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agentnico · 2 years ago

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Shrinking - Season 1 (2023) Review

“What kind of a person hugs and tells!?” is a great line! I get that out of context this quote means nothing to the passive reader, however within the moment and Harrison Ford’s delivery of that line is pure hilarious perfection. If you’re intrigued, it’s the more reason to watch this show!

Plot: A grieving therapist starts to break the rules by telling his clients exactly what he thinks. Jimmy has lost his wife and wants to try a new approach to his loss, but it is unclear how this will help others.

Amongst Apple TV+ aim of dominating the streaming realm, we have been given the pleasure of receiving a new comedy drama series from the writers of Ted Lasso. That’s it - stop there. You sold me this one. As for anyone who hasn’t seen Ted Lasso, it is probably the one main reason to subscribe to the Apple streaming platform. Ted Lasso may just feature the most outright positive set of characters to ever grace television screens. Especially the titular Ted, played charmingly by Jason Sudeikis, offers compassion, humility and decency, even in the face of insults and abuse. His unshakeable good mood could have been an irritating trait in the wrong hands, but Sudeikis gave the character an endearing quality which lifted viewers' spirits. And the surrounding cast around him is for the most part delightfully lovely. Except for Nate. I mean f*** that guy, am I right?? So the writers set out to repeat the magic with the new series titled Shrinking. Does it have the cult status set out by its older football-themed brother? Well...

What Shrinking reminds me of is those early 2000s Judd Apatow comedies, that always featured one outlandish (commonly raunchy) plot point however within that were a set of immature characters who have some growing up to do, featuring earnest themes about love, relationships, friendship and family. With Shrinking there isn’t much raunchiness, however it is very much a show about flawed characters who have some growing up to do. Jason Segel, who previously appeared in a few aforementioned Judd Apatow films, leads the cast here as the grief ridden therapist who has lost his way in life after losing his wife. His growth is as obvious as apples on trees - he needs to let go of the past and learn to appreciate the good things surrounding him in the present. His daughter on the other hand needs to learn that her dad is so much better and supportive than she makes him out to be. And so on forth with the rest of the characters.

I would say Shrinking is nowhere as remarkable nor memorable as Ted Lasso, however what works in this show’s favour is that it is an easy watch. All the characters are super likeable and watchable, you get plenty of solid humour as well as enough dramatic heft too. Jason Segel as always looks like a lost beat down dog, but that’s weirdly his most appealing charm. If you’ve liked Segel in How I Met Your Mother or Forgetting Sarah Marshall, he’s the same Segel of guy here who’s constantly having a midlife crisis and can never amusingly do anything right without frustrating someone. Harrison Ford gets to stretch out his comedic chops here and receives some of the script’s funniest lines, delivered wonderfully by his regular grizzly grunt-filled voice. Jessica Williams also brings a lot of fast paced energy and excitement to her role, and then I also wanted to give a shout out to Ted McGinley. He plays Segel’s neighbour’s husband, and he’s not in the show much, but whenever he did, he’d always be this overly positive happy go lucky bean. Just so happy and delightful. Love that guy.

In terms of problems, I’d say the show suffers a little from an identity crisis. It’s pitched as a story where a therapist begins to break rules and starts telling his clients exactly what he thinks and telling them what they need to do. And for the first couple of episodes that is somewhat present, but after than this concept if for the most part completely dropped, whereas I wish there could have been more done with it. Additionally, there are certain characters here that are blatantly unlikeable, and I don’t think the show realises this. For example, Ford’s character is suffering from a developing Parkinson’s disease. So he begins reconnecting with his daughter, however she is an outright despicable self centred human being who is absolutely horrible to her dad. Yet the show tries to justify the daughter’s actions by seemingly making it seem like Ford deserves all the berating and neglect from her. Same goes for Segel’s daughter - at times she was annoying too. Basically, it seems like Shrinking makes it seem like all daughters are terrible, which seems a tad perplexing.

Overall I enjoyed this new Apple TV+ comedy series. I’ve heard they’ve already greenlit a second season, which I am perfectly okay with as it’s a perfectly apt sitcom that one can tune in to on a weekly basis for 30 minutes of giggles. It doesn’t break any new ground, but it’s an easy watch, and sometimes an easy watch is exactly what ones needs.

Overall score: 7/10

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don-dake · 7 months ago

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programme title: 《創業者心路》

(rough translation: “Entrepreneur's Journey”)

Since looking up some Gregory Charles Rivers (aka 河國榮 — Ho Kwok-Wing) videos a while back, YouTube keeps recommending me more and more vids with him in it…not that I mind! I love his voice and the breezy way he spoke and it's good for Cantonese listening practise!

So here's a vid from c. 2014-ish since the programme mentioned he had left TVB — Hong Kong TV station that had hired him for 20+ years — six years prior and 2007–08 was the year he quit the station full time.

Apparently a sort of info-ed programme showcasing various folks from all walks of life who are trying or starting out an entrepreneur journey? And of course, this particular episode featured the aforementioned Mr Rivers, Ho Kwok-Wing.

I find this video quite heartbreaking now in light of what happened to him and his wife, but also still so inspiring and sweet (to get a glimpse of the mutual, quiet support he and his wife had for each other) and worth sharing and archiving here too!

video summary

(it's a little too time-consuming for me to translate everything word-for-word — even if the vid is not that long — so I'm just gonna give a translation in English, for the odd person (besides me!) here who may have more than a passing interest in this man, who's largely unknown outside of Hong Kong.)

Interviewer (Vincci):

“Entrepreneur's Journey” has showcased lots of successful entrepreneurs throughout the course of this programme but there are also lots of budding entrepreneurs who need our encouragement and support. This episode's main guest is too in need of some cheering on!

Voice-over:

Ho Kwok-Wing, a face that you and I (mainly Hong Kongers who grew up in the late '80s–early 2000s) are very familiar with.

Once gracing our TV screens in countless supporting roles, six years ago, he got really dispirited with TVB and decided to finally quit full time to try and strike out on his own.

But prospects for a foreign actor in Hong Kong are ultimately limited. Ho Kwok-Wing had very little job opportunities as an actor these last few years. To try and create another path (and earn a living) for himself, he and his wife decided to try their hand at a DIY trinket/jewellery business.

Vincci: So why did you think of starting such a business in the first place?

GCR/HKW: Not me really! I'm just an employee! (laughs) My wife runs the business! Really, it's because my wife has experience in the jewellery business, she has done jewellery exhibitions in places like Switzerland, USA, many times in the past.

So last year, when she decided to quit her job and after an extended break, gave serious thought to trying this business on our own, and how to go about it, what kinds of jewellery to procure…the whole shebang, she did all the homework, she's the one who knows (better).

She actually tried balloting (for permission) for (setting up) a (bazaar) stall many times before but wasn't successful until this time, our first try balloting for a place here in Sai Kung (西貢 — a peninsular in the New Territories part of Hong Kong). Even then, there was a 7–8 month waiting period.

Vincci: So what made you finally decide to leave TVB?

GCR/HKW: I'd been with TVB for 20+ years, I knew TVB would not give me any more room for advancement (as an actor). Although there were occasionally still good roles for me, (I knew) there won't be any more chances for me to go beyond being a supporting actor.

So I pretty much had only two choices; stay on and continue being a supporting (but increasingly dispirited) actor, or take a gamble and try to start something for myself (outside TVB).

So I decided to take that gamble. And even if I end up losing, I can at least say I've tried. If you don't try, you may have regrets for life…and you never really can know what the outcome will be!

Vincci: I know right now you're taking things on the chin, striving hard to get by, so did you ever think that this is too difficult and you should just go back to TVB for more job stability and call it a day?

GCR/HKW: Someone I've known for a long time just asked me a similar question this morning, like, why don't I go back to TVB? At least there'll be a base salary, and I told my friend, TVB does not do “base salary”! My friend was taken by surprise, thinking a contract with TVB would guarantee me a basic salary but the reality is, I'd only get paid if I actually had an opportunity to be in something! Being tied to TVB is no guarantee of salary stability.

I've friends (colleagues) who sometimes only get to do about 1–2 projects a year, and if you'd signed an exclusive contract with TVB, that means you can't take on other projects outside of TVB.

[n.b.: these are not so-called “top tier” actors; their pay is not that high to begin with and they don't have much bargaining power to negotiate for much salary increment or more job opportunities, so many are actually struggling to get by.]

Vincci: So these past 6 years must be pretty difficult for you…after all, opportunities in the entertainment industry are quite limiting in Hong Kong…

GCR/HKW: Difficult…yeah a little…I'm probably…like what you read about in the papers too, in that group of people who are basically living on their savings right now…seeing our savings shrink, shrink, shrink, shrink, shrink! (chuckles) Right? But…we're not giving up (yet)!

Voice-over:

Due to Hong Kong's sky-high rental prices, Ho Kwok-Wing and his wife cannot afford a brick and mortar store and can only afford this “nomad” style of business, moving every other month, going along with where the bazaar goes. And this weekend, after two days of being under the humid, 30°C weather, they have only managed to make about HKD$2000 (approx. USD$250) in total.

But enduring these hardships is not just for making a living, but for personal ideals (and dreams).

Vincci: So the transition from being someone on TV to now running a (modest) business (in a street bazaar), is there any sense of awkwardness/difficulty for you to be seen as falling on hard times and doing this to earn a living?

GCR/HKW: Difficulty…no I don't actually feel so. Because I've long treated Hong Kongers as my friends and they too have embraced me as a local and good friend, like, I'll smile and greet anyone (who recognises me), we'll all smile and wave, pose for photos, I'll sign autographs, everyone's been real friendly! It's a really fun and enjoyable situation really! And I'm after all just an ordinary person, not some global superstar like (Maggie) Cheung Man-Yuk for example! If a real superstar suddenly has to go from superstar status to selling trinkets at a bazaar��then yeah, they may find it hard to make that change!

But I'm OK with this and everyone (the people he's met so far) understands I'm not some big star, and ultimately we are all people and have to make a living somehow, so no one has made me feel awkward about selling jewellery at a street bazaar.

Vincci: So I know you're trying your best to also earn enough to cut your own album all this while but we all know this is a very uncertain industry and there's really no telling what the response will be like even after putting in all your effort and finances into it…

GCR/HKW: Yeah…and it really feels like all your finances can vanish any minute, going with this endeavour. Especially nowadays when people can pirate music so easily, to the point that some people don't think albums are worth buying anymore and they actually feel entitled to free music…

Vincci: So why do you still persist trying to break into the music industry?

GCR/HKW: Well because my main goal when I first came to Hong Kong, has always been to have a music career.

Voice-over:

Ho Kwok-Wing's perseverance in pursuing his dreams, even when knowing fully he's likely making a losing investment, this “gritting one's teeth and just making the best of things as they come”, this inextinguishable fighting spirit is certainly something to be inspired by and learn from!

GCR/HKW: With dreams, you have to have a lot of patience sometimes, be prepared for disappointments and also feeling utterly defeated. After so many years, and I've been in Hong Kong for 27 years now, I've learned to take disappointments in my stride.

This week's disappointments may turn into next week's joys. So this is how I deal with life now: Keep an optimistic outlook!

And I wish everyone who has unfulfilled dreams like me all the best and may your dreams come true!

#Gregory Charles Rivers #Ho Kwok Wing #Video #Cantonese #Canto Practise #My Eng Translations #Chinese Language #Language #HK Variety

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thingwithfeathers · 3 years ago

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tag 9 people to learn more about their interests

tagged by: @enniomorricone :)

MUSIC

fave genre? indie/alternative rock, and pop but not really current pop more like 80s/90s.

fave artist? bastille, twenty one pilots, fleetwood mac, the clash, the smiths, abba, probably a lot more i can’t think of right now.

fave song? my joint favourite songs are ‘with or without you — u2′ and ‘landslide — fleetwood mac’

most listened song recently? 'song for zula — phosphorescent’ it’s become one of my favoure songs ever.

song currently stuck in your head? any abba song because i was listening to them a lot earlier.

5 fave lyrics?

“It’s a hell of a long way to fall just to learn to get up” — the mess, the naked and famous.

“But now it’s just another show / and you leave them laughing when you go / and if you care, don’t let them know / don’t give yourself away / i’ve looked at love from both sides now / from give and take and still somehow / it’s loves illusions that i recall / i really don’t know love at all.” — both sides now, joni mitchell (this entire song though! really hard to choose lyrically because it’s a masterpiece).

“See, honey, i saw love / you see it came to me / it put it’s face up to my face so i could see / yeah then i saw love, disfugure me / into something i am not recognising / see the cage, it called, i said come on in / i will not open myself up this way again / but my heart is wild and my bones are steel / and i could kill you with my bare hands if i was free.” — song for zula, phosphorescent.

"Oh, mirror in the sky, what is love? / can the child within my heart rise above? / can i sail through the changing ocean tides? / can i handle the seasons of my life? / well, i’ve been afraid of changing / ‘cause i’ve built my life around you / but time makes you bolder / even children get older / and i’m getting older too.” — landslide, fleetwood mac.

“And then you put your hand in mine / and pulled me back from things divine / stop looking up for heaven / waiting to be buried / and all their words for glory / they always sounded empty / when we’re looking up for heaven.” — bastille, glory.

BOOKS

fav book genre? just fiction in general. i’ve kind of grown out of young adult so i don’t really read a lot of that, and have been reading classics lately. just any books that make you really think and are written so beautifully that you can highlight quote after quote. i’ve also been reading a lot of non fiction spiritual books lately.

fav writer? recently, taylor jenkins reid. i’ve read two of her books and they’re incredibly gripping. love the simplicity and warmth of benjamin alire saenz as well, the care that ari & dante was written with. and also emily dickinson, especially her letters in particular to susan are just gorgeous.

fav book? aristotle & dante discover the secrets of the universe, wuthering heights, little women, a little life, and recently the seven husbands of evelyn hugo.

fav book series? i don’t really read book series, so the only thing coming to mind is harry potter which i only read for the first time about five years ago now.

comfort book? little women and aristotle & dante.

perfect book to read on a rainy day? any easy read, probably several i listed above.

fave characters? aristotle & dante, jo & beth march (little women), mina murray (dracula).

5 quotes from your fave books that you know by heart?

“You teach me now how cruel you’ve been — cruel and false. why did you despise me? why did you betray your own heart, cathy? i have not one word of comfort. you deserve this. you have killed yourself. yes, you may kiss me, and cry; and wring out my kisses and tears: they’ll blight you — they’ll damn you. you loved me — what right had you to leave me? what right — answer me — for the poor fancy you felt for linton? because misery and degradation, and death, and nothing that god or satan could inflict would have parted us, you, of your own will did it. i have not broken your heart — you have broken it; and in breaking it, you have broken mine. so much the worse for me that i am strong. do i want to live? what kind of living will it be when you — oh god! would you like to live with your soul in the grave?” — wuthering heights, emily bronte (i could choose so many from this book but this is the most underrated one in my opinion and deserves more recognition).

“I will love you forever, whatever happens. ‘til i die and after i die, and when i find my way out of the land of the dead i’ll drift about forever, all my atoms, ‘till i find you again. i’ll be looking for you, will, every moment, evert single moment. and when we do find each other again we’ll cling together so tight that nothing and no one’ll ever tear us apart. every atom of me and every atom of you... we’ll live in the birds and the flowers, and the dragonflies and pine trees, and in the clouds and in those little specks of light you see floating in sunbeams... and when they use our atoms to make new lives, they won’t just be able to take one, they’ll have to take two, one of you and one of me, we’ll be joined so tight...” — his dark materials (amber spyglass), philip pullman. (don’t talk to me, this quote makes me actually ache)

“I wanted to tell them that i’d never had a friend, not ever, not a real one. until dante. i wanted to tell them that i never knew that people like dante existed in the world, people who looked at the stars, and knew the mysteries of water, and knew enough to know that birds belonged to the heavens and weren’t meant to be shot down from their graceful flights by mean and stupid boys. i wanted to tell them that he had changed my life and that i would never be the same, not ever. and that somehow it felt like it was dante who had saved my life and not the other way around. i wanted to tell them that he was the first human being aside from my mother who had ever made me want to talk about the things that scared me. i wanted to tell them so many things and yet i didn’t have the words. so, i just stupidly repeated myself, “dante’s my friend.”” — aristotle & dante discover the secrets of the universe, benjamin alire saenz.

“There are many beths in the world, shy and quiet, sitting in corners till needed, and living for others so cheerfully that no one sees the sacrifices till the little cricket on the hearth stops chirping, and the sweet, sunshiny presence vanishes, leaving silence and shadow behind.”— little women, louisa may alcott.

“And so i try to be kind to everything i see and in everything i see, i see him.”— a little life, hanya yanagihara.

hardcover or paperback (paperback for general reading and hardback for special editions!) | buy or rent | standalone novels or book series | ebook or physical copy | reading at night or during the day | reading at home or in nature (i love nature and want to be able to read outside but i cannot be in nature without being hypervigilent of bugs so wouldn’t be able to concentrate) | listening to music while reading or reading in silence | reading in order or reading the ending (i also used to read the last line of a book first for a long time but i started to piss myself off when it wasn’t vague enough) | reliable or unreliable narrator | realism or fantasy | one or multiple POVS | judging by the covers or by the summary (i can’t help it, i love pretty covers) | rereading or reading just once.

TV AND MOVIES

fave tv/movie genre? disaster/post apocalyptic, drama, sci-fi, documentary, occasional fantasy. i’m pretty on board with most things, other than horror but even that has some exceptions.

fave movie? titanic, shaun of the dead, little women (1994), eternal sunshine of the spotless mind, wuthering heights (2009 tv movie), portrait of a lady on fire, practical magic, the greatest showman, finding nemo, the grinch (2000).

comfort movie? finding nemo, little women (1994), shaun of the dead, all my favourite christmas movies which are too many to list.

fave tv show? friends, charmed, golden girls, gilmore girls, the walking dead, new girl. currently: 911.

most rewatched tv show? friends. i watch it almost every day and it would be impossible for me to count just how many times i’ve watched it from start to finish.

5 fave characters? all the friends on friends, piper halliwell (charmed), tara chambler (twd), glenn rhee (twd), maddie buckley (911).

tv shows or movies | short seasons (8-13 episodes) or full seasons (22 episodes or more) | one episode a week or binging (i’m conflicted because i miss the event of catching a show every week but at the same time once you binge watch you can’t go back) | one season or multiple seasons (but shows need to know when to stop) | one part or saga | half hour or one hour long episodes (depends on my mood) | subtitles on or off | rewatching or watching just once.

tagging: @bettyhofstadtdraper / @kubrickking / @koningen / @urispatty / @marmaladepotion / @mixye + anyone else that wants to do this, feel free to tag me to read :) !

#thank you for tagging me in this! it was really fun #i enjoyed reading your answers as well #:) <3 #enniomorricone #;

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theshortwavemystery · 5 years ago

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NOTES FROM WATCHING THE FIRST EPISODE OF “RIVERDALE”

1. Riverdale is a bizarre town that seems cut off from everywhere else, temporally straddled between an eternal 1950’s—more accurately a 1950’s stuck in an endless repetitive loop. But it takes place in the late 2010’s. Even so, the decor in the town is vintage, and the characters recognize this. The activities of the kids are vintage. the internet and cell phones exists, millennials are named, but it doesn’t seem to matter. something is very weird here, as if all these people are ghosts. all the stock scenarios and characters are here, which is to be expected for a teen drama, but there’s an exactness, a literalism, that is too perfect to be unintentional. 2. what is this world? it seems to be a staging of a certain inertia in american culture, which changes in superficial ways—technology, new TV shows, music new taboos—but all if this somehow serves to reinforce, or justify a return to the “leave it to beaver” universe. 3. any reminder that these are modern kids—their frequent references to contemporary TV shows like Mad Men for instance—only serve to increase the spooky vibe. everyone in this town seems to be low key crazy, making the show feel like twin peaks but written by what’s left of your local shopping mall. 4. the show’s script is constantly making fun of itself to the point that we seem directed by it to avoid taking the drama seriously—it is perhaps a smoke screen, like the haze of the presumably northwestern woods that seem to surround the town (it is filmed in Vancouver). the gay best friend is named as the gay best friend, establishing him as a living archaism—i felt bad for him after this. 5. plot points are shown to be cliche—the fake lesbian kiss, once scandalous in the 2000’s, is brushed off as false and an erasure of real lesbians. the script fools us, indicating it means to aim for more intelligent territory. and yet, veronica’s confrontation with cheryl, her tough girl speech, where she reveals her vulnerability as a rich girl fallen from grace but also stands up for betty—this goes without an ironic comment, even thought it is also a cliche, but a more contemporary oneq—the “mic drop” moment. so we see how the naming of particular cliches, employed ironically, serves to hide others the show is earnestly employing. 6. veronica says she needs to be redeemed for her father’s crimes, how is that fair. 7. archie’s desire to make music seems like a stand-in for a recognition that he’s gay. they cover this up by making his character straight but i don’t buy it. because his music itself clearly doesn’t matter. this is similar to the dead poets society where the kid kills himself obviously because he’s gay and he’s afraid his dad will disown him. why? nobody kills themselves merely because their dad shames them for doing theater. the reason is simple: theater is already such a humiliating and abject thing to love that you have to be totally shameless to even start doing it. once you become a theater kid your dad has lost you. in the second episode, the gay friend of betty reveals that he agrees with me here. 8. archie is the decentered center of the show, not a particularly interesting character so much as a holding container for female desire/fantasy. he’s dumb, cute boy who’s kind of artistic and kind of jockish, but the complex psychology belongs to betty, veronica, cheryl so far—all plotting, calculating characters, whereas archie just wants to enjoy himself and be liked—and to be fair, these shallow needs get him in plenty of trouble, but they’re simple needs. but this is always what archie was, even as a comic book character. he’s kicked around like a football like a more jocular charlie brown. 9. archie’s problem is identiied as the problem of "all millenial men", who need to be told what they want—but this is really everyone’s problem. what makes the girls/women different is that they don’t care that they don’t know what they want—they just act on feelings, and try to make the world match up with the feelings. archie thinks he ought to know what he wants, and then do it. but the women, whose desires as women are not even encouraged from day one, are free from this tedious problem. this is why archie is the one who has to be the moral authority regarding his mutual witness to the murder with the hot teacher, while the hot teacher is only afraid people will find out she fucked a student. veronica brushes off archie’s identity crisis as a false dilemma, critiqueing the categories of “jock” and “artist” and insisting he can be both, and anyway who gives a fuck? but this whimsy and indifference toward boundaries can get devious with veronica, who is betty’s friend one second and hooking up with archie the next. 10. although women are still often denied full subjectivity in literature, in real life it’s always been the opposite—men tend to forego personality development in favor of power or the illusion of power, and end up more shallow, rigid and fragile, more prone to the whims of their entourage. they never really have to become anything in particular--masculinity functions like a hive mind. if male relationships superficially appear to have less friction, it is only because men are brutally conformist and end up with little personal to argue about, usually coalescing around some common interest and not prone to discussing their respective inner lives--except, occasionally to defensively deny their existence. so-called "sensitive" men only do this in more devious ways--it's obvious that jughead is the most devious character we've met so far. women, in contrast, are each a hive mind unto themselves, compelled to construct an array of selves, carefully deploying them to get by in a world structured by the male gaze and booby-trapped by the machinations of other women. this complexity is of course terrifying to men who either submit to it as a fetish or suppress it— and one way of accomplishing that suppression in literature is to create stories where the men are supposedly complex and the women supposedly shallow and dependent wholly on men--the typical gaslight job of the mediocre male writer. this is clearly a show that, whatever its other blindnesses, is not going to let that happen. 11. we are told through veronica that archie is more dangerous than he looks. why doesn’t the show want us to figure this out ourselves? this feels ironic on the writers' parts, another winking use of cliche. 12. everyone’s problem is a cliche—archie’s father pressures him to do sports to get into college, he wants to do something else. betty’s mom is controlling and betty is a people pleaser who already in the first episode explodes about how perfect she has to be all the time and can’t she just do something for herself for once? 13. the music is annoying and cloying but it also grounds the contemporary nature of the show, because of its peculiar sense of melodrama, which is endemic to this time period, and the neoliberal overvaluing of the self. 14. the video on this show seems filtered into oblivion, or photoshopped or otherwise conspicuously treated. just like the self-awareness of the script, it contributes to the sense of unreality. 15. more self-aware cliches: archie and betty grew up next door to each other—they’re stuck in a feedback loop of being the ____ next door. cheryl describes herself as the queen on stage at the dance. 16. classic literature is referenced oddly—betty loves toni morrison, even though by the end of the episode, we have been introduced to zero black main characters. is this self-aware critique of white fetishization of blackness? and there's also thornton wilder’s “our town”… veronica suggests that the high school is part of the lost epilogue from “our town”—wilder also presented a transparently fake and timeless town to stage his existentialist story in, one in which horrifyingly, dead people remain in a liminal space between death and life, vainly trying to communicate with the living they can still see. 17. every celebrity/media reference is bizarre. a thin veneer draped over an unchanging reality. "Riverdale" seems not so much about the dark underbelly of suburbia, but about the idea of suburbia is the dark underbelly itself. a murder has to happen because someone has to bring death here, lest everyone become paralyzed by their immortality. 18. archie’s “making a deal” with the hot teacher is way more erotic than anything he’ll do with b or v… why is this happening at the Dance lol, unless we are to read it this way? they have shared the most precious thing in this town, death... why does archie love the teacher and toy with his peers? because they can't give him death. clearly archie is blackmailing the hot teacher into continuing the relationship, but he does so seemingly unaware of his own motives. he lives in the age of youtube tutorials, he doesn't need music instruction. and here is another paradox of the modern gender binary--men think they don't know what they want, but unconsciously they know what they want--they receive their instructions from the Borg Queen of masculinity and pursue it ruthlessly, whereas women end up thinking they know exactly what they want, but unconsciously they don't, because it's fractured amongst their afformentioned hive of selves. This is why both traditonally-socialized genders are completely right in saying the other is full of shit. 19. “we have no past” goes the song josie sings—and maybe this is america’s problem—the past is empty, the past of ordinary suburbia, interrupted only occasionally by wars perhaps but untouched by cultural progress—and because we have no past we can have no present, only an empty recycling of the same void, the same problems, the same catharses—new episodes of the same show. we live forever at the cost of never changing. is riverdale a socially critical prestige drama LARPing in the ironic costume of a CW teen soap??? 20. all the characters are trapped in a carnival haunted house ride. the theme: adolescence. 21. cheryl’s party—brett kavanaugh could have been at this party 22. jughead is the narrator, and i like the idea that this is all in jughead’s head, which is why it’s so unstuck in time aesthetically, so stylized and knowing. and it's no wonder he's the most popular character, because he represents the writers themselves, and fandom is to have an illusion of a privileged relationship not so much with the characters, but with the property's creators--and to be hyperinvested and, if necessary, hypercritical of their choices. 23. the gay hookup is interrupted by the presence of a corpse—a classic trope in teen horror but it’s interesting to see it with a gay pair. it’s as if in the clash between the perpetual 1950’s aura and the contemporary references and morality, a gruesome surplus appears, the specter of homophobia. which, incidentally is a corpse of a man guilty of a sexual act that is still considered taboo—incest. a corpse symbolizes the death of innocence for a hetero couple, but for a queer couple it can’t just be that—it also must evoke the threat of actual murder. which makes this a very different moment. 24. jughead says riverdale has changed—but it has only been revealed to be what it always was—"full of shadows and secrets", as jughead puts it. he must be putting us on—this place is way creepier than Sunnydale, and that place had actual demons… but this is often what a change amounts to—not the addition of a new trait, but the acceptance of one that was already there. 25. jason blossom is a ginger like archie and he therefore seems tied to archie in a unique way. he dies on july 4th, given some fuel to my reading as a show with something to say about america’s self-image. 26. all the parents are single parents or in strained, unhappy marriages in this town. this us realistic, but that should tip us off: what in the show has been realistic so far? debuting in january 2017, "Riverdale" seems retrospectively shaped by the trump era-a teen drama not about the undead, as buffy was, but a teen drama which is itself undead, fitting for a president who also wished to raise the dead, and also what had never lived. riverdale’s preservation of the old “great” america is superficial—indoors, a very contemporary isolation and alienation reign, in contrast even to the desperation of actual 50’s suburbia. 27. is everyone dead already in this show? is riverdale purgatory? is that what explains its being unstuck in time and drenched in fog? but i’ve been to small towns in the northwest that look like riverdale—nothing has been updated since 1954. in order to seem fake, riverdale has to be even faker that real life, even more uncanny—and that’s a tall order.

#riverdale

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aion-rsa · 4 years ago

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Director Mike Figgis Talks Trading Licks with Ronnie Wood

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Before becoming a filmmaker, Leaving Las Vegas director Mike Figgis was a musician and performer in the experimental group called The People Show. Before that, he played trumpet and guitar in the experimental jazz ensemble The People Band, whose first record was produced by Rolling Stone drummer Charlie Watts. He is also the founding patron of an online community of independent filmmakers called Shooting People. You can say Figgis is a People person, which makes him the perfect director to capture Ronnie Wood in the documentary Somebody Up There Likes Me.

One of rock and roll’s most iconic guitarists, Wood is good with people. He plays well with others. He is the Stone who’s never alone. Before he began weaving guitar licks with Keith Richards in the Rolling Stones, Wood helped shape the British rock sound in bands like The Birds and the Creation. He was the bass player to the guitar maestro in The Jeff Beck Group, which featured the distinctive voice of Rod Stewart at the front. They put out two albums, 1968’s Truth and 1969’s Beck-Ola, before splintering just as they were to appear at Woodstock. Wood and Stewart inherited the Small Faces from Steve Marriott and dropped the album First Step in 1970. They realized they were too tall for the diminutive moniker and renamed the band The Faces. They released the albums Long Player and A Nod Is as Good as a Wink…to a Blind Horse in 1971, and Ooh La La (1973), before splitting up in 1975.

Wood guested on albums by David Bowie, Bob Dylan, Aretha Franklin, Eric Clapton, the Band, Donovan, B.B. King, and on Stewart’s solo albums. He spent so much time flavoring other performers’ works, he didn’t put out a solo album of his own until 1974 which he aptly titled I’ve Got My Own Album to Do. Wood also went solo for 1981’s 1234 and collaborated with Bo Diddley on Live at the Ritz in 1988, Wood’s seventh solo album, I Feel Like Playing (2010), featured guest spots from ex-Faces bandmate Ian McLagan, as well as The Red Hot Chili Peppers’ Flea, Guns N’ Roses’ Slash, Billy Gibbons, Bobby Womack, and Jim Keltner.

Somebody Up There Likes Me isn’t structured like most music documentaries. It is primarily a conversation, and it veers from much of Wood’s vast output. The hard-partying musician beat lung cancer and candidly blames his excessive indulgences. He saw bandmates, contemporaries and friends, like Brian Jones, Jimi Hendrix, Janis Joplin, and John Bonham push past the lethal limits of chemical reactions. Wood himself remembers telling Keith Moon to take pills, not bottles of them. Richards remarks in the documentary how the two Rolling Stones guitarists share strong constitutions. Wood began recording with the Rolling Stones when they were halfway through their 1976 album, Black and Blue, and has been steady even up to their recent pandemic live stream.

The documentary also captures Wood’s visual artistry. He was an artist before he was a musician. His drawings were featured on BBC TV’s Sketch Club when he was a child, and he studied at the Ealing Art College. Wood did the cover artwork to Eric Clapton’s 1988 box set Crossroads. The two-time Rock and Roll Hall of Fame inductee continues to capture visions like Mick Jagger’s dancing in a Picasso style, as well as the shots in Somebody Up There Likes Me of him capturing the grace of a ballerina on canvas.

Born in northern England, director Mike Figgis was raised on jazz and Jean-Luc Godard movies. The inventor of the “fig rig” knows when to experiment, such as he did in Timecode (2000) and Hotel (2001), how to get drama out of romance, as he did with One Night Stand, starring Wesley Snipes and Nastassja Kinski, and The Loss of Sexual Innocence. He is adept at crime dramas, directing the “Cold Cuts” episode of The Sopranos in 2004 and Internal Affairs, which starred Richard Gere. He also mines deep emotional schisms in films like Mr. North and Leaving Las Vegas (1995) for which he was nominated for Best Directing and Best Screenplay Oscars. Figgis spoke with Den of Geek about cinematic jams and studio sessions with Ronnie Wood.

Den of Geek: Over the course of the film, you produced a song using nothing but your backings and an orchestra of Ronnie Woods. How was he to produce?

Mike Figgis: He was a delight, actually. We did most of the interviews and everything where he was painting, he was in his own space for that. Then the dialog, he’s very very witty and so on. But at the end of the day, the man’s a musician. Quite later on in the process I said, “Let’s go into a studio and do something.” I think the minute we got into a studio it was different. For both of us because I’m a musician too. It’s just a different kind of reality and the language becomes much simpler between musicians and understanding the equipment, the whole vibe.

Originally Mark Ronson was going to do a soundtrack for us which would have been fantastic and then he just got very, very busy because we got late. I presented him with a kind of template of how maybe could make a nice soundtrack, which is basically what we did anyway. So we did it without Mark and Ronnie was very comfortable with that.

He very much left it to me. He added a lot, obviously. He said, “I’d like to do this as well,” and so on. So, we had a pretty full couple of days in studio time. But he was great to produce.

There are a lot of musicians working on this besides you and Ronnie. Rosey Chan did the score for a painting scene.

Rosey’s my wife by the way. She’s a phenomenal concert pianist and composer and musician in her own right. She’s releasing an album now. She’s an amazing pianist, I just needed something to take us into a different zone, so I asked her to compose some piano pieces for that. Then I did some score myself. Just when he’s talking about drugs. I put a little bit of a weird score on that one.

So is this film more of a cinematic jam that you just edited in the mixing room?

Yeah, I think so. I think that’s a good way of putting it, actually.

Ronnie also worked with Bob Dylan, Prince, David Bowie, Aretha Franklin. Did you allow the interviews to determine what parts of his career you were going to include?

I actually wanted to avoid anybody else. I said, “Let’s just make it about him painting and us talking.” I wanted to make it as simple as possible. That didn’t happen because as soon as you sort of uncover one little stone, you kind of say “Oh, well obviously we should interview the Rolling Stones.” Then he started thinking, “Well, Rod’s around, we can use Rod.” When I discovered about Damien Hirst, “Actually that would be an interesting, unexpected one. That would be good, yeah.” So yeah.

It was kind of organic, really. It was all sort of scheduled based in a sense that, “When are you available?” And, “When am I available? When are these people available?” So, getting the Stones was actually the trickiest thing. You had to go to Berlin and get them between gigs when they were watching the World Cup. In between World Cups actually. Very specific.

I know you’re in the People Band which had an album produced by Charlie Watts. So, were you in the same periphery of the Stones as Ronnie Wood back then?

No, the connection with Charlie was very interesting because the People Band was a free music ensemble. I mean really experimental. Really way out. The drummer was this phenomenal percussionist, still is, called Terry Day. Terry Day went to art college with Charlie’s wife and he knew Charlie because they were both drummers, so they got on really, really well. Charlie Watts has always been a huge jazz fan. Through Terry, it was one of those moments where Charlie says, “You know, we can record you. We got a mobile studio. We can either send the mobile to you wherever you’re playing.” I’m talking about in those days, in ’68 or whenever it was, the idea of a mobile multi-track was pretty amazing. “Or you can come to Olympic Studios,” which was where they recorded Beggars Banquet and everything. It was an amazing studio. And, “We’ll just give you the studio and the engineer, and you guys do what you want.” That’s how that came about and it was really lovely.

Over the years, once in a while I would see Charlie and just catch up, talk about drumming, really. And jazz. So it was really nice interviewing for this one again.

When you were asking Rod Stewart about Peter Grant, he sort of cut back and he became the young man that was bullied.

He did, didn’t he? When he said, “I’m protecting my hands and my face.”

The gangster aspect of that mid ’60’s period, especially with Peter Grant, how did that affect the musicians and the working? Do you think it actually in some ways was good for it?

Well, you know that comes about from a very strange coincidence which was sort of touched on in the film. But, quite a few years back, Malcolm McLaren was wanting to produce a film. A feature film about Led Zeppelin and as a result of that, he and I went and interviewed Peter Grant which is where that footage comes from. I did a huge amount of research into Led Zeppelin and Peter Grant at the time, and spoke to and interviewed a lot of the people who were involved with their success. I didn’t interview Johnny Bindon, but he was a key figure. Johnny Bindon was a kind of very violent criminal. In London. Very good looking. He became an actor for a while. Had amazing sexual legends built around him involving royalty and all kinds of things, and was part of a kind of fashionable gangster scene. The craze and all the rest of it. The London gangster scene.

Sort of became fashionable because people went to all their clubs, and hung out with them, and David Bailey photographed them and all that. So there was a kind of a zeitgeist about gangsterism. There’s an incredibly good book written about it called Jumping Jack Flash which came out two years ago. Bindon became one of the agents for Led Zeppelin and famously beat up somebody so badly on one of their tours that was hospitalized. He was a very mean individual.

The whole association with Led Zeppelin was very much gangsterish because of Peter Grant and his associates who had those stories and so on. So that was a kind of one aspect, and also a lot of the management were fairly crooked in London at that time. There’s a bit of a gay mafia and all the rest of it, so part of the folklore of that period of British rock and roll is very gangsterish, and very much part of the story.

Whenever I think about gangsters and British rock I think of the movie Performance. When you’re filming conversations in the moment, are you saying in your head “this is filmic?”

Not consciously, no. I accept it as being part of the fabric, actually. I try to make everything filmic anyway, so I’m always trying to get as far away from any kind of documentary feel. I like things to have a live element to it.

I loved Peter Grant’s Gene Vincent story. In the Beatles Anthology, George Harrison tells a similar one. What did Gene Vincent mean to young British rock and roller’s that everyone’s got a story about them?

Oh, because he was there, he was around. A little bit like the stories about everyone remembers Big Bill Broonzy and everyone remembers Sister Rosetta Thorpe. Main reason for that is they were a part of a very small group of musicians who were allowed to visit the UK during the Musician’s Union ban on touring. We were basically deprived of a lot of American musicians after the war, and the only reason Broonzy got in and Sister Rosetta Thorpe, was folk musicians were allowed in as opposed to, say, Louis Armstrong.

They all came in as folk singers even though they weren’t. I mean Broonzy was a fully-fledged Chicago blues musician and so was Sister Rosetta Thorpe. But everybody knows that. Anybody that was anybody around at that time would know those names. And Gene Vincent has become a kind of UK legend.

Do you see Ronnie as a very varied painter?

I wanted to capture a certain aspect of his art which was the line drawing. When we first started talking, I looked at all his art books. He does huge canvases with a lot of color, featuring the Rolling Stones, et cetera, et cetera. I was less interested in those. Those sell for a lot of money apparently and people really like them.

But when I saw his line drawing, his very quick drawings. Line drawing is very, very important. Sketching is very important in the same way that when you hear a very basic demo from a musician, there’s a certain truth about that. Then you can produce it and over produce it, and you can make it super sophisticated. I was interested in the bit that leads up to the way that he started producing. I wanted to set up situations where I would just see his line drawing. His ability to control lines, that was amazing.

Then physically watching him do that is fascinating. I love filming people playing their musical instruments. There’s a certain truth about that, they get into their thing. And watching him draw I thought was fascinating. His concentration, absolute. Even in the interview with Damian Hirst. He’s so focused on what he’s doing that he doesn’t really pay much attention to Damian Hirst. Sort of answers the question. He doesn’t pick up on any of the jokes. Because he’s really focused on what he’s doing.

Watching his live stuff, Wood is a different person. While he’s playing guitar, you see him and Keith joking around.

I think that has something to do with the eye. Because I think it’s about blues guitar. You can see the finger memory is really, really strong so I mean in that early footage he’s smoking at the same time, right? He’s smoking, joking around, getting to the microphone, late usually, for the backup vocals. And moving around and having a great time. He doesn’t have to look at the guitar to do that. However, if you are drawing something, either you make that contact with your eye, so creating the triangle between the subject, the canvas, and your eye. And you’re quite right. Radically different body language, and that’s interesting. There are two physical sides of him demonstrated on film, which you don’t really have to explain. There it is.

Is Somebody Up There Like Me a flip side to Leaving Las Vegas?

Maybe. You know, people have had a life, have had experience and come through darkness and coming to light and so on. For me, it just becomes 10 times more interesting than people who’ve just had a nice life and behaved well. Look a little puzzled that they’re not sort of 70 or something because it’s all been quite peaceful, you know? So there’s a kind of turbulence there which I think he says quite well when he says, “I see a fork in a road I take it.”

Like he says, “I would do it with my eyes more open now if I did it again.” I kind of admired that. It’s not like me. I’m much more protective. But I also loved the way he talked about the drugs. He talked about, “I would never get to the point of losing control because I always knew.” Because he’s very ambitious. “I always knew where I had to be next and I never wanted to be at the place where I couldn’t control where I wanted to be.” I’m sure there were a few exceptions to that, but in general, that was quite truthful.

You’re known as a very experimental filmmaker and I was wondering how you keep coming up with different ways to look through the camera?

I got sort of bored with 35mm and started going back to 16mm and then when video got more interesting, looking at video. Then as video got smaller and XLR happened, that radically changed the possibilities. Then as the world changes, like with at the beginning of this conversation we talked about the coronavirus effect. And how the Timecode principle, how that then ties in with what is possible in terms of filmmaking, really.

When you were making Timecode, did you know that you were predicting pandemic filmmaking?

No, although looking back I can think where it’d be really useful now.

The Rolling Stones streamed their performance early in the pandemic, is this the future of entertainment and is it an imposition?

I think in a way it is. Obviously at some point we will get coronavirus under some kind of control. But there are dire predictions about what’s coming next in terms of the unleashing of the demons that come through global warming, et cetera, et cetera.

On the one hand, maybe these variations of these conditions will continue well into the future. But I think even if it was just coronavirus, I’m talking about making films with various people right now, it’s almost like unless you actually acknowledge the world as it is today and has been for the last six months, any film that you make is going to have an air of unreality about it because this is quite definitely a global reality now. The way we’re communicating now and so forth.

I’m doing a masterclass in London at the film school next week and I’m going to be talking just about that to young filmmakers. The best ways to go about making films now.

As a jazz musician, what did you make of Jagger’s classification of jazz from back then?

It was pretty accurate, actually. I’d done the blues documentary with Martin Scorsese, the history of the British Blues, Red, White, and Blues. So, I covered that period and I was fascinated by that unique British period anyway, which is why in a way Marty and I got on so well too was because unlike America, the post war British music scene was heavily into traditional jazz and then bebop. Then folk music, and skiffle, and all those things. They all combined. If you talk to anybody, Eric Clapton, anybody, they’ll all make the same references. Big Bill Broonzy and Sister Rosetta Tharpe, and then Woody Guthrie, and so kind of everybody was listening to all those influences and people were coming out of traditional jazz and then making quite dynamic decisions about this, that, and the other.

But the Trad boom was, the commercial aspect of the British jazz movement was very commercial, and immediately commercialized. There are some great musicians, but not the hippest genre in the world, so Jagger’s commented quite rightly if you want to be a young, sexy, happening musician, you’re not going to base your style on your grandfather’s taste and the rest of it. It was a kind of nice point of view. I loved it when he said, “I like the MJQ because of the way they looked and the way they played. I’m not sure I was crazy about the music or something like that.”

And I loved that he said, “We can be like that or we can be something different.” I love that moment in the film where you actually suddenly see the Stones kind of go, “Yep.” That’s pretty different from those two choices. That was, you’re creating a new genre there. And I have to say, my respect for the Rolling Stones went very, very high in making this documentary. I always like the Stones. I preferred more basically a blues band and I was listening to a lot more complicated pop musicians and jazz musicians.

I read that you’re doing a K-drama about the #MeToo movement. Would that be in the K-pop industry?

Yeah, I became interested in Korean film of course like most filmmakers. And then on an impulse, two and a half years ago, I bought a ticket to Seoul and I went and stayed there for three or four weeks, and just went around meeting people and just trying to get a handle on their film scene, initially. Then, I kind of got hooked on K-dramas as well and started to meet the actors. That’s turned into a project that’s been in development for about a year now. It’s going really, really well, but coming up with this series of scenarios. Sort of loosely around the #MeToo movement, really but just to do with the Korean social pop entertainment scene. And that’s what that was there.

I didn’t know that the Stones had originally thought about asking Ron Wood to replace Brian Jones. As a musician, you said they stuck to their guns. Do you think that would have been more true had they skipped over Mick Taylor and gone straight to Ronnie Wood?

It was interesting because that period, because obviously Jagger comes from a very much blues background. But by that time he was a megastar and the Stones were very much “Mick Jagger and the Rolling Stones.” He was making movies, he was hanging out at the clubs, he was the hip guy. So obviously his horizons were expanding and he said that having Mick Taylor in the band really expanded his horizons as a songwriter because the voicings that Mick Taylor used. Mick did incredibly lyrical runs as the guitarist. Not a straight down the line blues player by any stretch of the imagination. A great blues player, but that’s not all he did.

So, I can imagine at that period, it would have been totally understandable if they’d continued to go in a different direction. I think what happened when Mick Taylor walked out, there was a kind of obvious cause of action to go to Ronnie. That probably then put Keith in a more comfortable zone in terms of the two-guitar thing because I would imagine that with Mick Taylor in the band, Keith’s role must have been definitely not so much the two-guitar thing because they are functioning at different levels. Probably in a way, back to a kind of grassroots level by bringing Ronnie back in.

Also, he looks like them. They were like brothers at that point. There’s a kind of a, suddenly a cohesiveness to the band as a band in a different way. Mick had a wider range in terms of songwriting and performance. A different way to go, but I think he was more than happy to go back into the kind of grassroots journey that they’d been on.

It’s very interesting how one musician can radically alter the destiny of the band, the longest lasting band in rock and roll history basically now.

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Ronnie Wood: Somebody Up There Likes Me will be available as a Virtual Cinema release at www.ronniewoodmovie.com starting Sept. 18 running through October. It will be released on DVD, Blu-ray and deluxe hardback book release on October 9.

The post Director Mike Figgis Talks Trading Licks with Ronnie Wood appeared first on Den of Geek.

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hysmpod · 5 years ago

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Transcript: Have You Seen Me? Episode One: Kitty Scott is Missing

Hey listeners! Sorry this took us a while. We at HYSM? are dedicated to accessibility in the audio drama community and will always make transcripts free to everyone. If you are interested in viewing annotated scripts, though, they are soon to be available to patrons! For as little as $1 per episode, you can get early access to episodes as well as these annotated scripts and other goodies. Click here to learn more.

Without further ado, here is the transcript for Episode One: Kitty Scott is Missing.

SFX: A cassette tape click. OPHELIA takes a deep breath, a second. When she speaks it is with a slight tremble.

OPHELIA

This is going to be difficult to say. When I first started using this recorder, I never thought I would be doing anything serious with it. Not like this, I mean. I always thought our investigations were serious and important, like it mattered that we were proving something’s existence. I mean, ghosts are real, but of course we knew that way before we put it on cassette. We agree that if Bigfoot does exist, and we aren’t saying that they do, they should just be left alone. Three-eyed deer who will draw you into the woods to great fortune or great peril… again, some of us remain unconvinced, but I myself am a believer.

I… The date is April 19th. My best friend, Kitty Scott, has been missing for almost 48 hours. And I have no idea where she is.

To say it’s unlike her would be a gross understatement, but I guess that’s what a lot of people say, right? When people go missing? “It seems so unlike them. I can’t imagine why. You think you know somebody.”

The thing is that I do know Kitty. I know her better than I know anybody in the world, even Isaac, even myself. Her brother James--who can go straight to you-know-where at his earliest possible convenience--he says that she skipped town. And that’s what everybody thinks, but it isn’t true. I’m sure of it. Kitty wanted to leave, but she wouldn’t. She’s still here. Somewhere.

So, who’s on my side? Isaac, for sure. He’s known Kitty for her whole life--well, everyone here has--but she’s basically lived here for the last two years. He not her best friend, but he is her best friend’s uncle and legal guardian, so close enough.

Sheriff Hayle will back me up, I bet. She’s something of a mystery herself, sure, but when it comes down to it she is smart as anything and hates James just about as much as I do. Not great for mayoral-police relations, but I don’t think anybody really cares that much. If I tell her what I know, she’ll believe me. Oh, maybe she’ll even let me work the case with her! Oh my god, Kitty will think it’s hilarious. “Detective Ophelia Joy, Amsterdam PD! Pew pew pew pew pew!” Yeah, I like it.

And then there’s the new kid. He’s already offered to help, which is great news. It’s kind of hard to get a read on him, but he seems honest enough. Pretty sharp. Nice and all.

Maybe I’m not giving him enough credit. We never get new folks in town, so I don’t really have a lot of room for comparison. Everyone I know is someone I’ve known for years. And someone who’s known Kitty for years, which will either be very good or very, very bad. She has a very unique… and… strong personality. That I love, obviously.

But I guess that’s the team. Isaac, Sheriff Hayle, the new kid, and me. Now I guess we do what detectives do; we look over what we know. We investigate what we don’t. We solve the case!

Let’s break it down.

SFX: A click as the tape ends.

After a moment:

KITTY

Bug, I love you, but that’s the dumbest shit I’ve ever heard in my life.

OPHELIA

Just think about it--

KITTY

Ghosts? Why not. Werewolves? Okay, fine. I’ll even take a stab at fairies if they aren’t the Tinkerbell kind. But what you’re spouting is bullshit, babe.

OPHELIA

What is so hard to believe about a three-eyed deer?

KITTY

(Dramatically) The three-eyed deer, eerie in its grace, its centerfold eye radiating gold. Beware its gaze, or it may steal thine soul! “Hear it not, Duncan, for it is a knell / That summons thee to heaven, or to hell.”

OPHELIA

...Well when you quote Macbeth you make it sound stupid.

KITTY

Shakespeare was right about a good many things.

OPHELIA

But this is real. I’ve been doing research at the library archives, and--

KITTY

You’ve been sneaking into the library archives when Mrs. Fumero isn’t looking.

OPHELIA

I’ve been sneaking into the library archives when Mrs. Fumero isn’t looking. And there have been multiple accounts of these deer. Not like, on the front page, but still. A lot of people say they felt compelled to follow them into the woods, where great danger surely awaited… or greatest fortune.

KITTY

You see? How does that not sound fake?

OPHELIA

Truth is stranger than fiction, dear.

KITTY

(Tsks) Listen to us, sounding like an old married couple. And you know what wives do for their wives? They tell them how the Scottish play ends.

OPHELIA

They tell them how the Scottish play ends?

KITTY

Oh, would you? You’re a doll.

OPHELIA

You can memorize it--not even one of the best lines--but you can’t bother reading all of it?

KITTY

Please don’t question my genius, Bug. And I know you didn’t read it either. You just watched some high school performance on YouTube!

OPHELIA

It was meant to be seen and not read anyway.

(She sighs)

Pretty much everyone dies because MacB isn’t fit to be king. Um, Lady MacB gets obsessive about washing her hands clean of blood and then dies. The witches give ole Mickey a prophecy that no man born of a woman can kill him, so Macduff kills him because his mother had a C-Section, so he wasn’t technically born, so he can kill Macbeth.

KITTY

Wow. That shit’s depressing.

OPHELIA

What do you think “the Tragedy of Macbeth” means? It’s on the front cover!

KITTY

Bold of you to assume I read what I don’t have to. As exciting and invigorating as this is, I better get going. It's, like, ugh, midnight, and that essay’s due first period. It’s not going to write itself! I would know, I’ve bet on that happening before.

That ending’s kind of stupid, anyway. Lady MacB could have killed him. She’s not a man of woman born, right? A little stab there, a little “I am no man!” Lord of the Rings, baby!

OPHELIA

Eowyn could take me out, honestly.

KITTY

Like a date, or with her sword?

OPHELIA

I’m impartial.

KITTY

I feel it. Hey, we’re gonna meet at the Igloo after school, right? You promised a birthday sundae, and if you fail to complete your end of the bargain, well… (Her voice drops) You may meet an unfortunate accident.

OPHELIA

(Laughs) I won’t let you down, boss.

SFX: Kitty leaves and walks down the stairs

Hey, what do I get out of this?

KITTY

(Distantly)You get to hang out with me! Love you, Bug!

SFX: The door slams behind her.

OPHELIA

Love you too.

SFX: A cassette tape clicks.

OPHELIA

I hate the phrase “the last time I saw her.” Let’s call it the most recent time instead. It seems more confident. It was the night before her birthday, the 17th. Well, April 17th, and she turned 18 on the 18th. Oh, this could get confusing. Okay, so let’s call April 18th the day of the incident, which is also her birthday. But, come to think of it, we don’t know whether whatever happened… happened on the day of the incident, the 18th. It could have happened very late on the 17th, when I saw her most recently.

Oh my god, this would be way clearer written down. Curse my dyslexia! Pens are way too slow, and the computer is even slower. Tape, you are the only constant in life. I owe it all to you, buddy.

In any case, we don’t know when the uh… the incident, uh, incited. I used to ask her to text me when she got home, but she always forgot, so I kind of gave up. I haven’t talked to James or Lizzie yet. Which is to say that they’ve tried their best not to talk to me. Sometimes I forget that Lizzie used to be my babysitter. She used to be so cool before she married that d-bag.

It’s like once they got married they started sharing all of his baggage. I’m an only child, so maybe I just don’t get it, but aren’t you supposed to love your siblings? Maybe that’s a lie fed to me by years of TV, but I thought the worst it was supposed to be was a few pranks, maybe a scuffle. I’ve never seen people with as bad of a relationship as Kitty and James. I don’t think he’s ever given a crap about her, and she knows it. It’s a wonder the whole town doesn’t know it, but he’s the golden child. He could probably kill someone and they’d forgive him for it.

(Pauses) He wouldn’t, would he?

Okay, maybe I need to get a little perspective before I accuse the mayor of murder. He probably didn’t do it, but I wouldn’t put it past him, morally speaking. Can you hire a hitman in Ohio? I don’t think so, but it might be worth looking in to.

(She clears her throat)

Back on the case. At first I didn’t realize that anything was wrong. We don’t have any classes together before lunch, but I didn’t see her at our usual table. I asked around, but Cassidy B said that she didn’t see her in geometry or English. I texted her during lunch, but she didn’t respond in time for the next class.

Now, when your friend doesn’t show up to school one day, typically your first thought is that she’s sick. Maybe she’s throw up, or she has a fever. Say it’s her birthday, which it was; Maybe she’s skipped class to play video games all day. It wouldn’t be out of character.

I, on the other hand, had the initial thought that she had been kidnapped. After she left that night, I admit that I watched a few… or a lot of true crime videos online. I can’t stop thinking about the case about this girl from the early 2000’s. She was a child genius, she played a ton of instruments, that kind of thing. Then one night, a man that once did construction on her family’s house broke in through her window and kidnapped her. It took them months to find her, and among the other unspeakable things that happened to her, she had been hidden in plain sight. Her kidnapper would dress her up in a disguise--you know: glasses, a wig, a veil--and called her his wife, and hardly anyone was the wiser.

The whole thing is pretty scary. No, it’s more than that. The idea that it could happen to you, or to anyone, even, it keeps you up at night. The idea that there’s just something right in front of you, and you just can’t see it.

Better keep my eyes open, I guess.

SFX: A click as the tape ends.

SFX: A voice mailbox tone.

SFX: Bird chirping.

KITTY

This is Kitty. Leave a message, or don’t. The choice is yours. Use it wisely.

SFX: A voice mailbox tone.

KITTY

This is Kitty. Leave a message--

SFX: A voice mailbox tone.

KITTY

This is Kitty--

SFX: Bells jingle as Ophelia walks into the Igloo. Birdsong fades.

EMPLOYEE

(Bored to death) Sorry man, cash only.

LIAM

Wait, for real?

EMPLOYEE

That’s what it says on the sign. We don’t even have a card reader.

LIAM

(Stumbling over his words) Okay. Then you can just--keep it, I guess.

OPHELIA

Hey, wait! I can cover it for you.

LIAM

Really?

OPHELIA

Yeah. It’s, what, a tornado with M&M’s? Those things are like, two dollars. It’s not a big deal.

LIAM

I can pay you back, I promise.

OPHELIA

Deal. And can I get two sundaes, the works?

EMPLOYEE

Sure thing, ‘Felia.

LIAM

Felia?

OPHELIA

Oh, it’s a nickname. The whole thing is Ophelia Florence Joy, which is exactly why I go by Fee.

LIAM

Yeah, that checks out. I’m Liam. Summers. Liam Ferdinand, if you want the whole thing.

OPHELIA

I must say, that’s a pretty good one.

LIAM

Thanks, I picked it out myself and everything.

OPHELIA

You’re not from around here, are you? Not to be weird, but I would remember seeing you. We don’t get a ton of fresh faces outside of summer fair season.

LIAM

I was hoping it wouldn’t be so obvious, but yeah, my parents and I just moved here. Yesterday, actually.

OPHELIA

I didn’t see any moving trucks. Um, where are you...

LIAM

Birch street. On the other side of downtown from here, I think.

EMPLOYEE

(In the background) Two sundaes, plus the tornado, that’s seven.

OPHELIA

Here. That’s a really nice area. You might be neighbors with my best friend. Have you met Kitty yet?

LIAM

You’re actually the first person I’ve really talked to here. We just got to town last night, and we had to switch banks when we moved here, right? So I don’t have an account at the new bank and I spent all my cash on road trip snacks. Hence, the credit card fiasco and my debt to you.

OPHELIA

(Sighs) I was kinda hoping you’d met her. She hasn’t been responding to me all day.

LIAM

Is she sundae number two?

OPHELIA

Yep. You know, this could really work out well for both of us. Want a ride home?

SFX: The recorder clicks on.

OPHELIA

Like I said, the new kid is pretty cool. He’s from New York--the city, not just the state--which automatically makes him the coolest person I know. Kitty would kick me for even daring to imply that it isn’t her, but she’s never even left this town, so that’s that. I mean, aunt Jen is from Jersey, but it’s not quite the same.

You technically aren’t supposed to be on the phone while you’re driving, but I figured I would make an exception while I drove the new kid home to call James’ office to see what was what. His assistant, Janet, definitely knows that he has something out for me. She didn’t even bother giving me some dumb excuse, like “he was in a meeting.” She just put me on hold for the whole ten minute drive to Birch Street. Birch… you know, there’s a scathing rhyming joke I could make, but hey, high road.

As I guessed, Liam now lives right next door to the Scott residence. I say right next door as if there isn’t three acres between every house on that road. It isn’t a very neighborly area, but then again, neither is my house, so I have no room to talk.

Macey answered Kitty’s door. She’s about six or seven now, and she’s already really smart. Kitty loves those kids, Macey and Junior. Which is why, when Lizzie came to the door and told me that Kitty hadn’t come home that night, I got out of there pretty quickly. I think kids understand more than we give them credit for.

SFX: Recorder clicks off.

SFX: The sounds of light traffic.

SFX: A door slams, followed by...

SFX: the sound of running as Ophelia approaches the police station.

OPHELIA

Sheriff Hayle! Sheriff Hayle!

SFX: She trips over gravel.

Sh--I’m fine! I’m fine.

HAYLE

Jesus, kid. Almost made me drop my tea. What’s got you screaming?

OPHELIA

I--She, Kitty, she--

ISAAC

Fee, what’s wrong?

OPHELIA

She--Uncle Isaac, what are you doing here?

ISAAC

I got off early. I’m having tea with a friend. Ophelia, what’s going on?

OPHELIA

Kitty didn’t make it home last night. Sheriff Hayle, she was over at my house until maybe midnight, and then she left, and then I didn’t hear from her, and her sundae melted, so I went to her house and Lizzie said she didn’t come back, and I-- You know, not to jump to conclusions but--

HAYLE

Let’s take a deep breath, okay? You’re not just jumping, you’re headed for the trampoline. You sure she’s not just at a friend’s house?

OPHELIA

Sheriff, you know Kitty and I aren’t the kind of people to have two whole friends. We refer to those as “backup buds.”

HAYLE

Have you talked to James?

OPHELIA

I tried. It went about as well as you wouldd expect.

HAYLE

I’ll probably have better luck. You said you saw her last night?

OPHELIA

Yeah. Hey, here's an idea; I’ll head along Mulberry, see if I can spot any clues, maybe talk to some neighbors? I bet Angela Bryant saw her drive by, that woman is always up late--

HAYLE

I don’t think so. Isaac’s gonna drive you home, and you’re gonna stay there. You’ve had enough excitement for today, I think.

OPHELIA

Um, sorry? I’m not going to sit down while Kitty’s god-knows-where! What if she’s hurt, or, or scared?

HAYLE

Young lady, are you doubting my ability to do my job?

OPHELIA

(Quietly) I mean, a little.

HAYLE

Ophelia, I’ve known you for a long time, and I like to think I know you pretty well, you and Kitty both. And if there’s one thing I know, it’s that you’re going to try to take this into your own hands. How many times have I caught you hopping my back fence?

OPHELIA

Only, like, three times. Four, tops.

HAYLE

This isn’t the case of the missing garden rake, you hear me? We don’t know quite what this is yet, but if it’s serious business I can’t get a civilian tangled up in it all. Not only for your sake. I need you to think of Kitty. If you start poking your nose where it doesn’t belong, I don’t know what could happen.

OPHELIA

Sounds like a threat.

HAYLE

Jesus, Joy. You know I didn’t mean it like that!

ISAAC

Come on, both of you. Nothing’s getting done just standing here.

OPHELIA

Fine. But you’ll let me know if you find anything, right?

HAYLE

Sure, kid. Sure.

SFX: Ophelia and Isaac walk across gravel.

SFX: Car doors open and shut.

SFX: Street noises fade.

SFX: The engine starts.

ISAAC

How about we go home? I think there’s some pizza in the fridge.

OPHELIA

Okay.

ISAAC

(The most awkward man alive) Just watch, Ophelia. Things are… They’re gonna be okay.

SFX: Recorder clicks on.

OPHELIA

As you can probably guess, I didn’t get a lot of sleep that night. Maybe three hours, tops. I didn’t hear from Sheriff Hayle that afternoon, but later that night Isaac told me that James had no idea where she was, either. They didn’t find her car, cell phone. Nothing. It’s like she was whisked away. Not in Kansas anymore. Now there’s just… hoping and waiting.

Wow, I couldn’t even convince myself for five seconds, huh? I know the sheriff has good intentions, but she’s got to be the dumbest person alive if she thinks I’m going to sit back like a good little girl while she does all the work. I’ve got a good brain and a car and a tape recorder. I know Amsterdam like I know my own brain, and I know Kitty even better. I’ve got, you know, goodness and the power of love on my side. That’s all it takes, right?

Let’s get ‘er done.

SFX: Recorders click off.

SFX: The light chatterings of a crowd.

HAYLE

I’d like to thank everyone who came out to this preliminary search. As you know, Kitty Scott has been declared missing as of yesterday, presumably since very early that morning. Now, Kitty is no longer a minor, so no Amber alert has been issued, but her safe recovery is still an APD priority.

We will now be breaking into small groups of two or three to comb the area between the Scott residence on Birch Street and Foxhole Road. We’ve passed out maps with individual areas highlighted. Those will be your search areas. The whole thing should be about five square miles. If you find anything suspicious, please let the police department know as soon as possible, and an officer will be dispatched. Sound good?

SFX: Murmurs of agreement from the crowd.

LIAM

Hey, Ophelia! Uh, Fee!

OPHELIA

Liam? Hey.

LIAM

Do you have a search partner yet?

OPHELIA

Well, I was with my uncle, but I think he’s gone off somewhere. You can be with me, if you want.

LIAM

Great, thanks.

SFX: They start walking.

SFX: The sound of the crowd disappears.

I just wanted you to know that I’m sorry. About this whole thing. I know you’re best friends and all.

OPHELIA

Yeah, we’re pretty iconic. Dynamic duo, kind of thing. Sundae number two.

LIAM

It really sucks, then. That she would just leave like that.

OPHELIA

So that is what people are saying. That she’s a runaway.

LIAM

I mean, yeah. Just from what I’ve heard, it doesn’t seem like she had a lot of Amsterdam spirit.

OPHELIA

That much is true. She doesn’t.

LIAM

But you don’t think she ran?

OPHELIA

Even better. I know she didn’t.

LIAM

Then what happened to her? Maybe it’s just me, but if it were my best friend, I would rather she have run away than anything else. Better out there and free than here and hurt, you know?

But I’m sure she’s fine!

OPHELIA

I know that Kitty wouldn’t leave voluntarily because I’m still here. She wouldn’t run away. Not without me. Kitty is in Amsterdam, and I’m going to find her. Just watch.

SFX: Outro music.

NARRATOR

This episode of Have You Seen Me? was written by Emma Quinn and directed by Lauren Miles. It starred Emma Quinn as Ophelia Joy, Tobias Paul as Liam Summers, Gina Moravec as Sheriff Hayle, Jared Bruett as Isaac Joy, Lauren Miles as the Igloo Employee, and featured Kashia Ellis-Taylor as Kitty Scott. This episode was recorded at Redhawk Radio with sound production by Mikel Prater.

If you like what we do and want to support us financially, please consider becoming a donor on Patreon for as little as $1 a month. [EDITOR’S NOTE: We have now switched over to a per-episode payment schedule] Go to patreon.com/hysmpod to learn more. If you would like to support us emotionally, consider leaving us a rating and review on iTunes. Follow us @hysmpod on Twitter, Instagram, and Tumblr, or at Have You Seen Me? Podcast on Facebook. We would love to hear from you.

Thank you for listening, and keep your eyes open.

SFX: Outro music fades.

#hysm pod #hysm #Have you seen me #have you seen me podcast #transcript #podcast transcript #everyone does all their lines so neatly #except for me (emma) lol #the burden of talented friends

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iamdatfilmbitch · 6 years ago

Text

Umbrella Academy

“Are you kidding me?!” That’s what I screamed as the end credits rolled on the season finale of Umbrella Academy. I guess it ended on a cliffhanger as most shows do. But I selfishly wanted all my questions answered in that final episode. I didn’t even consider that there may be a Season 2, which thankfully there will be. I enjoyed the show as a whole, but I’m not gonnalie, it was a bit slow-paced. Most TV shows I love to binge, but Umbrella Academy didn’t hold my interest enough for me to watch two episodes back to back. I would take like a week-long break between each episode. But I wanted to finish it because (1) my sister recommended it, and (2) I love Ellen Page. Juno is one of my all-time favorite movies. Ever since I saw her in it, I try to watch everything she stars in. And as with her other roles in X-Men, Whip It, and Inception for example, she did not disappoint in Umbrella Academy.

To give a recap, IMDb describes Umbrella Academy to be about“a disbanded group of superheroes [that reunite] after their adoptive father, who trained them to save the world, dies.” Six out of the seven children showed extraordinary supernatural abilities. The only ordinary one was Vanya (aka Number Seven). Her special ability was simply to play the violin really well. Because of this Mr. Hargreeves kept her isolated from her siblings and out of the Umbrella Academy. In present day, the siblings try to discover how their father died. Meanwhile, Number Five, who can travel through space and time, warns his siblings of an impending apocalypse that will occur in eight days. As the show progresses, we discover that Vanya has had powers all along: the ability to convert sound waves (like with her violin) into a destructive force. She becomes uncontrollable, and the Academy realizes that she will be the cause of the apocalypse. They also learn that Mr. Hargreeves killed himself. He was aware of Vanya’s powers, and knew suicide was the only way to reunite the Academy to have them stop the apocalypse. The season finale ends with the Academy failing this mission, so Number Five makes them all travel back in time to try again.

A fun fact on IMDb stated that “Vanya's developing powers are represented through her wardrobe – at the beginning of the show she wears dark clothes with her hair pulled back tightly. As she discovers her powers, her clothes become more colorful and her hair becomes looser. By the end of the first season, she wears an all-white suit with her hair fully down around her shoulders.” Little things like that make the show even more interesting for me, especially because I didn’t notice it until I read it. I also like how some characters’ storylines mirrored that of characters in other films because it helped me understand them a little more. For instance, Vanya reminded me of Jean Grey from X-Men (the original X-Men of the early 2000s, not this new generation one). Both Vanya and Jean became uncontrollable and killed (or attempted to kill) the ones close to them. Meanwhile, Leonard (Vanya’s boyfriend) reminded me of Incrediboy from the Incredibles film. Both Leonard and Incrediboy desperately wanted to be a superhero, but were publicly snubbed by the people they looked up to. They grew up to become villains, seeking vengeance and trying to destroy the ones they once admired so much.

One of my favorite characters in the series was Klaus (aka Number Four). Klaus was flamboyant and funny and didn’t really care what anyone thought. He was the comic relief that the show needed. I was proud of him when he fell in love, sobered up and started caring for people other than himself. I also loved Number Five. He was missing for what the Hargreeves children thought was 16 years, but to Number Five, it was more like 45 years. He was an old man but returned to the present in his 13-year old body. It was hilarious watching this teenager drive a car or steal everyone’s coffee. Number Five was also the only one without an actual name. Mr. Hargreeves called his children by a number instead of giving them a name. The children were eventually named by their adoptive mother Grace, who was more affectionate than Mr. Hargreeves despite being a robot. Creator Gerard Way stated that Number Five realized that numbers don’t matter, and therefore embraced his number as a name instead of a rank; another aspect of the show that seemed cool to me.

Although I previously said this show was slow-paced, I feel like it ended so abruptly. I still have so many questions. Did Leonard mean for the apocalypse to happen by helping Vanya realize her powers, or did he just want her to help him destroy the Academy? How and when did Leonard even kill Ben (aka Number Six)? Also how did Mr. Hargreeves know when the apocalypse was gonna happen, and therefore know when to commit suicide? And why tf didn’t Allison (aka Number Three) kill Vanya when she had the chance? I know that’s your sister and all, but this bitch tried to kill you and is about to destroy the whole planet. You should’ve taken her out! I’m certainly looking forward to Season 2 and will definitely be watching when it airs. Hopefully some of the many questions I have will be answered.

#the umbrella academy #netflix #superhero #luther hargreeves #diego hargreeves #allison hargreeves #klaus hargreeves #number five #ben hargreeves #vanya hargreeves #pogo #grace hargreeves #ellen page

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narumi-gens · 6 years ago

Note

might be too late but have you considered: drunk todoroki getting all mumbly, obnoxiously cute, and clingy for you, one arm wrapped around your waist and his face tucked into your shoulder, after a night out with friends

I LOVE this prompt. So much so that I went to write a small thing and ended up with almost 2000 words. I decided to set it in the same storyline as my other Todoroki fics but as a prequel to the actual pregnancy. To any other requests floating around out there, feel free to send them in. No guarantees of if or when I can do them, but they’re fun! In the meantime, enjoy.

Read on AO3.

Work had been keeping you busy recently, meaning that the nights you spent with Todoroki were few and far between. While tonight was a rare night that you didn’t need to be in the office, it also coincided with the planned get together Todoroki had arranged with his old classmates from UA. He had insisted that he could cancel at the last minute to spend the night with you, but you knew he had been looking forward to seeing his friends and you had assured him you would be fine on your own.

Which was how you ended up sprawled out on the couch in the comfiest pair of sweatpants you owned and a t-shirt that was three sizes too big, your hair messily pulled back as an episode of some mind-numbing reality tv show played in the background while you played a game on your phone. And honestly, you were fine. It had been so long since you had been able to do nothing that even if Todoroki had stayed home, you would have wanted to do the same thing. Even the thought of sex—something else that had been sparse over the past couple of weeks—felt like too much work for your one night off.

And as if your thinking of him caused him to appear, you heard a key fumbling in the lock before the person on the other side got it right and opened the front door. It then closed with a slam that seemed careless rather than angry. The sound of shoes being haphazardly kicked off came from the entryway and you heard a thump as one of them seemed to hit the wall. Even though he was no longer in shoes, Todoroki’s footsteps as he entered the apartment seemed heavier than usual, as if each time he lifted his foot it took all of his energy to do so and the thought of him struggling to just walk had you smiling to yourself.

You lowered your phone just in time to see him round the corner and enter the living room. If his less than graceful arrival hadn’t given away his inebriated state, then his flushed face and slightly wrinkled clothing surely did. Todoroki was usually so serious that to see him drunk and a bit of a mess was a refreshing sight.

Before you could make room for him, Todoroki was already crawling over you to lay between the back of the couch and your sprawled out form. You quickly scooted towards the edge of the cushion to make room for him, only for him to toss his arm around your middle and pull you back into him. Lifting up your own arm, you wrapped it around him, allowing him to nuzzle his face in your chest. He then threaded a leg between yours, the two of you now wrapped up in a tangle of limbs.

You bit back your laughter at his newfound clinginess. Todoroki always loved being close to you, but it was rare for him to be this cute about it. Burying your fingers in his soft, two-toned hair, you let your other hand rest on the arm around your waist and absently began to trace patterns along the skin of his forearm. The sensation made him sigh in contentment as he nuzzled his face further against your collarbone.

“It seems like you had a lot of fun,” you pointed out with a smile and he shook his head lethargically.

“Missed you the whole time,” he mumbled, his voice muffled slightly as he spoke into your shirt. You had to bite your lip to fight back the audible “aww” you wanted to make at how cute his response was. Instead, you pressed a kiss to the crown of his head and he gave another happy sigh. “I love you. I’m so happy you’re home.”

He shifted further, trying to somehow get even close to you than he already was. You let a sigh of your own at the sentiment, feeling a flash of guilt for having been so busy with work lately.

“Sorry that work has been so crazy,” you told him. “But I leave for my conference next week and I promise that when I get home, I’ll take a few days off to make it up to you.”

“Good,” he said and you grinned. Normally, Todoroki would have stiffly protested, assuring you that you didn’t have to make anything up to him and that you should only take the time off if you wanted to. But under the heavy influence of alcohol, he seemed much more amenable to your offer to pamper him with your time and affection. “I’ll take time off, too. We can spend the those days making up for the past few weeks.”

He gave your waist another squeeze, his fingers tightly gripping onto the soft fabric of your baggy shirt. You began to gently run your hand through his hair lovingly and he leaned into your touch.

“Did you eat?” you asked, worried that he had spent the whole night drinking on an empty stomach. It would explain his sudden need for physical affection.

“A little here and there,” he grumbled, and you could sense his annoyance at you turning your attention away from talk about the time the two of you would be spending together upon your return home from your business trip.

You gave him another kiss to the top of his head before making to move out from under his hold on you, only to find his grip growing tight as he pulled you back in with a groan of protest. He nuzzled his face back into your chest and you laughed softly at his reaction.

“Where are you going?” he asked.

“To get you some water and a slice of the pizza I ordered for dinner,” you explained. “You’ll thank me for it later.”

“But then I’ll be annoyed with you now,” he mumbled, squeezing you around the waist again and then his voice took on a bit of a whine that you only heard from him when he was absolutely trashed, letting you know that he was even drunker than you thought. “Don’t leave me.”

You knew that right now he was only referring to you leaving him on the couch while you went to grab him some food, but his pitiful tone stirred something deep inside of you. Even if it was just the kitchen, you didn’t want to be anywhere but in Todoroki’s embrace.

“I’m not going anywhere,” you whispered into his hair, giving him an affectionate squeeze of your own and you could feel him smiling happily through the fabric of your shirt as he snuggled further into your side.

“Good. Just stay like this forever,” he said through a muffled yawn and you slid the hand in his hand down to his back where you gently began to run your fingernails up and down in a soothing rhythm that had him shivering against you.

The longer you scratched his back, the slower and deeper his breathing became until you could hear him begin to softly snore. Even still, you continued to move your hand, relishing the closeness. However, you then looked down at him with a less than amused expression.

“I swear to God, Shouto. If you throw up on me in the middle of the night you’re going to have hell to pay,” you grumbled and almost as if he heard your warning, he mumbled something in his sleep and cuddled you closer. The gesture was adorable enough to melt away your dissatisfaction, but not your wariness.

With the most careful of movements, you managed to slip out of Todoroki’s arms without disturbing him and you couldn’t help but feel a small amount of pride for being able to escape from a Pro Hero’s grasp, even if the Pro Hero in question was passed out. Taking the small trash can from your bathroom, you put in a new bag and then stopped by the kitchen for a glass of water before you returned to the living room. Setting the water on the coffee table and the empty trash can by your side, you easily slipped back into Todoroki’s embrace.

Now prepared for the inevitable, you allowed Todoroki to snuggle back into your side. And when he woke up frantically a couple of hours later—simultaneously jarring you from your sleep in the process—you sighed as you easily handed him the trash can and rubbed his back soothingly as he proceeded to empty his stomach.

Once he was finally done—for the moment at least—you took the trash can from him and handed him the water, which he eagerly gulped down. Standing up, you gave a kiss to his sweaty forehead and left to go change the trash bag, knowing that this would only be the first of many times for the evening.

When you returned to the living room, you saw that Todoroki was curled up on the couch on his side. He had kicked off his jeans so that he was now in just his boxer briefs and his t-shirt. You set the trash can down beside him for easy access. You sat down on the edge of the couch, looking down at him sympathetically as you gently ran your hand through his hair and he groaned miserably.

It was hard not to feel pity for him.

With a sigh, you crawled over him so that now you were the one lying between the couch and him. Wrapping your arm around his waist from behind, you buried your face in the back of his neck where you gave him a soft kiss. His fingers intertwined with yours where they lay against his stomach and he used his new hold to pull you tighter to him while at the same time he snuggled back into you.

“After tonight, I think you’re the one who’s going to need to be making it up to me,” you said dryly and he seemed to at least be aware enough of what you were saying because he let out another groan and you bit back a laugh, not wanting to make him feel worse than he already did.

When you had decided that you wouldn’t be working late that night, you had hoped to be able to spend the night with Todoroki, wrapped up in each other’s arms. As you held onto him tightly and he cuddled into your warm figure behind him, you guessed that you had technically gotten what you had asked for.

After weeks of endless hours at work and still another week to go, you would take what you could get. Even if it meant spending the night watching over the drunk Pro Hero in your arms.

#Anonymous #todoroki shouto x reader #todoroki shouto #bnha fanfiction #bnha #writing #fanfiction #requests

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wozman23 · 4 years ago

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An Ode To Conan (AKA Conan Ode’Brien)

The year was 1995... or maybe '94... or at least sometime around then, give or take a year. I had just entered, or would be entering middle school, at age eleven... or twelve. With a new school came a later bedtime. So around that time I discovered two things: Saturday Night Live, and Late Night with Conan O'Brien. That was when my world changed.

For as long as I can remember, I've been a silly kid. My parents even used to throw an extra letter in my name and call me “Jokey.” Occasionally, they still do. But now, looking back, nearly 25 years later, I don't know if I'd have ever predicted just how much of my joking nature I'd be able to maintain at this point in my life. Today, at 37, if you ask me to sum up my personality in two words, they'd be “weird” and “funny.” As most age, they lose those traits. They'd instead define themselves as a “Personal Trainer” or a “Civil Engineer.” But I'm still just “weird” and “funny” - a goofball rebelling against the notion of “growing up.” I stubbornly keep the letter 'y' on the end of my name when most Josephs my age pick a more mature alternative. I have little interest in being anything else, and aspire for nothing more.

Much of that is thanks to a tall, freckled, red-headed idol I found on the late night airwaves of NBC, who danced as if he had strings on his hips and let people touch his nipple. I grew up watching cartoons like Teenage Mutant Ninja Turtles, Disney movies with comedic voice actors, and blockbuster movies like Ghostbusters and Mrs. Doubtfire, but I'd never seen anything as wildly experimental as Late Night. The (arguably) grown man at the helm still retained such a whimsical, silly, absurd outlook on life. He was a big kid, just having fun. It blew my mind. I was hooked. And it showed me that even if I was weird, I wasn't alone.

The absurdity of Conan and Late Night continues to be unrivaled, even to this day. There was a Masturbating Bear, who just went to town on this oddly nondescript jock strappy looking thing, Preparation H Raymond, an overly goofy looking character, with buck teeth and massive ears, who sang songs about applying a cream to irritated buttholes, and Triumph The Insult Comic Dog, who eviscerated Star Wars nerds and crashed the Westminster Dog Show. Clutch Cargo bits, where moving mouths were inserted into pictures of Arnold Schwarzenegger, Michael Jackson, and Bill Clinton, always brought the laughs in the early days, with both Robert Smigel's impressions and the disregard for making things look authentic. The In The Year 2000/3000 bits provided the rapid fire jokes of randomness that I aspire to write today, one of my favorites being: “Babies will start listening to dance music when Lady Gaga teams up with The Goo Goo Dolls to form the super group, Gaga Goo Goo.” Other recurring bits like Celebrity Survey, SAT Analogies, and Made-For-TV Movie Castings provided similar repeatable formats that brought laughs night after night, as did Actual Items, a swipe at Leno's Headline's bit. If They Mated provided us with the horrors of what the love child of two celebrities would look like, in worst case scenarios. Desk driving bits and car chase spoofs with model towns and cars always delivered. There were the silly Satellite TV Channel bits, with the standout, the Men Without Hats Conversation Channel, as well as the truly pointless – yet my all-time favorite character – Cactus Chef Playing ‘We Didn’t Start the Fire’ on the Flute, created solely to poke fun at the criticism that the show was absurd. Conan Sings A Lullaby was always some macabre fun. At one point, The Walker Texas Ranger lever swept the nation, ultimately resulting in one of the oddest clips ever to grace television. “...Walker told me I have AIDS.” Constant cameos delighted, with frequent appearances from Larry King and Abe Vigoda, who were both always willing to go the extra mile for a laugh. And occasionally, my beloved comedy worlds would combine with someone from SNL like Will Ferrell showing up, dressed as a sexy leprechaun, or engaging in some other antics. Jim Gaffigan birthed the Pale Force cartoon. Hornymanatee.com became a thing. Remote bits, like Conan playing old timey baseball, were always instant classics. Plus, the show birthed the idea of travel shows, with trips to places like Finland and Toronto - the second of which has one of my other favorite remote bits, Conan training with the Toronto Maple Leafs. So much memorable, silly, recklessly avant-garde stuff happened in those years of Late Night. And all the best moments happened when Conan acknowledged the astronomical stupidity of it all. It was always a pleasure to watch, and it all felt expertly crafted just for me.

In the end, a program that got off to a rocky start, fighting off cancellation time and time again, blossomed over the course of fifteen years into a comedy juggernaut and bastion of brilliant buffoonery for my generation. It was practically perfection.

Then the first transition happened...

Like many, I was apprehensive about the switch to The Tonight Show. It was great to see Conan inherit what was formerly known as the pinnacle of late night talk shows, but I wondered if America was ready to watch a bear play with his dick at 11:30pm, especially the demographic that had enjoyed Leno's far more traditional approach. I think we now have that answer. NBC managed to repeat their past mistakes, and fumbled another smooth transition of hosts. Things got kind of ugly, but Conan managed to land on his feet at TBS, where his show continued to run for another eleven years, giving him and his employees - who had relocated to Los Angeles at the start of The Tonight Show - steady work.

The one issue with the migration was that Conan no longer retained the rights to any of his intellectual property. Exceptions were made, but most of this bits and characters were absent from the now titled show, Conan. There was also one less show a week. However, new bits were concocted regularly, like Coffee Table Books That Didn't Sell, Basic Cable Name That Tune, and NBA Mascots That Should Never Dunk. New characters were spawned, like Minty, the Candy Cane That Briefly Fell on the Ground, Punxsutawney Dr. Phil - The best Dr. Phil bit since Letterman’s Words of Wisdom - and Wikibear. Will Forte showed up atop a stuffed buffalo as network owner, Ted Turner. Experimental stand-up sets, like Tig Notaro pushing a stool around or Jon Dore & Rory Scovel being double booked provided some of the best stand-up sets ever. Embracing a digital, web-based format, they introduced new segments like Clueless Gamer, catering to my love of video games. There was Puppy Conan, and Mini Conan. Plus, they doubled down on travel shows, creating the Conan Without Borders series, which I believe to be Conan's best work to date, and a shining example of who he is as a person. There were Fan Corrections, which allowed me to influence his show for five minutes, and throw my own zaniness into the world, and back at the man who stoked the funny fire in me. At some point in life, I may achieve greater things, or have children, but I may still always say that the greatest day of my life was the day I was on Conan.

So Conan did have bright spots, but to me things were never quite the same. They were still good, but not amazing. Slowly it felt like things were beginning to decline. Longtime writer/performer Brian McCann left to return to New York. A while later, so did Brian Stack, finding a job with Colbert. The show was eventually cut to a thirty minute format. They spun it like it was a good change for the show. I however had my reservations. While I'd hoped for more experimental comedy, it seemed like the first half of the show was cut in favor of still getting in sizeable celebrity interviews. The band was gone, as were the options for nightly music acts. That meant no more fantastic moments like me discovering Lukas Graham with his subdued “7 Years” performance. Stand-up was pretty much gone too, which meant no more killer sets like Gary Gulman's bit on state abbreviations or Ismo's foreign take on the use of the word “ass” in English linguistics. Occasional product placement reared its ugly head. They had to keep the lights on, and they found a way to. So I continued to watch practically every show over the course of the eleven years.

When the pandemic hit, I found myself with more free time. So I decided to check out the Team Coco podcasts, cherry picking from the best guests of Conan O'Brien Needs A Friend, The Three Questions with Andy Richter, and Inside CONAN: An Important Hollywood Podcast. Never having paid attention to any podcasts, I found a love for them. And sometime amidst the pandemic, watching Conan interview some random celebrity, from some show I probably didn't care about, through Zoom, I kind of became at peace with the idea of a nightly Conan program ending.

From middle school, to high school, and then to college, I tuned in when I could. Without the luxury of the internet in its currently glory, or DVRs, I'd tape episodes on a VCR. Barring two or three episode of Conan that I missed while working two jobs, I've seen every episode of Conan, every Tonight Show, and a good streak leading into the end of Late Night. But I will admit that towards the end, it has sometimes felt like a chore.

One thing I didn't drag my feet on was attending tapings. It was one of the first things I did when I came to LA. Over the past few years I was fortunate to get to attend three tapings of Conan. In hindsight, I probably would have went more often. I brought family and friends along with me when they visited, but the treat was primarily for me. When he announced that the final few weeks of shows might have an audience, I knew I must go. I put in for two tapings, and fortunately the stars aligned for the third to last show with Seth Rogen. I was hoping for Ferrell, or Sandler, but it was great! It was the first show where masks were optional and it went recklessly off the rails. Like Conan, I've never been into pot. It's another of the things I enjoy about him. Like him, I don't really have a problem with it, but I've never tried it because I don't think it's for me. I’m the same way with alcohol. With a friend in town this week, I tried one of the beers he bought. I hated it, but I struggled through it. I’ll occasionally drink some fruity wine cooler but that’s about it. So seeing him reluctantly try the joint Seth handed him because he didn't care since the show was wrapping was great. Unseen in the TV edit was that after that segment, Conan and his producer, Jeff Ross, had a lengthy discussion as the band played. As the band wrapped up, Conan came back up and said to expect a rough edit on the show since they wouldn't be able to air them smoking. Turns out they could, which made for good TV. It was a symbolic moment where a man who's spend his entire career blazing his own trail – no pun intended - did so once more, knowing he had nothing to lose. I also put in a ticket request for the last show on the morning of because registration reopened for some reason, but I never got a confirmation. I'm excited to watch it tonight, but also sad to see things come to and end. But at least I can say I was there in the end.

For 28 years Conan and cast have delivered the show they wanted to make. Contrastingly, compared to the other late night shows, its always been far more apolitical, which I appreciate. Comedy to me is about dissociation. It's why I favor and write left-brained jokes about random subjects. No one really needs to hear another hackneyed Trump or Biden joke. Regardless of the state of the world, I could tune in to Conan for a mostly unbiased, silly outlook on the world. Conan always seemed to bring out the best in the guests too, making his show the premier show to tune into when someone was out in the circuit promoting something. Even the stereotypical animal segments or cooking segments provided ample laughs.

Most of the talk will be about Conan himself. But a very large part of what has always made Conan's shows great wasn't even him. A large cast of stellar writers and performers brought countless characters to life. Brian McCann and Brian Stack were longtime favorites. There was the No-Reason-To-Live Guy with his kayak, Hannigan the Traveling Salesman, Artie Kendall the Singing Ghost, and The Interrupter, to name just a few. Even people who had no business performing were utilized brilliantly, like original announcer Joel Godard or Max Weinberg both acting like creeps and perverts, trombone player Richie "LaBamba" Rosenberg being a dolt, and graphic designer Pierre Bernard in his deadpan Recliner of Rage segments. Jordan Schlansky was a comedy well. Andy Richter also deserves more praise. His quick wit makes him the perfect sidekick. I can't even begin to enumerate the amount of instance in which he was lightning fast with a witty response to someone or something. His more recent Sports Blast segments were absurdly stupid, and his Hillbilly Handfishing remote stands out as one of the best.

The late night talk show concept is built around volume. With 4368 episodes among three iterations of shows, there's a lot of time to fill. Things didn't always work, but most of the time they did. That's what you get when you experiment and evolve the medium. I've been thinking a lot about my history with the show, and it's amazing just how many silly bits, characters, and moments still bounce around in my noggin. I've only covered a small sample of the many great moments over the years. It's always seemed really weird to me that Conan has kind of been the underdog. To me, no one holds a candle to his brilliance. I can only liken attending his tapings to a few other experiences: the time I finally got to see Michael Jordan play as a Wizard, or Rush's final R40 tour – three great entities who may not have been at the height of their careers, but were still massively impressive none the less. Conan concluding tonight is very bittersweet. The future is uncertain. The details for his HBO Max show are nebulous. It's going to be far more small scale. I've always admired how much Conan has taken care of his cast and crew. He paid his writers during the strike, and his entire crew during the pandemic. But they will certainly fracture now. Will any of the writing staff follow? Will longtime performer Dan Cronin be there? Will Andy be back? Time will tell, but until then, television, the internet, and the world of comedy, will be a little less funny. In many ways, I wish we lived in a world we he still hosted Late Night, or a successful Tonight Show. But the late night landscape has changed a lot in the last few decades, so who’s to say this wasn’t the better timeline. If there’s one thing I cling on to that keeps me hopeful about the future, it’s Conan’s closing monologue from Late Night. Especially its ending: "It's time for Conan to grow up... and I assure you that's just not going to happen. I can't. This is who I am, for better or worse. It's just, I don't know how."

That hits me just as hard as it did in ‘09, if not harder. The more things change, the more they stay the same. The guy that started hosting in ‘93 is the same guy we see today. He’s still just as childish, just as absurd, just as brilliant, and a man of integrity. And as long as he is, so too will I be.

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wp-yahoo-style-1042-yahoopa-blog · 8 years ago

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The Most Stylish Proms From Our Favorite TV Shows and Movies

Prom season is coming to an end. Seeing the youth looking glam and stylish made us all a bit nostalgic for our own high school proms. Sigh. At least we have our favorite movies and TV shows to help us reminisce about those prom nights. Take a look at some of the most memorable prom moments in entertainment, and we’re sure you’ll be just as surprised as we were to find that some styles never fade.

Read more from Yahoo Beauty + Style:

• Teen Makes Her Own $15 Prom Dress the Night Before

• Former High School Dropout Becomes Prom Queen in Her 70s

• Teenager Sends Message to Haters Body-Shaming Her Prom Pics

Follow us on Instagram, Facebook, and Pinterest for nonstop inspiration delivered fresh to your feed, every day. For Twitter updates, follow @YahooStyle and @YahooBeauty.

Friends, 1996

In “The One With the Prom Video,” we see Rachel (Jennifer Aniston) and Monica (Courteney Cox) getting ready for the prom in classic ’80s dresses, complete with poofy sleeves and shiny chiffon. This may be one instance where we are pleased that certain styles go out of fashion! There is also a sweet appearance from a dorky Ross complete with ruffles. (Photo: NBC/Everett Collection)

Source: Yahoo Style

Carrie, 1976

Carrie, played by Sissy Spacek, looked innocent and pretty in pink for this 1970s prom. However, prom took a turn for the worse when blood was dumped on her in a cruel joke. Her pink dress turned dark red, making it a night that high school students — and the fashion world — would never forget! (Photos: Everett Collection)

Source: Yahoo Style

Back to the Future, 1985

Here, Marty (Michael J. Fox) is introducing his parents to one another in order to ensure his existence in the future. Mom Lorraine (Lea Thompson) is wearing a classic strapless pink prom dress that is stylish through the ages. (Photo: Everett Collection)

Source: Yahoo Style

Pretty in Pink, 1986

This gown is classic ’80s style and is the hands-down winner thanks to Andie (Molly Ringwald) having made the dress herself by combining two dresses. Her craftsmanship is superb with the cutout shoulders, dropped sleeves, and high laced neck. This was a killer look that did the trick to win back her love interest. (Photo: Everett Collection)

Source: Yahoo Style

Buffy the Vampire Slayer, 1992

Kristy Swanson slays her prom in an angelic white prom dress with a heart-shaped corset. After she kills the vampire who crashed, she kisses Luke Perry, takes his leather jacket, and leaves the prom to go slay the rest of the vampires. Enough said. (Photo: Everett Collection)

Source: Yahoo Style

Family Matters, 1996

Laura (Kellie Shanygne Williams) and Steve (Jaleel White) are dateless before the prom and decide to attend together. Laura is by far the best dressed there, in her fitted black sequined halter dress with black strappy heels, while Steve looks sharp in his tux. (Photo: ABC)

Source: Yahoo Style

Boy Meets World, 1998

Topanga (Danielle Fishel) and Cory (Ben Savage) manage to be crowned Prom Queen and King — it must have been Topanga’s eye-catching two-piece red dress. (Photo: ABC/Getty Images)

Source: Yahoo Style

Full House, 1993

DJ (Candace Cameron Bure) runs into Steve’s ex-girlfriend at a dress shop and almost purchases the same short dress with a sheer lace cover over the shoulders — although she doesn’t feel as pretty compared with her. So DJ chooses a classic ’90s short velvet strapless dress with cuffed shoulders. Thankfully, as the night goes on, Becky (Lori Loughlin) and Jesse (John Stamos) are there — looking top-notch as always — to save the day. (Photo: Getty Images)

Source: Yahoo Style

Full House, 1995

Prom No. 2 is an emotional one, being the final episode. Not only does Michelle get her memory back, but Steve surprises DJ as her date for prom. DJ looks better than ever in this final scene, with a fitted gold silk slipdress and straight, shoulder-length hair. (Photo: ABC)

Source: Yahoo Style

Let’s not forget the light-up dress worn by Kimmy Gibbler (Andrea Barber), with a purse that served as a battery pack. (Photo: ABC)

Source: Yahoo Style

Dawson’s Creek, 2000

Joey (Katie Holmes) looks gorgeous when she opts out of her normal tomboy clothes and into a spaghetti-strap black dress. However, it’s her jewelry that both Pacey and Dawson fixate on. Dawson gives her earrings to wear, which Pacey points out don’t fit her classic style. Instead, he comments that her bracelet is “not showy, or gaudy, just simple, elegant, beautiful” — like her. The bracelet was her deceased mother’s. We all know who was truly deserving of being Joey’s prom date here. (Photo: The WB)

Source: Yahoo Style

10 Things I Hate About You, 1999

Cat Stratford (Julia Stiles) looks perfectly ’90s in this light royal blue dress that she claims she just had lying around. Heath Ledger looks perfect without the bow tie, which sums up how badass dreamy he was without trying. (Photo: Everett Collection)

Source: Yahoo Style

Bianca (Larisa Oleynik) put a bit more time into her dress, and later Taylor Swift copied her for the 2016 Grammys. This two-piece dress was a major hit! (Photo: Everett Collection)

Source: Yahoo Style

Jawbreaker, 1999

An ultimate movie for everything style, and prom. If you have not watched this recently, do yourself a favor and stream it this weekend on Hulu. The bright and bold colors, the slim sihouette and mermaid fits, were true to the late ’90s. Not to mention the butterfly clips in Rebecca Gayheart’s hair. (Photo: TriStar Pictures)

Source: Yahoo Style

She’s All That, 1999

Rachael Leigh Cook’s dress resembles the Joey Potter look in the classic black thin spaghetti-strap dress.

Source: Yahoo Style

Let us never forget that Gabrielle Union starred in many proms. Here she is looking chic and cool as ever, in her velvet cheetah print dress with her black fur shawl. We love you, Gabrielle Union! (Photo: Miramax Films)

Source: Yahoo Style

Though she ends up stealing the crown from Rachael, Jode Lyn O’Keefe, who plays Taylor Vaughan, looks great in her gold crushed-velvet halter dress. Earlier in the evening, she also led the most epic prom dance scene in history. (Photo: Miramax Films)

Source: Yahoo Style

Mean Girls, 2004

Where everyone becomes a prom queen. The many styles shown here demonstrate the steps that the girls are making toward accepting each other despite their differences. (Photo: Everett Collection)

Source: Yahoo Style

Saved! 2004

Wearing long colored scarves as an accessory was very 2004. Mandy Moore was a saving grace in her pretty blue dress. (Photo: Everett Collection)

Source: Yahoo Style

Never Been Kissed, 1999

Drew Barrymore in her flashback of her own high school prom, wearing a shiny pink, puffy-sleeved dress. How could we not include this one? (Photo: 20th Century Fox)

Source: Yahoo Style

Though Drew Barrymore’s prom attire is top-notch (she attended with her date as Rosalind and Orlando from Shakespeare’s As You Like It), the real outfits we are obsessed with are the ones worn by the popular girls who went as different Barbies, wearing little or no clothes. (Photo: Everett Collection)

Source: Yahoo Style

The O.C., 2006

In the Season 3 prom episode, though Marissa is not having a great night with bad boy Volchok, she looks killer in one of her final scenes in none other than a camellia dress from Chanel’s Spring 2006 line. (Photo: Fox)

Source: Yahoo Style

A surprising style winner is Taylor, the new friend who typically doesn’t have as much style as the other two girls; here she looks elegant and romantic in a red silk gown, while Summer goes on trend for the time and has a delicate white gown with brown sash. (Photo: Fox)

Source: Yahoo Style

Twilight, 2008

Kristen Stewart and Robert Pattinson remind us what true love is during their private dance outside the prom. We love that, despite having a broken leg and being the typical tomboy, Bella wears a dress, albeit with a sneaker on her other foot. (Photo: Summit Entertainment)

Source: Yahoo Style

#nostalgia #movies #_revsp:wp.yahoo.style.us #tv #prom #entertainment #prom dresses #slideshow #_uuid:4040b735-0f10-3106-a4e3-fc155c04379b #gallery #_lmsid:a0Vd000000AE7lXEAT #fashion

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airadam · 5 years ago

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Episode 126 : None More Black

"These evil streets don't sleep..."

- Pharoahe

Here's an idea I've been holding for a while - an episode showcasing Hip-Hop tracks that took a rock sample or influence! I thought it'd be an interesting one to select and mix without reaching for the most obvious standby picks, and we've got tracks spanning almost thirty years at the extreme ends. Don't worry, the guitars come along with plenty of bars and beats!

Links for the month... Michelle Grace Hunder - wicked music photographer!

The Flyest Xmas party on Dec 20th, featuring The Soul Twins

Twitter : @airadam13

Playlist/Notes

Ice-T ft. Jello Biafra : Shut Up, Be Happy

One of those tracks that seems more relevant now than ever, this was the opener on Ice-T's underrated 1989 album "The Iceberg". A great marrying of elements, as Jello Biafra of the punk band Dead Kennedys delivers a totalitarian announcement (based on his own "Message From Our Sponsor" over a Black Sabbath loop. I couldn't put this anywhere but as the intro to the episode!

Camp Lo : 82 Afros

Kicking the pace up a touch, we move straight into a killer Camp Lo cut from the "Black Hollywood" LP, with Ski cooking up a banging rock-based beat. The kick and snare are straight boom-bap, but the toms add an unexpected extra element on top of the distorted guitar and vocal sample. Cheeba and Geechi might be known for their smooth styles, but this is just one demonstration of the fact that they can get busy over any kind of beat.

J-Zone : Moonwalk / Gel N' Weave Remix (Instrumental)

I was struggling to find just the right instrumental for this spot, but went back to "The Headband Years" to find this beat from a producer who could make a beat our of almost anything. He's full-time on his funk drumming now, but has a great catalogue of Hip-Hop that can't be fronted on.

Kobaine : Ko.Bain

This is an artist I know very little about, as as far as I'm aware this is his only release to date, a nice little contribution to the 2002 "Subway Series Vol.1" compilation on Major League Entertainment. I got this on digital release which had no credits included, so I'm not sure who produced it - I can imagine it being a Nick Wiz or Tribeca track though.

Agallah : Ag Season

Brownsville's Agallah has often channelled the rockstar vibes in his career, and this woozy-guitared track from "Bo : The Legend of the Water Dragon" sounds entirely natural for him. Self-produced as always, it's short, rock solid, and to the point.

Fabolous : Breathe

Fifteen years old, already? This was a huge single for Fabolous, taken from his "Real Talk" album, and is one of his best-known tracks even after all these years. Just Blaze laced him with a beat based around Supertramp's "Crime of the Century", and got a surprise when Fab told him he'd written his lyrics around the "breathe" vocal sample on the track...because that's not what it said! However, on hearing the bars, Just went back and made some changes to align the audio with what Fab thought he heard!

Ras Kass ft. Killah Priest : Milli Vanilli

Ras Kass' "Quarterly" was collection of tracks he released once a week, finally brought together in late 2009 - and there are some great cuts in there. Here's one, with Veterano's beat sounding like a cybernetic heavy metal group trying to destroy the speaker stack! Ras cuts through it regardless, and special guest Killah Priest (fellow member of THE HRSMN) matches him bar for bar as always. The hook of course channels the then-recent Lil Wayne track "A Milli", which was a heavily-used beat for freestyles around this time.

Body Count : C-Note

This was one of the shorter and gentler tracks on the debut Body Count album, but was always one of my favourites - Ernie C makes that guitar cry for real. Ice-T's metal project was waved off by some doubters in the beginning, but the music was solid from their first appearance on the "OG: Original Gangster" album and they're still killing it to this day.

Bumpy Knuckles : Swazzee

This one is so aggro, you have to love it. Seriously, you'd better. Bumpy Knuckles is in fine form on this guaranteed weight-training motivational track from "Konexion", taking out sucker MCs, snitches, haters, and pretty much everyone else. The hook is reminiscent of an old Sly Stone cut, and Knockout's beat is ferocious - precise, measured drums with the harsh guitar over the top. Bumpy might be the king of the third verse but a track like this lets you know he can handle the first two just fine!

Public Enemy : Go Cat Go

The "He Got Game" soundtrack was unfairly overlooked by too many heads, but is an absolutely worthy entry in Public Enemy's long and storied discography. Chuck D's political awareness and love of sports (he actually wanted to be a sportscaster at one point) combined for a really interesting listen. Jack Dangers of Meat Beat Manifesto and Danny Saber of Black Grape cover this one in heavy guitars which would drown out most MCs, but not Chuck! As the album subtitle says, this one is about the game behind the game...

Boogie Down Productions : Ya Slippin

It's hard to think now of BDP being a crew with a future in doubt, but this is how it was back in 1988 as "By All Means Necessary" was released, not long after the murder of founding DJ Scott La Rock. KRS might be young here but he rhymes with the confidence of someone who left home as a child to become an MC, survived homelessness, and achieved his goal. He scolds weak MCs like "The Teacha" he is, and gets down on the production too - the rock heads will recognise this guitar sample a mile off!

Pharoahe Monch : Got You

Shout out to Vicky T for reminding me of this tune! The lead single from the "Training Day" soundtrack is one where I think the radio version (as heard here) surpasses the original. Monch perfectly encapsulates the essence of Denzel Washington's character, who is one of the classic movie villains of modern times - and strikingly, is based on real police.

[J-Zone] Boss Hog Barbarians : Celph Destruction (Instrumental)

Zone again, and while it one didn't come to mind immediately, the aggressive sonics of this instrumental get it the nod here. The Boss Hog Barbarians (J-Zone and Celph Titled) album is an absolute tribute to ignorance (intentionally), but if you can deal with that then it's an excellent addition to your collection.

LL Cool J : Go Cut Creator Go

Another 80s classic hard rocking track, from LL's "Bigger And Deffer" album. It's the kind of track we don't get now - the MC just bigging up the DJ. DJ Cut Creator was with LL from the very beginning, and was the one who actually helped him to get him name known, so it's nice to hear the appreciation. The scratches still stand up today and cut through even the loudest of the guitar samples on the track!

Sly Boogy : Fatal Mistake

Sly may not have put anything out for a while, but the San Bernadino native did drop a few nice tracks in the early 2000s. This one has him totally disregarding the common standards of Hip-Hop song structure, opening up with a thirty-two bar first verse just to show he's not playing. DJ Revolution provides the cuts, and production is courtesy of a then-emerging Jake One. This actually doesn't have a rock influence, but is here because of how well it goes with the next instrumental...

[Rick Rubin] Jay-Z : 99 Problems (Instrumental)

The combination of this and "Fatal Mistake" is one I discovered while doing a mix years and years ago, and wanted to bring out again when the opportunity arose! You probably all know the vocal version of this track, which appeared on Jay-Z's "The Black Album". While working with the legendary Def Jam co-founder and producer Rubin, Jay said he wanted something like the flavour he used to give to the Beastie Boys and this was the result - a meshing of several ideas that came together perfectly.

Public Enemy : She Watch Channel Zero?!

Let's be real - the sexism is heavy on this track! It'd be entirely reasonable to argue that spending all day watching sports on TV isn't any better than soap operas, but that's just my opinion :) 1988's "...Nation of Millions..." yields this song which had an interesting connection - sampling the group Slayer, who were produced by Def Jam founder and major PE supporter Rick Rubin.

Lacuna Coil : The Game

Going pure rock on this selection from this veteran Milanese gothic metal band! I actually learned about this group from "Guitar Hero" of all places, and "Our Truth" led me to the 2006 "Karmacode" album that included this track. It always reminded me a little of "Channel Zero", and while the guitar riffs are definitely fire and the drums bang, it's the combined and contrasting vocals of Cristina Scabbia and Andrea Ferro that can't fail to grab your ear.

RJD2 : Exotic Talk

Prog rock meets Hip-Hop sensibilities as RJD2 twists and turns, chilling things out in parts before bringing the thunder crashing back in. Definite standout from 2004's "Since We Last Spoke".

Z-Trip : Rockstar

We close with a standout track from the "Return of the DJ, Volume II" compilation, with Phoenix's Z-Trip putting together a masterpiece of DJ/producer song construction. The sample list is long, and since I don't know what was and wasn't cleared, I won't give anything away here!

Please remember to support the artists you like! The purpose of putting the podcast out and providing the full tracklist is to try and give some light, so do use the songs on each episode as a starting point to search out more material. If you have Spotify in your country it's a great way to explore, but otherwise there's always Youtube and the like. Seeing your favourite artists live is the best way to put money in their pockets, and buy the vinyl/CDs/downloads of the stuff you like the most!

Check out this episode!

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nomineestheshow-blog · 6 years ago

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Nominees: The Comeback Column

By Sameer Suri

After months and months of waiting, Nominees is at long last BACK IN ACTION! Our inimitable hostess Leah Lamarr has secured us the perfect venue in the form of The Comedy Store’s raucous Belly Room, and now it’s up to us to ensure the opportunity isn’t squandered. Shall we achieve the dazzling heights of Liza’s comeback in the mid-’80s, or plumb the depths of Liza’s comeback in the early-2000s? (Please Google Image her fourth husband David Gest right now, and consider also that a bridesmaid at their wedding was Elizabeth Taylor.)

To inaugurate our glittering new edition of this show, we have an absolutely bonkers array of judges. Matt Spicer wrote and directed Ingrid Goes West, a movie about a deranged woman whose lunacy is amplified by a proximity to glitz and fame - a perfect fit for us. Beth Stelling, who writes for Sarah Silverman’s show I Love You America, will be joining him on a panel that includes Jonathan Lipnicki, who shot to fame as the little boy in Jerry Maguire, and Jason Greene, a.k.a. the acid-tongued Aunt Freckle on The Gay and Wondrous Life of Caleb Gallo.

And now, onto our first batch of nominees to grace our new home - the group who’ll remind the audience of the sheer power of live theater. Princess Margaret once went to see a production of The Madness Of King George III and fretted during intermission, “Do you think it’s hereditary?” Will our audience leave with similar flashes of self-realization? Let’s see if our performers are up to it.

Breck Denny is a marvelous actor and writer who performed both those roles in this year’s Hollywood Fringe play Nickel Dickers, a gleefully unhinged tip of the hat to Old Hollywood. It also happens to have co-starred our Leah (who is making me say how good she was - yes, Leah, you were wonderful, darling. It’s been six hours. May I have a glass of water now?) Breck is also at the Groundlings School’s final sketch writing level, and was willing to confess to us that he’s from Cleveland, which shows a commendable ability to say and do anything. Having seen Nickel Dickers, I can tell you he has a similar sense of humor to that which helped Whitney Rice pull through to first place all those months ago.

Sofia Gonzalez has flown through a string of guest shots on sitcoms as prominent as Modern Family, Crazy Ex-Girlfriend and Community - plus which, she got a series regular gig a couple years back on an ABC pilot called Chunk And Bean. She also made it onto the red carpet at the Creative Arts Emmys, so already she’s achieved a higher glamour quotient than I have, which I can’t pretend I’m thrilled about. On top of being a jobbing actress, she’s racked up some writing jobs as well, including an episode of the YouTube show Hacking High School. (The hack for me would’ve been, “Come out, already. This is embarrassing for everyone who knows you. You quote Elaine Stritch in conversation.”)

Sarah Keller, with whom I’m personally acquainted (full disclosure), is a very funny stand-up who’s made her name in Roast Battle - not only has she hit the top 10 in the live show rankings, but she’s done two seasons of the Comedy Central show as well. She’s written for the Comedy Central Roast of Bruce Willis, she’s toured with Chris Redd and she’s toured out to India, where even I haven’t performed yet. (In fairness, that’s because the country only legalized fags last month. You’d go to a Delhi party and see some poor queen who has three kids with his hapless beard - a woman I assume he knocked up by going down on her.) This is a woman who has survived my family’s Old Country, a place I lovingly call Ragheadistan, so evidently she’s good at responding quickly on the fly to a dicey situation - SEE, e.g., if she gets assigned the ad-lib half of our cold-read challenge.

Pamela Mitchell wound up on TV Land early in her comedy career, meaning she was in the company of The Golden Girls reruns, and you can’t get more illustrious than that. She’s since also been on such shows as Jane the Virgin, Scorpion and Shameless, but unless the Gallaghers start furnishing their house entirely in wicker and Emmy Rossum starts wearing bright green pantsuits that don’t fit, you can’t beat TV Land. Pamela’s also written and starred in an upcoming short called The Amateurs, and is appearing in another one called ‘Til Death Do Us Part - a pair of titles that pretty accurately sum up David Carradine’s sex life, but I digress terribly. Sorry about that, Pamela, break a leg.

Joshua Triplett’s resume has one credit that leapt out in particular - a couple of years ago, he got a guest shot on Nickelodeon’s Game Shakers, starring our very own onetime Nominees judge Kel Mitchell. He’s also got drama credentials, having appeared on six episodes of BET’s The Quad, so he’s prepared to have a go at the tearjerker scene we throw in there. (I’m not sure yet what tonight’s will be. I keep insisting that Shirley MacLaine’s: “I did not lift my skirt; it TWIRLED UP,” scene from Postcards From The Edge is a devastating showcase of heartrending pathos, but somehow this argument always falls on deaf ears.)

Josh Waldron is another Joshua. This is a moniker that - fun fact - is derived from the same Hebrew name as Jesus, who like Josh Waldron had a hairdo that gives people the misimpression he batted for my team. I came to be acquainted with this Josh because, rather like myself at the moment, he used to write a blog about a competition show based in the Belly Room: in his case, Roast Battle. In the interests of full disclosure, Josh predicted I would lose my first Roast Battle, which turned out to be the only one I won, a victory he sportingly wrote up in a post that couldn’t have been kinder. Credits for Josh: he’s studied at Stella Adler, just like Elaine Stritch, who I see has become a running theme in this column. He’s done a cruise ship gig and managed to not get fat on the free food, and he’s written for Comedy Central. Plus, he tells us, Simon Cowell once said to him that he “would succeed in a live acting and improv competition.” Simon Cowell’s reputation rests in your hands now, Josh. You carry an exalted legacy with you.

That’s our lineup. Do join us this evening at the Comedy Store Belly Room at 10:30pm, and douse yourself in a bit of glamour before embarking on Halloween weekend. It’ll be magnificent, darlings - he said, pointlessly plugging a show that’s already sold out. What a joy it is to have this show back up and running!

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aion-rsa · 4 years ago

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The Mysterious Benedict Society: Bringing the Middle Grade Mystery Series to TV

https://ift.tt/3cZFTyo

This article contains spoilers for the first two episodes of The Mysterious Benedict Society plus teasers for future episodes. There are no book spoilers beyond the plots featured in the first two episodes.

The Mysterious Benedict Society is not only Disney+’s latest television series, it’s one of the streamer’s noteworthy original TV projects outside the massive Marvel and Star Wars franchises… But that doesn’t mean it doesn’t have a source material. The series is based on the bestselling middle grade book series by Trenton Lee Stewart. Stewart first published The Mysterious Benedict Society in 2007, which means the original readers are now adults and even parents themselves. (I myself discovered the series while working in summer camp and after school a year or two after publication.) The series was in development hell for over a decade before Phil Hay and Matt Manfredi joined the project in 2017. Den of Geek talked to showrunners Hay and Manfredi, who previously worked on AEon Flux and the Ride Along movie series together, to discuss the behind the scenes of translating this middle grade mystery adventure to the silver streaming screen.

“We were aware of the book when we were brought them, and read the first one and just fell in love,” Manfredi tells Den of Geek. The most important example of this love comes through in novel series author Stewart signing on as consulting producer on the series. Several other middle grade books from the mid 2000’s, most notably the Percy Jackson movies, were reduced to in-name-only movie adaptations that butchered the essence of the stories, due to authors having no input on the adaptation.

“We talked to him very early in the adaptation process, got to know him,” Hay says. ”Then as the show went along, he read all the scripts, he saw the cuts…whenever he had an idea, it obviously rang a lot of bells for us… and, it was just very important to us that he be pleased and like it.”

The series follows Mr. Benedict (Tony Hale), a scientist living in an alternate universe who is very concerned that the world’s increased anxiety, called The Emergency, is not, in fact, the organic result of social politics, but rather is being orchestrated by someone outside the government. There are subliminal messages about The Emergency broadcast across the media and adults have accepted these messages as truth. Kids are naturally more curious and at times confrontational about accepting authority and fate. Although Mr. Benedict has two extremely capable assistants in Rhonda Kazembe (MaameYaa Boafo) and Number 2 (Kristen Schaal); he needs children to infiltrate the educational institute from which the messages about The Emergency originate. After a series of rigorous tests, he assembles a team of four extremely smart orphans to infiltrate and to find the person responsible. Renard “Reynie” Muldoon (Mystic Inscho) is a master puzzle solver, George “Sticky” Washington (Seth Carr) is a trivia champion, Kate Weatherall (Emmy DeOlivera) is a budding engineer and meteorologist, and Constance Contraire (Marta Kessler) is a social rebel who needs a cause to properly apply her truth-seeking instincts. The mission is going to test not only their skills but also their stamina to resist the subliminal messaging. The title of the series comes from the team name the children give themselves.

Although the adventure elements are clearly targeted towards today’s preteens, the political undertones of the story are definitely going to be the element that appeals to adults who haven’t read the novel series. “The book feels prescient,” Hay says. “I double-checked the copyright page when I was reading it because it just seemed that the themes were so resonant and relevant to today.” This theme adds depth and immediacy to the children’s mission. Adults will immediately recognize current politics in this alternate universe where the language of The Emergency is the language of misinformation.

Kids are also affected by the political situation around them and this renders the plot of The Mysterious Benedict Society relatable. “We have kids thinking of the way they’ve experienced the recent past as a relentless tide of anxiety, and how do we get to the bottom of that and how do we find ways to contend with it?” Hay says. “I think the message of the show in a way, is through getting to the truth and through finding the truth and then also through addressing others with care and with empathy and with kindness, and those things coalesced to be the bedrock of what we think the show is about.” Although some may feel uneasy about a dystopian alternate universe as escapist entertainment especially for children, there is hope and a solution embedded into the mission. The audience naturally roots for Mr. Benedict and his team triumph over evil.

Bringing the alternate universe of Stonetown and its environs to life from Stewart’s imagination presented several challenges for Hay and Manfredi. Shooting eight, hour-long episodes during the pandemic added considerable complexity to the project. “We had such an incredible team in Vancouver led by Grace Gilroy, our line producer, and the dedication of the cast and crew, which was extraordinary to keep each other safe and healthy and follow the protocols to the T all of which happened,” Hay says. “Every day when you’re shooting in that condition is seen as a gift, and you are just really reliant on everybody, every single member of the cast and crew to be vigilant and they were, and that’s something that is extremely inspiring.”

Another obstacle was reconciling viewers’ imaginations and the illustrations in the novels with the screen. “I imagined [the novel as] a bit more Gothic or Victorian, and partially just because it worked with the themes for us and partially because we thought a lot of other things have explored that visual landscape,” Hay says. “[We] settled on this idea that this could be told in a sixties, European modernist kind of vibe, where things are very organized and formal.”

That mention of other things exploring “a Victorian landscape” is an illusion to Netflix’s series adaptation of A Series of Unfortunate Events. Most adult viewers new to the series will likely make that comparison, since both series revolve around orphans fighting eccentric adult villains in a dystopian alternate universe. However, the first two episodes of The Mysterious Benedict Society make it clear that the main characters are fighting evil on the societal level versus an inheritance fraud conspiracy one.

A Series Of Unfortunate Events Season 3 Review: The Best One Yet

By Gabriel Bergmoser

Culture

A Series Of Unfortunate Events Review (Spoiler-Free)

By Gabriel Bergmoser

Ironically, Tony Hale directly links the two series. He played Jerome Squalor in A Series of Unfortunate Events, and ended up being the top choice to lead The Mysterious Benedict Society. “We were such fans of Tony, and every role he’s done becomes an iconic thing,” Manfredi says. “He’s just so funny, and he had such a soulfulness to him and intelligence and compassion to him that he just kind of ticked all the boxes.” Hay added, “In the book, the character is reasonably a bit older. It’s more of a practical grandfatherly character than a fatherly character.” Mr. Benedict in the series is still eccentric, epilectic and tireless in his quest to right the wrongs in his world. At the end of Episode 2, the audience realizes Hale is pulling double duty in the series. He plays the sketchy institute headmaster and series villain L.P. Curtain. “We always saw it as a dual role, and that’s why somebody who is as versatile as Tony was, was so appealing to us,” Manfredi says. Novel readers know Mr. Benedict and Mr. Curtain are twin brothers. Hale makes a strong impression as Mr. Benedict in his introduction, and the challenge for the kids to figure out Mr. Curtain begins.

Along with the set design and Catherine Adair’s (recently known for costuming The Man In The High Castle and Fate: The Winx Saga) vintage kitschy costumes, casting is also a key part of distinguishing The Mysterious Benedict Society from other series. Reynie, Sticky, Kate and Constance in the books were characters not only defined by their intelligence but also for their innate sense of the truth in an uncertain world. “When we were casting with the kids, it was important to us to find old souls.” Manfredi said.

One of the most appealing factors to me as a reader over a decade ago was how Stewart’s vision of Stonetown had diverse representation built into the story. On the other hand, the adaptation of A Series of Unfortunate Events used raceblind casting to offset the white main characters Lemony Snicket (Daniel Handler) originally described. Episode 1 of The Mysterious Benedict Society brings this to the screen by introducing Reynie as a Latine boy learning Tamil from his teacher Miss Perumal (Gia Sandhu). “We were very, throughout the process really, really focused on diversity and inclusion in the cast, Hay says. “We were really hoping to find a diverse Reynie and Sticky … We wanted Sticky to be an African-American actor.” Although racism in the world of Stonetown works slightly differently than in ours, neither character is isolated from others who look like them.

One of the kids had an unintentional shift in their heritage. “In the book, Constance Contraire is not Russian, but when we saw Marta’s audition, she illuminated parts of the character for us, and we all of a sudden just couldn’t see her any other way,” Manfredi says. Fans should be reassured despite this accent shift Constance in the first two episodes is still the obstinate, headstrong, and full of haterade little girl readers know and love.

This vision was also carried out in the casting of the adult characters in the series. “Rhonda Kazembe is such a huge part of the book and of the show, even a bigger part of the show than the book,” Hay says. “To find MaameYaa was such a gift, but yeah, that was really on top of our mind, and then throughout the rest of the show, again, from the perspective of wanting the show to look like the world and seeing it as an opportunity to really create a world that does reflect the world around us.” In order to fulfill this objective, a shift in the storytelling was required. In the novel, once the kids arrive at the mysterious island institute, all of the action revolves around the children. “It was important to us to keep the adults involved, to create a kind of parallel storyline to have that back and forth with the kids and the adults and learn from each other along the way, and solve the mystery together.” Manfredi says.

What can viewers expect from the remaining six episodes? Stopping Mr. Curtain’s evil propaganda campaign is the conclusion the series is leading to. “We hope that over the course of the season, there’s going to be a lot of twists and turns and hopefully it’ll be a lot of fun,” Manfredi says. “[Hopefully] these themes of empathy and the importance of truth and being able to look at a problem in many different ways…[will] resonate, and hopefully they have fun with it.”

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There are three books total in the series, plus a prequel about Mr. Benedict, but the fate of the series is out of the hands of Hay and Manfredi. For those who want to see the series continue, word of mouth online and offline will be key to get middle schoolers to watch and for adults to sign onto a nostalgia trip. The first two episodes of The Mysterious Benedict Society will be available on Disney + on June 25th followed by one new episode every Friday.

The post The Mysterious Benedict Society: Bringing the Middle Grade Mystery Series to TV appeared first on Den of Geek.

from Den of Geek https://ift.tt/3d2YbP4

#aion-rsa #Den of Geek

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otc-dramaturgy · 7 years ago

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Tomorrow Tuesday

For this Tomorrow Tuesday, I want to spend some time looking at the evolution of Annie as a character!

The character of Little Orphan Annie first appeared in 1885, in the poem “Little Orphan Annie,” by James Whitcomb Riley. The poem, below, tells the story of a servant girl, Annie, who tells ghost stories about children who misbehave, as a sort of warning for children:

Little Orphant Annie’s come to our house to stay, An’ wash the cups an’ saucers up, an’ brush the crumbs away, An’ shoo the chickens off the porch, an’ dust the hearth, an’ sweep, An’ make the fire, an’ bake the bread, an’ earn her board-an’-keep; An’ all us other childern, when the supper things is done, We set around the kitchen fire an’ has the mostest fun A-list’nin’ to the witch-tales ‘at Annie tells about, An’ the Gobble-uns ‘at gits you Ef you Don’t Watch Out!

Onc’t they was a little boy wouldn’t say his prayers,-- So when he went to bed at night, away up stairs, His Mammy heerd him holler, an’ his Daddy heerd him bawl, An’ when they turn’t the kivvers down, he wasn’t there at all! An’ they seeked him in the rafter-room, an’ cubby-hole, an’ press, An’ seeked him up the chimbly-flue, an’ ever’wheres, I guess; But all they ever found was thist his pants an’ roundabout-- An’ the Gobble-uns’ll git you Ef you Don’t Watch Out!

An’ one time a little girl ‘ud allus laugh an’ grin, An’ make fun of ever’one, an’ all her blood an’ kin; An’ onc’t, when they was “company," an’ ole folks was there, She mocked ‘em an’ shocked ‘em, an’ said she didn’t care! An’ thist as she kicked her heels, an’ turn’t to run an’ hide, They was two great big Black Things a-standin’ by her side, An’ they snatched her through the ceilin’ ‘fore she knowed what she’s about! An’ the Gobble-uns’ll git you Ef you Don’t Watch Out!

An’ little Orphant Annie says when the blaze is blue, An’ the lamp-wick sputters, an’ the wind goes woo-oo! An’ you hear the crickets quit, an’ the moon is gray, An’ the lightnin’-bugs in dew is all squenched away,-- You better mind yer parents, an’ yer teachers fond an’ dear, An’ churish them ‘at loves you, an’ dry the orphant’s tear, An’ he’p the pore an’ needy ones ‘at clusters all about, Er the Gobble-uns’ll git you Ef you Don’t Watch Out!

Not a lot was retained from this iteration of Annie’s story, though Annie’s leadership and guidance of the other orphans might harken back to it. It also might serve as a base for Annie’s fascination with family; to paraphrase the last paragraph, Annie says, “You better mind your parents… and cherish those who love you, and dry an orphan’s tear, and help the poor and needy…” Though this Annie spends a majority of her poem telling ghost stories, she still insists on the importance of family.

However, Little Orphan Annie became a cultural icon thirty-some years later, when the Little Orphan Annie comic strip, created by Harold Gray, began appearing in The New York Daily News in 1924 and later that same year in The Chicago Tribune. Gray described his character as, “tougher than hell, with a heart of gold and a fast left, who can take of herself because she has to.” Famously donned in a red dress, Annie originally was featured in the comics using her gumption to solve crimes and go on adventures. However, as the Great Depression hit, the comic got more politically motivated; it was often used as a means to critique Theodore Roosevelt’s New Deal, which ironically is celebrated in the musical. During World War II, Annie created the Junior Commandos, an organization of schoolchildren who helped with war efforts; inspired by this, Junior Commando groups popped up all over the country, collecting things from around their neighborhoods to give to the government. Most of these things were rather useless, but the Junior Commandos still built morale.

The comic and the musical have a lot of commonalities, notably three of the main characters: Annie, Oliver “Daddy” Warbucks, and Sandy. In the comics, like the musical, Annie is living in a rather dreary orphanage, presided over by Miss Asthma (later Miss Treat, a play on the word “mistreat”). In the comics, however, it is not Grace Farrell who brings Annie into the home, but rather Mrs. Warbucks, Oliver’s rather cold wife. Though Oliver and the staff love Annie, Mrs. Warbucks often sends her back to the home, allowing the episodic nature of the comics to continue.

Little Orphan Annie would be published through 1968, when Gray died. For fourteen years, the newspapers would just published syndicated reruns of the comic; however, another comic artist, Leonard Starr, created new stories about her from 1982 through his retirement in 2000, as prompted by a certain event...

That certain event, of course, was Annie, the musical. In 1972, Martin Charnin pitched the idea of a Little Orphan Annie musical to composer Charles Strouse and librettist Thomas Meehan, who said that he thought it was a “rotten idea” but was convinced by Charnin’s interest in “the richness of the character Annie herself – the lost wandering child.” He also said, “Annie is in no sense a literal adaptation of Little Orphan Annie. Instead, the musical might best be described as having been suggested by Little Orphan Annie. The story as I constructed it is the story of a child’s Odyssey-like quest for her missing father and mother.” It was set during the Great Depression so “Annie could, in the musical, become a metaphorical figure who stood for innate decency, courage, and optimism in the face of hard times, pessimism, and despair,” a good moral for the mid-1970s, another era of financial crisis for the United States.

Annie opened on Broadway in 1977, after an out of town trial run at the Goodspeed Opera House in Connecticut. The Broadway production starred Andrea McArdle as Annie and Dorothy Loudon as Miss Hannigan, both of whom were nominated for a Tony Award for Best Actress, with the latter winning it. Annie also won Best Musical, among five other Tony Awards. New York Times critic Clive Barnes said, “To dislike the new musical Annie would be tantamount to disliking motherhood, peanut butter, friendly mongrel dogs and nostalgia. It would also be unnecessary, for Annie is an intensely likable musical. You might even call it lovable; it seduced one, and should settle down to being a sizable hit.”

And a “sizable hit” it indeed was. Annie ran on Broadway for 2,377 performances and spawned three film adaptations. The first of these, in 1982, starred Aileen Quinn as Annie, with Carol Burnett, Bernadette Peters, and Tim Curry as Miss Hannigan, Lily St. Regis, and Rooster Hannigan respectively. This movie, though a letdown at the box office, became a cult success in later years. The second adaptation, more faithful to the play, was a made-for-TV movie, starring Alicia Morton as Annie, Kathy Bates as Miss Hannigan, and Broadway veterans Victor Garber, Audra McDonald, Alan Cumming, and Kristin Chenoweth as Oliver Warbucks, Grace Farrell, Rooster, and Lily respectively. The third transported Annie from the Great Depression to the 2010s, with Quvenzhané Wallis and Cameron Diaz as Annie and Miss Hannigan, with Jamie Foxx as an Oliver Warbucks stand-in character, Will Stacks. This adaptation modernized the music, adding in some pop inspiration. It also changes Annie from an orphan to a girl in foster care and cuts the characters of Rooster and Lily completely.

A revival of the musical opened on Broadway in 1997, to a whirlwind of controversy: Joanna Pacitti, who was originally supposed to play Annie, was fired just weeks before opening and a television commercial featured a white actress, Marcia Lewis, as Miss Hannigan, rather than the production’s star, African-American Tony winner Nell Carter, who said, “It’s insulting to me as a black woman.” This revival would close after 239 performances.

In 2012, a second Broadway revival opened, starring Lilla Crawford as Annie and two-time Tony winner Katie Finneran as Miss Hannigan. Directed by James Lapine, who had famously never seen a production of Annie before, and choreographed by Andy Blankenbuehler, who won Tony Awards for In the Heights, Hamilton, and Bandstand, the production would run for 487 performances and was nominated for the Tony Award for Best Revival.

#tomorrow tuesday #annie #Olney Theatre Center #dramaturgy

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rob-blog1234 · 7 years ago

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BANK HOLIDAY WEEKEND TV HOT FILM PICKS!

Check out my guide to the top films on TV this extended weekend, Friday through to Monday, and the best of the rest. Enjoy!

LATE FRIDAY 25th AUGUST

HOT PICKS!

TCM @ 2100 Poltergeist (1982) *****

What a fantastic and scary haunting film. One thing is for certain, hauntings are definitely more horrifying than mass murderers, serial killers and monsters. This is one of the very best horror films and a must see for fans of the genre.

Tobe Hooper really gives Spielberg’s film great merit. Even from the opening scenes as we pan round the house, following the dog, introducing us to the fateful family, we can see his great eye for film. It is definitely more restrained than modern haunting films with lots more discussion and focus on the family than the paranormal events themselves, it’s only towards the end of the film that we get a more focused barrage of ghostly activity. This is one of the reasons why it works so well. The main cast of the family are fantastic, a suitably hot mom, a great performance from Craig T. Nelson as the Dad, and the kids are absolutely spot on. I was always impressed with how very real Oliver Robin’s fear was portrayed, considering he was 8 years old, when he was screaming for his mom to come to the TV, it all felt heightened and heart-poundingly real indeed. The family are the core of this film, they are its success and give it a real tender edge that other films have just not been able to recreate.

Maybe it was because I originally watched this film when I was far too young but it is directly responsible for the following: - My irrational fear of clown dolls. - My dread of white noise on TV (Thank god for 24 hour TV!) - Cold sweats around old gnarly trees in storms. - My skin crawling at the high pitched shrieking cries of children.

Poltergeist is an adventure, a horror classic and always impresses. A perfect leader in the haunted house genre. It’s been quite influential and has some nifty effects for 1982. It always makes me wish that Spielberg had been involved more in the way of horror.

Film4 @ 2100 Predator (1987) *****

With the sad news that Sonny Landham has left this mortal plain get Predator on your watch list to see him in all his glory as the mysterious and intense Billy. R.I.P.

According to Letterboxd I’ve seen this outstanding film 17 times in the last 4 years. That’s not even taking into account the early days on VHS and the many wonderful times on TV where it was dubbed and cut to oblivion. It is one of my all-time favourite films and... I think I have a problem. I can’t stop buying it! I have 5 copies now: VHS, DVD, DVD double set with Predator 2, Blu Ray, and now 3D Blu Ray Steelbook. I am an addict. Why? Well - It's goddam awesome. That's why. Everything in this film works so wonderfully together. All I need now is the 3D Blu Ray in a life size Predator head box set to fulfil my crazy addiction. So, the film…

I last watched it in 3D for the fifth time. The 3D doesn't really bring anything new to the film, as a conversion it still looked a little flat, I was hoping the jungle would really come alive and take me. But it did not detract from my enjoyment one little bit and I will admittedly always grab the glasses for a slice of 3D action if there is ever a choice.

This classic Arnie Sci-Fi Action-er is ultimately re-watchable. You’ve seen it hundreds of times, you quote each line seconds before they happen, you even know the sound of each and every gun shot and explosion as they are about to occur. This is my most quoted film, at least once a week I shoe horn a Predator quote into my everyday life: from “I’m gonna have me some fun” to “I wouldn’t wish that on a broke dick dawg” … Amazing.

The music is completely iconic. Alan Silvestri’s score is right up there with the greatest scores in film. Coupled with some fabulous sound effects. It’s quite simply perfect. It’s so apt and effective, driving the film forward with an urgency like no other. It gets your blood pumping and puts you right in the jungle maze with them. It’s as if the Jungle just came alive and took him… Sorry.

This is Arnie’s finest hour. Yes he’s fantastic in Total Recall but here he is doing what he does best. Big, bold, mumbling muscle. Wielding a gun as large as a child in one hand and with a list of one liners at the ready, he storms this performance. He is together with a crack team of commandos - an eclectic mix of characters played by an equally eclectic mix of actors. Carl Weathers has either been airbrushed within an inch of reality or is wearing so much make up at the start of this film. His face is just too smooth, almost like he’s made of putty or like the jungle came alive and paint shopped him. Jesse Ventura’s larger than life character just fits right in here. And of course the late and great Sonny Landham as the ju-ju bag fondling tracker whose lines are just amazing, such a mix of muscle must have been hell for McTiernan to direct, but boy did he do well! In such a difficult terrain he pulled it out of the bag in momentous style.

This crack team go on a rescue mission in the Central American jungle. The mission goes from bad to worse as they soon realise a dangerous alien predator is hunting them down one by one. It’s tense, fast paced and full to the brim with enough action and bullets to take down a small country. It has got some great shocks and splattered with some well-placed gore as the team gets picked off in an array of bloody violent ways. It’s ultimately thrilling and will always stand tall as one of the great Action Sci-Fi Thrillers of all time!

“GET TO DER CHARRPARR!” (Sorry, I couldn’t resist!)

And step away from the remote! It's a Film4 double Bill! Predator 2 is on next. Grab a beer and get ready for some more Predator action.

Best of the rest:

Film4 @ 1635 Rango (2011) ****

5* @ 1900 Labyrinth (1986) ****

Horror @ 2245 We Are Still Here (2015) ****

Film4 @ 2305 Predator 2 (1990) ****

BBC1 @ 2350 Up in the Air (2009) ****

Film4 @ 0115 Serpico (1973) ****

SATURDAY 26th AUGUST

HOT PICKS!

Horror @ 2100 Tucker and Dale Vs. Evil (2010) ****

Tucker and Dale vs. Evil is a stand out comedy from 2010. Although less effective after a few re-watches it still pulls enough laughs to stay up in 4 star territory. For those who have not seen this film please do! It was one of my favourite comedies of 2010 with its great storytelling and the way it tips all expectations on their head. This film had a remarkably fresh feel. Alan Tudyk and Tyler Labine work well together and are a great comedy duo. This is comedy horror done well. Just what the genre needed. Get this on record.

TCM @ 2100 Looper (2012) *****

A thoroughly enjoyable Sci-Fi feast from the director who brought us the outstanding Brick, the little-too-overblown-but-still-decent The Brothers Bloom and is at the helm for Star Wars Episode VIII. In his third outing Rian Johnson has bigger names, a bigger budget and way bigger ambition. Looper really is a good contender to be up there in the list of best films of 2012 with strengths, qualities and conviction that play out this paradox filled plot with style. I accepted the bizarre and very limited use of Time Travel by the future mob, as with all time travel films there is always a certain amount of assumptions and as the film progressed I realised the audience has to dismiss a lot of the why’s, what if’s and but’s, but Johnson makes it easy to simply “go with the flow” with a detailed and immersive story.

My second, third and fourth viewing have been even more enjoyable than the first I fail to see any real problems with this film. Emily Blunt did a sterling job as Sara. The young Pierce Gagnon who played Cid was also a great find.

Overall, this is a fantastic film and immediately cries out for another viewing. Complicated, complex and unpredictable, Johnson has really pulled out all the stops here.

ITV1 @ 2215 Captain Phillips (2013) ****

Hanks steels the show in this emotionally charged slice of reality. Tense. Gripping and feels very human. It doesn’t showboat (sorry) as a good-guys and bad-guy’s story - this is a film that shows the awful truth behind the motivations and outcomes of the events as they pan out. Desperation, victimisation, the circumstances of the Somali pirates that puts them in this altogether desperate situation is touched upon and handled well. This is another Greengrass success. The final scenes caught me a little by surprise and heavy with emotion and with full buy-in to the amazing characters - it’s a tear jerker. A great film.

Film4 @ 2240 The Guest (2014) ****

Adam Wingard dished out a very entertaining romp with 2014’s The Guest. It leans on my love of the 80’s and combined with a cool synth-filled-soundtrack and some nice visuals this hits all my spots.

A soldier arrives at the home of the Peterson family and claims to be a friend of their son who died in action. He is welcomed into their home but soon suspicion arises in the household and some seemingly accidental deaths are coincide with his arrival. Its twists may not be the subtlest but it all gels rather nicely with some good quality action and tension. Watch this.

Best of the rest:

Film4 @ 1100 The Dark Crystal (1982) ***

TCM @ 1205 The Dirty Dozen (1967) ****

ITV3 @ 1450 Casablanca (1942) *****

ITV3 @ 1655 The Queen (2006) ****

Sony @ 1825 Crouching Tiger, Hidden Dragon (2000) ****

Sky1 @ 2100 A Few Good Men (1992) ****

Dave @ 2300 Heat (1995) *****

5* @ 2315 The Green Hornet (2011) ***

Sony @ 2315 Inside Man (2006) ***

Film4 @ 0040 Taxi Driver (1976) *****

SUNDAY 27th AUGUST

HOT PICKS!

ITV1 @ 1540 Superman (1978) *****

No Bank Holiday weekend is complete without the original Superman gracing our TV schedules. This film is a classic. Everyone has seen it - it’s been a staple TV weekend and Bank Holiday film for many, many years and with all the sequels and re-imaginings, TV series, spin offs and remakes this 1979 super hero movie still remains the very best of the bunch. Even though the effects are a little old they simply add to the charm of the film. Whereas today bad CGI almost always ruins a film, in 1978 they had to rely on strength of story and this certainly has just that - it’s a consuming adventure with a lot of heart and a great vein of comedy. There’s no better way to kick off your afternoon with the iconic Superman. This is feel good film making at its very best.

C4 @ 2315 The Wolf of Wall Street (2013) *****

Check out Scorsese’s balls-out look at some horrible people doing repugnant things with so much swearing if it was edited it would end before it started. This is a film of excess in every way.

DiCaprio is Jordan Belfort and the film follows his rise and fall in Wall Street. It’s hilarious and repulsive in equal merit, but where this film worked for me is it didn’t seem to be telling me something clever, having an opinion or educating us on what is right or wrong - it simply shows us the American dream encapsulated in one man’s story to power and money. It’s crass, crude and unabashed about what it is. But no matter how much I dissect it I was addicted to this story and could help but follow along wide eyed and mouthed. It’s worth it just for the Lamborghini scene alone. Don’t miss this.

Film4 @ 2310 An American Werewolf in London (1981) *****

It’s only in the last 6 years that I saw this film for the first time and I was concerned that I had missed the boat and it would be horrendously outdated, but I was pleasantly surprised. It barely shows its age at all!

The story begins with two American back packers on the remote moors of England that lose their way as they turn to a local village for help they find a rather unaccommodating group of villagers and they soon realize they are well and truly on their own. As they cross the moors they are attacked by a huge wolf like creature! The villagers appear to be covering up the true horrors of their encounter.

It has a real interesting mix of horror and comedy that is really quite subtle. The lighter moments offset the horror in a real complimentary way and the 80’s “moon” related soundtrack seemed rather odd to start with but adds yet another layer to the overall experience. Unlike today’s heavy reliance on CGI, director John Landis had to rely on physical effects and make up when putting together the transformation scene. It is an absolutely amazing job - every elongation of limbs and warping of body parts is done with amazing skill that looks very realistic and quite horrifying even to today’s standards.

Overall, the film is based on a very simple idea but is executed in a very accomplished way. If you haven’t seen this film, push it to the top of your to do list.

Best of the rest:

TCM @ 0715 What's Up, Doc? (1972) ****

Film4 @ 1525 Mrs. Doubtfire (1993) ****

W @ 1610 The Neverending Story (1984) ***

BBC1 @ 1635 Toy Story 2 (1999) *****

ITV2 @ 1800 Despicable Me (2010) ***

Universal @ 2100 Sleepers (1996) ****

BBC2 @ 2300 The Ides of March (2011) ****

Film4 @ 0105 The Warriors (1979) ****

BANK HOLIDAY MONDAY 28th AUGUST

HOT PICKS!

Dave @ 1405 Kelly's Heroes (1970) *****

Another Bank Holiday staple. Kelly’s Heroes is one of my most watched war films. Well, it’s more of a heist film that just so happens to be set slap bang in the middle of a war zone in WW2. It’s very funny and from the very start Telly Savalas’s rants put a smile on your face and you know exactly what you are in for. The cast are the main driver for this film’s success with a host of interesting and outrageous characters from Telly Savalas’s larger than life Big Joe to Donald Sutherland’s stoner hippy tank driver, Oddball. It certainly doesn’t scrimp on the action either and there are enough bullets and explosions to take down a small country. It’s not all fun and frolics and it still has a few satirical barbs thrown in for good measure. Kelly’s Heroes is a fantastically fun film. Watch this.

Horror @ 2100 Triangle (2009) ****

I’ve always been surprised this film didn’t get more attention. Written and Directed by Christopher Smith we see him really pull out all the stops with this far superior and more complicated story compared to his previous outing Severance. It really shows how he has grown as a film maker. This is a film very difficult to describe without giving too much away. What I can say is it’s a story of a group of 6 passengers on a yacht which capsizes when caught in a freak storm. They come across a large ocean liner and get on board. The Liner is deserted apart from a lone masked gunman… Here the story takes some very interesting turns.

What I will say is Triangle is full to the brim with twists and turns and an excellent performance from Melissa George, Triangle is really fascinating to watch and watch again. It pulls on good qualities from films like “Time Crimes” & “Memento” also with a couple of nods to “The Shining”. Overall this is a very satisfying film you will want to watch over and over and over again.

Film4 @ 0135 Under the Skin (2013) *****

Check out the thoroughly mesmerising film - Jonathan Glazer’s impressive Under the Skin. After my fourth viewing it was as haunting as it was on my first jaunt into the unknown. It always stays lingering in my mind for some time. After my first viewing it was all I could think about for days. This film is so well put together. Completely mysterious, haunting and fascinating. The editing and sound are just simply perfect. The music is chilling and I am always still in awe of this creation long after the credits role. The use of sound is so important here, each extended silence as important as the music itself.

Scarlett Johansson does for this film what Arnie did for The Terminator. Her success seems to lie in what she can hold back and remove, Scarlett strips everything right back and gives a refined and subtle performance. Scaling back seems to be her key, with similar success in her voice-only performance in “Her” - by removing her physical presence, just being an A.I. voice, she came into her own. Less seems to be more. In Under the Skin we see her as a visitor from another world - watching, testing, trying, and learning all new things. Without these experiences and without the initial emotional attachment it just seems to work for Scarlett. She nailed it.

All of the imagery used throughout the film was simply stunning. I will be watching this wonder of a film again very soon.

Best of the rest:

BBC2 @ 1020 Mr. Peabody & Sherman (2014) ***

C5 @ 1435 The Searchers (1956) ****

Film4 @ 1450 The Book of Life (2014) ***

ITV4 @ 1605 Superman (1978) *****

E4 @ 1700 Rio (2011) ***

5* @ 1900 Footloose (1984) ***

ITV1 @ 2100 The Theory of Everything (2014) ****

Film4 @ 2100 Four Weddings and a Funeral (1994) *****

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