtime

Jake Wardle as Freddie Sykes

This is the young man who was having a beer with James in the Bang Bang Bar in the premiere episodes. He's noteworthy because he looks quite a bit younger than James, so we're wondering if he’s possibly James' son.

Showtime

Madeline Zima as Tracey

If this young woman looks familiar to you, it's because she played Grace Sheffield on The Nanny for six years in the 1990s. She also recurred on Heroes and Californication. Unfortunately, Tracey was brutally murdered before we got to know much about her. But she did get naked first, something Lynch couldn't do when the show was on ABC.

Showtime

Chrysta Bell as Agent Tammy Preston

Preston is a 30-year-old FBI agent, so she's not fresh out of the academy, but she definitely hasn't been around as long as Gordon Cole (Lynch) and Albert Rosenfield (Miguel Ferrer). She seems sharp, but is also very pretty -- something that could prove problematic for Gordon, according to FBI Chief of Staff Denise Bryson (David Duchovny). In real life, Bell is quite the musician and has worked with Lynch in a songwriting/recording capacity since 1999. They’ve released two albums together and she also appeared in the short film, Bird of Flames, for which she and Lynch co-wrote the music.

RELATED: Revisit the 1990 Set of 'Twin Peaks'

Showtime

Michael Cera as Wally Brando Brennan

The son of Lucy (Kimmy Robertson) and Andy (Harry Goaz) is responsible for one of the funniest scenes so far when he shows up at the sheriff's station to pay his respects to Sheriff Frank Truman over his brother Harry's illness. He was born on Marlon Brando's birthday and has taken that to heart, dressing as Brando from the 1953 film, The Wild One, and spouting lines like "my dharma is the road." It's hard to believe, but this is the first thing Cera has done for Lynch.

Showtime

Robert Forster as Sheriff Frank Truman

Frank is Sheriff Harry Truman's (Michael Ontkean) older brother. In The Secret History of Twin Peaks, the book creator Mark Frost wrote in conjunction with the revival, it is revealed that Frank held the position of town sheriff before Harry took over the job. Frank subsequently left Twin Peaks and is presumably back because his brother is sick. He went to high school with Big Ed Hurley (Everett McGill), Hawk (Michael Horse), Hank Jennings (Chris Mulkey) and Jerry Horne (David Patrick Kelly) before serving as a Green Beret in Vietnam. On the original series, Forster was Lynch's first choice to play Harry, but he had to turn the part down due to a commitment to another TV project. He also appeared in Mulholland Drive.

Showtime

Pierce Gagnon as Sonny Jim Jones

This precocious child actor (who played Halle Berry’s son on Extant) plays the son of Dougie and Janey-E (Naomi Watts). He seems to get a kick out of his father's weird behavior, which he doesn't know is post-Black Lodge Cooper still trying to figure out basic things about the world around him.

Showtime

Naomi Watts as Janey-E Jones

Somehow, Evil Cooper managed to make his Dougie doppelganger a smooth enough guy to snag Janey as his wife. She seems nice enough, but Janey is definitely mixed up in whatever business has some thugs targeting Dougie for the money he owes them. Watts is a familiar Lynch face, having starred in her breakout role as the lead in Mulholland Drive, but also appearing in his short drama, Rabbits, and Inland Empire.

Showtime

Tammie Baird as Lorraine

Lorraine is the person giving orders to the two hitmen out to get Dougie (Kyle MacLachlan), though she obviously is not the highest person in this particular chain of command. However, she does send a mysterious message -- "Argent 169/2" -- to a black box that viewers later find out is located in a basement in Buenos Aires. After Evil Cooper (MacLachlan) calls the black box to say "The cow jumped over the moon," it then suddenly shrinks down into what looks like a small rock. Oh, and Buenos Aires is the place FBI Agent Phillip Jeffries (David Bowie) was last seen in 1987 before he disappeared for two years.

Showtime

Jim Belushi and Robert Knepper as Bradley and Rodney Mitchum

The Mitchum brothers appear to be Las Vegas mafia bosses. They come into their casino after hearing about Cooper's $400,000+ winnings at the slot machines, convinced that casino supervisor Burns (Brett Gelman) was in on it. After giving Burns a sound pounding and threatening his life, they take their leave. It's unclear if we'll see them again, or if they're connected to Las Vegas businessman Duncan Todd (Patrick Fishler), who was seen in the premiere telling his assistant, "You better hope that you never get involved with someone like him, never have someone like him in your life." Was Duncan referring to Bradley or Rodney? Perhaps.

Showtime

Eamon Farren as Richard Horne

In his Twin Peaks debut, we find out two important things about this fellow before we even know his name -- he's definitely an a**hole (and possibly psychotic and violent), and he's giving bribes to the local police. But what is even more noteworthy is that when the episode five credits rolled, his name was revealed to be Richard Horne. That's right, he's a Horne -- which means his passing resemblance to Sherilyn Fenn cannot be a coincidence. Is this Audrey's son?

Showtime

Ernie Hudson as Colonel Davis

In what is perhaps the most interesting conversation of episode five, Col. Davis tells his subordinate, Lt. Cynthia Knox (Adele Rene), that she is to fly to Buckhorn, South Dakota, because the fingerprints of Major Garland Briggs (Don S. Davis) have turned up... again. Apparently this is the 16th time in 25 years that Briggs' fingerprints have been found somewhere. If it turns out to really be him this time, they have to alert the FBI. This revelation has caused many fans to conclude that the headless body found with Ruth Davenport (Mary Stofle) is Briggs, who supposedly died in a fire sometime after the events of the original series.

Showtime

Caleb Landry Jones and Amanda Seyfried as Steven and Becky Burnett

Fans of the original Twin Peaks were in for a treat in episode five when they got to meet Shelly's (Madchen Amick) daughter, Becky, who was briefly mentioned in the premiere episode. Unfortunately, it looks like Becky has fallen in with a sketchy guy -- like mother, like daughter? -- named Steven, who can't keep a job and likes to do cocaine. Becky is also a willing coke participant, so lets hope she's not going the way of Laura Palmer. Another thing to keep in mind -- Deputy Briggs (Dana Ashbrook) is investigating drugs in Twin Peaks, so will he cross paths with his old flame's offspring? Or is she actually his daughter too? The show hasn't yet revealed who Becky's father is.

Showtime

Jane Levy as Elizabeth

Levy plays a friend of Charlotte's, who steps in to tell Richard Horne to back off when he starts harassing the girl at the Bang Bang Bar. You may recognize Levy from Shameless and Suburgatory -- and she's great, so hopefully this is not the last we've seen of her.

Showtime

John Pirruccello as Deputy Chad Broxford

We first met Deputy Chad at the Twin Peaks Sheriff's Department, where he immediately fell out of everyone's good graces by deigning to question the message from Margaret the Log Lady (Catherine E. Coulson). How dare you, sir. How dare you. But it turns out there are even more nefarious things at play with Chad. He's the man seen in the Bang Bang Bar taking a cigarette package full of hundred dollar bills from Richard Horne. Now just what do you suppose that's all about? Is Audrey Horne up to no good and her son is part of the scheme? Or is she a productive member of the Twin Peaks society and her son is the one committing crimes with the help of a dirty cop? We can't wait to find out.

Showtime

Adele Rene as Lt. Cynthia Knox

We don't know much about Knox so far, other than the fact that she works at the Pentagon under Col. Davis and she is being sent to Buckhorn, South Dakota, to investigate Major Briggs' fingerprints. But seeing as how this murder has become a big part of the narrative -- we definitely need to check back in with Bill Hastings (Matthew Lillard) -- we don't think this is the last we've seen of Lt. Knox.

Showtime

Laura Dern as Diane

The mystery of Dern's Twin Peaks character has been solved! In the sixth episode, Dern pops up in a Philadelphia bar after Albert Rosenfield (Miguel Ferrer) approaches a woman with a slick blonde bob enjoying a martini. "Diane," Albert says, prompting the woman to turn around and reveal herself to be Dern. Diane, if you'll remember, is Agent Dale Cooper's longtime secretary, who -- up until this point -- hasn't been seen ever. Hopefully, this means we'll see Dern more and more in subsequent episodes, as we have a feeling her character is just getting started.

Showtime

Hugh Dillon as Tom Paige

Tom is married to Beverly Paige (Ashley Judd) and appears to be terminally ill. He has an in-home nurse, takes prescription pain medication and looks very frail in his wheelchair. Of course, that doesn't stop him from being a jerk to his wife when she comes home late from work. Dillon has a small previous connection to Lynch. In 2008, he starred in his daughter Jennifer's crime drama/horror film, Surveillance.

Showtime

Edward "Ted" Dowling as Farmer

This poor man is the one whose truck Richard Horne was driving when he struck and killed that little boy. Andy questions him about Horne and the farmer is visibly nervous, setting up a meeting for later on the old logging road. But the farmer never shows up at the meeting.

Showtime

James Morrison as Warden Dwight Murphy

Evil Cooper gets the warden to let him out of prison by name-dropping "Mr. Strawberry" and "Joe McClusky," in addition to a dog that Cooper killed. It's not clear yet what this all means, but it gets Evil Cooper and Ray Monroe out of federal prison and back out terrorizing the world.

Showtime

Walter Olkewicz as Jean Michel Renault

This is an interesting one. Jean Michel is somehow related to the Renault brothers (Jean, Jacques and Bernard) from the original Twin Peaks -- perhaps a fourth brother or a cousin? As they are all deceased, he runs the Roadhouse and also apparently One-Eyed Jack's casino and brothel across the border, where he doesn't seem to have a problem with underage prostitutes. Interestingly, he's played by Walter Olkewicz, the same man who played Jacques Renault in the original series, so the character is new but the actor is not.

Getty Images

Christophe Zajac-Denek as Ike "The Spike" Stadtler

This little sociopath is sent by someone to kill Lorraine, the woman who dispatched some hitmen to kill Cooper-as-Dougie and also texted the message 2/169 Argent to a box in Argentina. Ike "The Spike" stabs Lorraine to death at work, also taking down two of her innocent coworkers in the process. He later attacks Dougie and Janey outside Dougie's work, but some kind of buried Agent Cooper FBI skills spring into action and Cooper thwarts the would-be assassin.

Showtime

Robert Broski as Woodsman

In episode eight, a group of sooty ghosts emerge from the woods after Ray shoots Evil Cooper. They appear to remove BOB from his body and smear blood all over his face, though none of this kills Evil Cooper. Among the sooty ghosts is the one credited as "woodsman" for the episode. He is also seen in 1956, terrorizing a small New Mexico town as he broadcasts a message across the local radio station: “This is the water, and this is the well. Drink full, and descend. The horse is the white of the eyes, and dark within."

He also appears to be the same woodsman seen in the jail cell near Bill Hastings in South Dakota, though we can't be 100 percent sure about that. In both Fire Walk With Me and this latest Twin Peaks episode, woodsmen are also seen at the convenience store, which is where BOB, the Man from Another Place, Mrs. Tremond and her grandson, the jumping man and the electrician convene to talk about garmonbozia, or the physical manifestation of pain and sorrow.

Showtime

Joy Nash as Senorita Dido

This woman is seen with the Giant in a place where they watch the genesis of BOB and then seemingly create the spirit of Laura Palmer and send it to Earth. There's always a chance the spirit is not Laura Palmer and merely looks like her -- remember how in the first red room visit, the Man from Another Place says to Cooper, "She's my cousin, but doesn't she look almost exactly like Laura Palmer?"

Maybe the Man from Another Place was referring to this spirit that just so happens to look like Laura. That would actually make a lot of sense (if, in fact, anything happening on Twin Peaks right now makes any sense).

Getty Images

Erica Eynon as "Experiment"

In the segment of episode eight that shows how BOB -- and possibly Laura Palmer -- came to be, a white figure is shown vomiting out a string of bubbles, one of which has BOB inside. Eynon plays this faceless persona. She was also seen in the premiere episode, banging on the door of the purple spaceship place that Good Cooper went before returning to Earth.

Showtime

Tikaeni Faircrest as 1956 Girl

This young girl is seen falling asleep as she listens to the woodsman's message on the radio. That allows the frog/locust creature that emerged from the egg to crawl inside her mouth. Is that the original BOB inhabiting his first host? Or some other spirit? There is already a fan theory that this girl is actually Sarah Palmer as a young teen. But who she is and how she connects to the present (or even the original series) remains to be seen.

Showtime

Larry Clarke, Eric Edelstein and David Koechner as the Fuscos

In typical Lynchian fashion, Larry Clarke, Eric Edelstein and David Koechner play a trio of detectives all named Fusco: T. Fusco, "Smiley" Fusco and D. Fusco, respectively. They're investigating the hit on Dougie Jones (now Agent Cooper), arresting Ike "The Spike" Stadtler for his involvement in shooting at Cooper at the insurance agency. But the most interesting aspect of their investigation is that they can't find anything on Dougie prior to 1997 -- no tax records, no IDs -- so now we know when Evil Cooper created this doppelganger. The detectives assume it's because he's in witness protection, but they're going to run his DNA and prints through a contact at the Justice Department, which should alert Gordon and Albert to Good Cooper's presence in Las Vegas.

Showtime

Sky Ferreira as Ella and Karolina Wydra as Chloe

It is not yet known how Ella and Chloe are connected to the bigger mystery, but at the end of episode nine, they sit together in the Roadhouse and seemingly speak in code, talking about zebras and penguins while looking completely strung out on drugs. With them being the right age and having the drug connection, we could see them being tangled up with Richard Horne and Red -- and possibly Shelly's daughter, Becky.

Ferreira is a singer/songwriter who previously worked with Lynch on a fundraiser for his foundation. It's a big year for her; she also appears in recent movie hit Baby Driver.

Showtime

Tim Roth as Gary "Hutch" Hutchens

In episode nine, we meet Chantal Hutchens' better(?) half, an unstable associate of Evil Cooper's. Chantal was the one who cleaned up after Darya's murder in the premiere episode and now Hutch has been tasked with taking out Warden Dwight Murphy, the man who let Evil Cooper and Ray Monroe out of prison. It also appears as though the Hutchens have a rather open relationship, with Hutch encouraging his wife to give Evil Cooper "a big wet one."

Showtime

Giselle Damier as Sandie, Andrea Leal as Mandie and Amy Shiels as Candie

This trio of buxom blondes have been arm candy for the Mitchum brothers up until the July 16 episode. But in the 10th episode, Candie made a play for secret MVP of the episode when she provided two of the best comedic moments of the series so far -- smacking Rodney with a remote while trying to kill a fly and taking an inordinately long time getting Anthony Sinclair (Tom Sizemore) to come up to the casino surveillance room to speak with the Mitchums.

Twin Peaks: The Return airs Sundays at 9 p.m. ET/PT on Showtime.

[lastsonlost]

Now you all know how I feel about ACCUSATIONS. Even if I don’t like them HE IS STILL INNOCENT UNTIL PROVEN GUILTY NO IF ANDS OR BUTS PERIOD!

However MULTIPLE accusers ain’t a good look. So if that said on with the shit show.

ScreenJunkies, the home of “Honest Trailers,” suspended Andy Signore, creator of the popular online series, after multiple women came forward accusing him of sexual misconduct.

“We have been conducting a thorough investigation into allegations made against Andy Signore and are preparing to respond to those allegations and take appropriate action. Given the additional statements that were made today, we feel it is necessary to suspend Andy’s employment while we continue our investigation.  We will take all necessary action once the investigation is fully complete,” Defy Media, owner of ScreenJunkies, said in a statement Friday.

Signore has not responded to a request for comment.

One woman, April O’Donnell, a ScreenJunkies fan from Wisconsin, told TheWrap that Signore tried to sexually assault her repeatedly, and threatened to get her boyfriend, Joshua Tapia, fired from his job at ScreenJunkies if she spoke out. She said she and two other women went to the ScreenJunkies human resources department in July to complain about Signore.

Another woman, Emma Bowers, said that when she worked as an intern for Signore, he came across pin-up photos she had done in the past and wrote to her about “jacking it to you in your undies!” Signore then asked Bowers to come

over so he could do that in person.

“You can read a book for all I care,” she quoted him saying.

Bowers added that her interactions with Signore killed her interest in pursuing a career in costume design — the field where she hoped her internship might lead.

“So yeh, it’s not just Weinstein,” she wrote, referencing Hollywood titan Harvey Weinstein, the subject of a bombshell New York Times expose about his history of payouts to women who accused him of sexual misconduct. “I wish I’d fought more, wish I’d screencapped his messages, but I was young, scared, and dumb. So I didn’t. Girls in Hollywood get taken advantage of so much. I just want people to believe me when I say this happened.”

Another woman, Devin Murphy, tweeted “DM’s and an email he sent to me that scares me.” In the DMs, he repeatedly urges her to dress up in a costume.

Signore’s Honest Trailers pokes fun at popular movie and TV trailers. In the past, the series has skewed films like “Ghostbusters,” “The Mummy” and “Logan.” It launched in 2012 and its YouTube page has amassed over 157 million views. Screen Junkies, the channel that hosts Honest Trailers, has over 6.2 million subscribers. Signore is also the creator of Screen Junkies and the SVP of Content at Defy Media.

SO I GUESS THIS IS AN HONORARY MENTION BUT IT DON’T LOOK GOOD.

WELCOME TO THE WHITE KNIGHT

home to such dishonored alumni such as mr.  Christopher ( KIDDY PORN) John Goldberg.

In 2016, the vocal progressive and male feminist stepped down from his position as editor-in-chief of the Alamo Drafthouse-owned publication Birth.Movies.Death following allegations of sexual assault and multiple instances of sexual harassment.

According to the report, Goldberg had 53 pornographic images of small children between the ages of 4 and 14 years of age on his mobile phone. Additional images and video were also found on his home computer.

MATT HICKEY

Matt Hickey was an anti-Gamergate journalist who accused the movement of being “future rapists”. In fact, here’s his exact quote:

“#GamerGate is a bunch of women-hating future rapists!”

Matt is now facing 3 rape charges from women who allege that Matt sexually assaulted them. Matt has also been sued by an attorney general for running a fake porn agency scam. He set up a fake amateur porn organization and then tricked women into having sex with him, who thought they were auditioning for a porn video:

Anti-#GamerGate journalist Matt Hickey is not only facing multiple counts of rape charges in the state of Washington, but he’s also being sued by the Attorney General’s Office in Washington on consumer protection grounds. The suit came up after the Attorney General Bob Ferguson had the case brought forward where it was discovered that Hickey had been running his fraudulent porn recruitment agency for more than a decade in order to trick women into sleeping with him.

DEVIN FARACI

Devin was an editor in chief and writer for Birth.Movies.Death who stated that “The losers in #GamerGate are mad at women because women want nothing to do with them!”. You can read his article about Gamergate HERE.

Excerpt from the article:

Arguing with these people (Gamergate) has been eye-opening. A lot of these kids – and they are, without a doubt, largely kids – are simply ignorant. They don’t understand the world, and that includes everything from how gaming websites work to how people interact as adult, sexual humans….. They’re outsiders, losers, weirdos and freaks. And most of them aren’t just male, they’re white males…… They do it because they have been raised in a world where women are not humans but prizes, and so they can’t see them as individuals…..

Matt stepped down as editor in chief of Birth.Movies.Death in October of last year, after several women came forward to accuse him of sexually assaulting them:

The accusations surfaced on Twitter after Faraci shared his views on video tapes of Donald Trump bragging to “Access Hollywood” host Billy Bush about groping women. The movie blogger tweeted that he was “terrified” of the Republican presidential nominee and labeled his running mate, Mike Pence, an “ideological monster.” Faraci’s condemnation was widely retweeted, but one woman took issue with his statements, tweeting under the handle @spacecrone, “quick question:  do you remember grabbing me by the p—y and bragging to our friends about it, telling them to smell your fingers?”Other women offered their own stories of Faraci’s inappropriate behavior. He did not deny @spacecrone‘s accusations, tweeting, “I can only believe you and beg forgiveness for having been so vile.”Alamo Drafthouse Cinemas owns Birth.Movies.Death, which offers up casting stories, reviews, and trailers for cinephiles. The company declined to comment. In an exchange with Variety, @spacecrone said that Alamo Drafthouse founder Tim League spoke with her about her allegations and was “empathetic.”

Robert Marmolejo

Robert was a member of Zoe Quinn’s “crash overide network”, which was intended to fight against Gamergate and other forms of “online harassment”- in reality, the members of this group harassed more people that they people they were supposedly fighting against.

Robert, who commented on Gamergate last year, saying “we need to take action against #GamerGate and the ideology that spawned it!”, has been accused of rape by at least 20 women:

A male feminist deeply involved in Zoe Quinn’s Twitter-partnered “anti-harassment” organization, Crash Override Network, has been accused of harassing, stalking, and abusing female victims, in a series of tweets and leaked chat logs from the organization’s supporters….. Robert Marmolejo, who is reported to have helped manage Crash Override’s social media accounts, allegedly used his position and connections to abuse around twenty women online….Marmolejo, who was previously an active anti-GamerGate activist, and had repeatedly labelled conservative actor Adam Baldwin, and YouTubers TotalBiscuit and Sargon of Akkad as “misogynistic”, “sexist”, and “anti-woman,” deactivated his Twitter account after a series of apologetic tweets confessing to having “f**ed up.”Anti-GamerGate web developer, “Internet Abuse Specialist”, and feminist Izzy Galvez, who also happened to have been a member of the secret Crash Override group, tweeted on Saturday to confirm the allegations.“If you’re catching up: Over 20 women have come forward & revealed that Rob/UnseenPerfidy had sexually harassed them over DMs, Skype, etc” announced Galvez.

Jamie Killstein

You Might Also Like

Jamie is a male Feminist American writer, radio host, and stand up comic who accused Gamergate of being about sexism, instead of ethics in journalism.

Jamie was booted from his podcast last month, after several claims of him sexually abusing women were brought forward.

Comedian and lauded male feminist Jamie Kilstein has departed the podcast he co-hosts amid allegations of manipulation and abuse from multiple women.On Monday morning, liberal independent podcast Citizen Radio and its co-host Allison Kilkenny announced that Kilstein would be leaving the program. Later that day, however, Kilkenny clarified that Kilstein’s departure from the podcast was a result of allegations of him preying upon, manipulating, and emotionally abusing women.In a Facebook post slightly detailing the decision, Kilkenny, who is also Kilstein’s ex-wife, wrote that “murmurs” of Kilstein’s abuse lingered in the past, but because of anonymity, she was “never able to learn the full scope of what happened.”That was until a few days ago, Kilkenny wrote, when “one of the women” who came forward was someone who had worked for the podcast, though she doesn’t mention how many women came forward initially. Kilkenny wrote that she asked Kilstein to leave the show, seek therapy, and apologize publicly. She said he has declined to do the latter, so she decided to clarify the situation in the post instead.“Without making this about me, I want you all to know I’m furious, crushed, and horrified by all of this. I always believed Citizen Radio was a genuinely safe space, and I’m trying to make it that way again,” Kilkenny wrote. “I’m so, so sorry for letting anyone down.”

Juan M. Thompson

Juan Thompson is a former writer for The Intercept who was later fired for fabricating and publishing fake stories. Juan wrote an article for the Intercept in 2015 accusing Gamergate of being a hateful group that threatens violence against “marginalized groups”.

He was later arrested by the F.B.I for making bomb threats against 8 Jewish community centers. The except below is taken from his Wikipedia page:

Thompson was arrested by the FBI in March 2017 for allegedly making bomb threats against at least eight Jewish community centers in the U.S. According to officials, Thompson phoned in and emailed many of the threats under his ex-girlfriend’s name within the preceding two months, in an effort to frame her. Thompson also allegedly made at least one threat under his own name, under the pretense that his ex-girlfriend was framing him. He had also emailed the Anti-Defamation League in his own name in late February, pointing to his ex-girlfriend as the perpetrator of all of the bomb threats.

Leland Yee

Leland is a former democratic senator of California who made a career of attacking violent video games and blaming them for youth violence. In 2005 after the Grand Theft Auto: San Andreas ‘Hot Coffee’ mod was unearthed, Yee passed two California assembly bills that restricted the sale of mature video games to those under the age of 18 and where these games could be advertised.

Leland, who accused gamers of “violence against women”, was also a big fan of Anita Sarkeesian, who he described as “courageous”.

I commend Anita Sarkeesian for her willingness and courage to take on this important issue. For far too long, the video game industry has glorified violence against women and often depicted female characters as nothing more than sex objects. Such sexism is unacceptable and teaches our kids the wrong lessons. Those who have criticized Ms. Sarkeesian with such offensive comments should be ashamed. It is time for the industry to stop perpetuating stereotypes and further demeaning women.

Leland Yee was sentenced to jail on Wednesday, Feb. 24, 2016, to five years in prison by a federal judge for weapons trafficking (ironic). Someone who dedicated his life to complaining about violent video games is literally responsible for putting deadly weapons in the hands of bad people.

Here’s an except from a Washington Post article about Leland’s sentencing.

Yee served as a state senator and was plotting a secretary of state campaign when his political visions were curtailed by a federal indictment in March 2014. The arrest swept Yee and his associate Keith Jackson, 51, up in charges alongside some of the city’s most notorious characters, notable among them Chinatown gangster Raymond “Shrimp Boy” Chow.This Wednesday, Yee received a five-year prison sentence for accepting bribes and trafficking in arms. After initially denying culpability, Yee pleaded guilty to the charges last summer. These acts were discovered by undercover federal agents investigating organized crime in San Francisco’s Chinatown. Jackson, a former school board president who helped Yee facilitate the bribes, received a nine-year sentence.

WELCOME TO THE CLUB.