#he also performed as frank in live performances of rocky horror but that's a whole seperate thing

[bumpscosity]

my karate teacher from when i was a kid would sometimes come in half sick and justify it by claiming that you only really spread germs before you even know you're sick so it was fine

[floralegia]

4, 19, 27, 29 for the writing ask game! 💜💖

EEEEE thank you!!

4. How many WIPs do you have right now?

OH GREAT SO YOU'RE COMING FOR MY HEAD RIGHT FROM THE START

Well, I counted 29 for this post, but as I noted there that doesn't include the plot bunnies chilling in my ideas doc (aka The List™) or either of the two bingo cards I currently have out, which between them have I want to say 32 prompts? So, you know. :'''')

19. Give us a small teaser from one of your WIPs.

There's important stuff being said, probably, but the only thought Pete's brain is capable of processing right now is this one: Oh my God, he's such a fucking DILF.

Well, okay, that's not exactly true, because as soon as that thought slides through his psyche, it butts right up against the answering one that shouts Patrick! That fucking DILF is fucking PATRICK!, and then he gets sort of stuck in that loop for a little while, until at last the DILF thing overpowers the shrieking confusion of the fact that up until a couple of minutes ago, he'd only known Patrick Stump as a sort of sweaty, scowl-y, angel-voiced teenager, and the whole thing starts over again with the urge to drool dramatically over the glasses and the beard and the fucking build of him, Jesus fucking Christ.

Suffice to say, it's been a challenging few minutes.

27. Is there a fic you were nervous to post/share? Why?

There have been a couple of notable ones in recent memory, one that I won't name because I ended up posting it on a sock account and then this one. In both cases, I was essentially scared of being harassed over the content of the fics; the unnamed fic contains a couple of noncon scenes, and obviously the linked fic is Waycest, lol. Both have been received pretty well so far (touch wood), so, I mean, I'm definitely building up confidence, I think? I very strongly believe in the idea of writing whatever and who cares what people think, but also I am very small and very frightened lol. It's a whole thing.

29. Share a bit from a fic you’ll never post OR from a scene that was cut from an already posted fic. (If you don’t have either, just share a random fic idea you have that you don’t plan on getting to.)

Random fic idea, under the cut because it's a bit long: P2 RHPS AU feat. Bandom At Large!

Due to watching the video of Patrick's performance of "I Can Make You A Man" for the 2020 RHPS charity livestream--which, oh my God, by the way--I was struck by the idea of a Rocky Horror AU. To be clear, I don't mean an AU based on the movie the Rocky Horror Picture Show, I mean an AU about the boys putting on the Rocky Horror Picture show. So really, I suppose, it's a college community theater AU of some kind, but it's focused around RHPS. Not that I've been involved in a production myself, other than at CTY, I suppose, but having done community theater generally and attended RHPS productions, I think I can make a fair attempt.

So, anyway. Pete is running the thing--whole thing is his idea, he's the director, etc. I feel like this is likely not the first year, and in fact Pete likely inherited the production from an upperclassman. But they had a lot of people graduate last year, and they're having trouble backfilling those roles, so in addition to directing he's reprising his role as Rocky. They're advertising hard for musicians, too, because Pete--being a go big or go home kind of guy--ALSO wants to perform with a live band this year and do a proper Rocky Horror Show production, rather than perform in front of the film as they've typically done. That's how Patrick gets involved: he shows up to inquire about playing in the pit, because he's always trying to pick up odd musical jobs here and there to pay for school, and in true Fall Out Boy fashion he ends up singing a little bit and Pete's like, wait, no, holy fuck, sing this, throws the book at him, Patrick sings a bit of one of Frank's lines, and that's all she wrote. They've been having a particular amount of trouble casting Frank, and Pete decides Patrick is perfect for the role, which kind of baffles everyone else, especially Patrick, but Pete's like... distractingly pretty, so against his own better judgement Patrick agrees.

Beyond that, I'm not sure what the actual, like, plot would be. I think Patrick has a passing familiarity with RHPS but definitely not intimate knowledge, so partially he has to get up to speed. Partially, too, he has to overcome his stage fright and particularly his aversion to appearing on stage in front of a bunch of strangers while wearing sexy outfits and doing a lot of slutty slutty things, so there's that, but idk if that's a "plot" per se. There's also the implication/background of the production being sort of scrappy, but I don't know that that's a "plot" either, really. Hmmm.

Well, in the meantime, other notes that I had in my head include Gabe Saporta as Brad because I think that's really funny given his everything; Joe and Andy are definitely involved, I think with Joe playing Meatloaf and Andy drumming, or maybe Andy's Meatloaf and Joe is Riff Raff???? General DCD2/bandom cast... Uhhh, Ray should definitely be in the band/pit, Hayley Williams and Gerard are Magenta and Columbia (not sure which is which--I like Gerard as a sexy maid, so maybe he's Magenta???), and then that leaves, what, the criminologist??? Oh, and Janet, obviously. Maybe Greta from the Hush Sound is Janet? Or Vicky-T, that would make a lot of sense. Frank is either in the pit or he's the stage manager or something. Or crew. He kind of has insane stage crew energy. Mikey is... there. Possibly pit as well. Possibly just hanging around and the joke is everyone's always like, Mikey what the fuck are you doing here???? and he just shrugs and the answer is that he tends to get dragged into things Gerard's involved in and this is no different, but really he's just hanging around.

[raviliuz]

Music headcanon

Ever wondered what type of music does the Slytherin Quidditch Team like? No? Well I did

Terence Higgs

He loves music. He has a Muggle gramophone (one with that funky tube) and lots of vinyls and one whole wall of his room is covered in posters.

Terry loves Elvis Presley and bands from British Wave. Gramophone always plays in his room no matter what he's doing.

He can also play the bass and learnt how to play piano when he was little but could use some refreshment of that skill.

Marcus Flint

Marcus doesn't really listen to music by himself. He doesn't like wizard-music like The Weird Sisters or Heartthrob and well, in Flint Manor or Hogwarts he can't really own a muggle device.

He mostly listens to music at Higgs so he listens to the same type of music Terence does. Marcus likes The Who the most. And often they would jump around and bop their heads passionately and scream the lyrics from memory.

Marcus used to scream "I hope I die before I get old" part from My Generation louder than the rest. Now he skips it.

Cassius Warrington

He lifes for the music. Cassie listens to punk rock and more noisy type of rock and metal.

But what he likes most are random just-starting small bands. He hates mainstream and did actually stop listening to some bands after they got popular. He says they lost their charm but really he just likes unpopular niche bands.

During the holidays Cassius often goes out to clubs with live music to find new bands.

And of course he can play the drums.

Peregrine Derrick

Perry's favourite band is Green Day. Fav songs are Who Wrote Holden Caulfield? And Panic Song.

And here's the issue, I can clearly see what he would listen to other than Green Day but is all after 90s...

Let's ignore that for a moment

He would also really like Franz Ferdinand. And he knows lyrics to Dear Maria Count Me In and Check yes Juliet by heart.

Also, he vows he hates spanish music but then he gets drunk and not only sings songs like Livin la Vida loca but also knows the whole lyrics.

Lucian Bole

Luke likes more chill music. He likes Frank Sinatra and other jazz artists. He also really enjoys instrumentals. He, compared to the rest of the boys, likes music that calms you down, not gives you energy (or a way to spend your energy).

He hates John Lennon.

And one again, time issue, but he would love The Postal Service.

If he could learn how to play any instrument he would choose a saxophone.

Adrian Pucey

He loves ABBA. Also, because of ABBA he got engaged in Eurovision song contest and watches it every year. His favourite song is Lay all your love on me but he knows and loves them all. He also really likes Michael Jackson.

Ade's music taste is two opposites and nothing in between because other than ABBA and Michael Jackson he likes black gangsta rap from 90s

He sings/raps while taking a shower. Yes, in shared showers in Hogwarts.

Graham Montague

Montague likes his music aggressive and noisy. He listens mostly to metal and screamo. He liked Neil Perry (I mean the screamo band) but then Miles told him the name origin, you know, Death Poets Society's Neil Perry and it hit too close to the home and since then Graham is kinda uncomfortable because he thinks about it while listening to their music.

What he looks out for in music is the ability to use up his energy and rage. If he you know, was a teen now and used spotify, his playlist name would be just like "Rage room music".

Miles Bletchley

He actually likes wizard bands and may (or may not) have hots for Lorcan d'Eath from Heartthrob. It's kind of embarrassing really.

Miles also loves Madonna and Dolly Parton (who doesn't).

Also, he loves musicals and songs from them. He tried so hard to convince the theatre club to perform something but sadly no one else wanted to sing.

Miles adores The Rocky Horror Picture Show, rewatches it every year and knows all the lines.

[gothamslostboy]

Hey there! Was wondering if I could request a ship? I just found your blog and I love it!

Been in the Lost Boys fandom since I was 12 but I just found the fandom on here recently! (My LB blog is waitaminute-whowantstoknow)

If you’re not taking requests I totally understand!

Fandom: Lost Boys and Scream

Preference: I’m pan and I really have no preference

Favorite Animal: OWLS! And cats and bats!

Music taste: I love 80s and 90s music, goth rock, metal, I love H.I.M. And The 69 Eyes. Anything I can rock out to

Gender: female

Physical Appearance: I’m kinda short (5’3), kinda plus sized hourglass(if the bottom of the glass was a little bigger haha) around shoulder length wavy dark green hair, blue/gray eyes, lots of tatoos(including a chest piece that takes the whole space with bats and flowers and a large tarot card) and piercings

Clothing style: comfy goth? I wear a lot of black leggings and crop tops with a flannel or my battle vest or my leopard print faux fur coat, vans or big boots, a charm bracelet I don’t leave without

Personality: mom friend(have you had water today??). Loudly opinionated and really loyal, will fight for my friends, I like to think I’m funny, and I just really love talking to people so I’m the really chatty friend

Traits in a partner: I want someone who’ll make me laugh, who will be just as obsessed with me as I am with them(loyalty is huge for me), someone who will love that I need to be touched basically all the time(physical touch and quality time are my tops), someone I can chat with endlessly

Hobbies: I’m a Rocky Horror Picture Show shadowcaster so I perform as Janet, Rocky, and RiffRaff regularly, I love to write, I make crafts out of comic books(flowers and signs), I love games(video, arcade, tabletop)(surprisingly good at pinball) and I love reading, I’m obsessed with theme parks(had a pass for every one in Southern California when I was still living there)

Favorite movie genre: I love campy movie, comedies, mysteries, horror, but also cute Disney movies and fantasy

Thank you so much! I hope you have a great day!

Hello @its-freaking-bats ! Sorry this took so long, haven’t been feeling very well, and I’m sorry it’s just lost boys, I haven’t watched scream in a while and I can’t be sure about a match, but I’m think Stu!

THE LOST BOYS:

He definitely has dressed up as dr. Frank n’ Furter one year and will be so impressed you’ve been in the musical and is high key jealous

Y’all go on dates where you two ride every ride at the boardwalk, go to the comic book store (avoiding the frog brothers glares), then you teach Paul how to make different things out of them. He’d be estatic if you gave him a flower crown btw

He is also good at pinball and will challenge you to a tournament w/ the boys to find the best in the group

Honestly Paul fits your ideal partner perfectly & y’all like the same movies so it’s a match made in heaven

Y’all rock out together and chat for hours when Dwayne, Marko, and David are busy and Paul loves to trace over your tattoos:]

[22drunkb]

Please tell me about the Tim Curry phenomenon?

Hoist on my own petard! Okay.

So just in case what I said was unclear, when I said “Tim Curry as a phenomenon” I didn’t mean that there was some Thing That Happened, like [rummages in ancient tumblr lore] mishapocalypse or something. I just mean what Tim Curry has come to signify in popular culture for certain kinds and generations of people. I would not consider myself a Tim Curry expert, I don’t know a ton about his life and filmography, but I do experience him as that kind of icon or signifier, so all I’m going to be talking about is that (and for this reason I have determined I am not going to look anything up). (@tafadhali​ I’m going to need to you let me know how I did when this is all over.) So:

Tim Curry is an actor. He is probably best known for The Rocky Horror Picture Show, Clue, Muppet Treasure Island, Home Alone 2, the 90s miniseries of It, and maybe now that one clip of him that circulates online from time to time where he’s yelling about going to space and trying not to laugh. The key facts are:

Tim Curry has incredible presence and charisma. He is not an actor who “disappears into the role.” He is a very skilled performer--it’s not like he plays the same thing in every role, and if somebody else could do what he does, many more people would be doing it--but he’s the kind of actor who gets used as a shorthand to describe characters, or other actors. “A Tim Curry type.” He works in Muppet Treasure Island because he’s in no way naturalistic, and so he can play off puppets no problem. We could comparatively describe this as The Jack Black Factor.

Tim Curry has a very distinctive voice (speaking and singing) and way of delivering lines, such that his accent comes off as almost put-on or parodic without ever quite going over the top. (This is true when he’s actually putting on an accent and when he’s not.) His delivery has unusual emphases that make the lines stick with you. These qualities are equally suited to comedy and creepiness, and he reasonably often does both at the same time. So he easily becomes a kind of factory for references, a meme factory before we called things memes. We could comparatively describe this as The Christopher Walken Factor.

Tim Curry has been in a lot of movies. These movies’ quality ranges from “hilariously bad” to “not good by mainstream standards, but objectively incredible at being the kind of movie it is” to “beloved hit, but nobody would call it High Cinema.” (If Tim Curry has also been in prestige films recognized as such,* I do not disrespect them or him, but I don’t know about it! And that’s part of the Tim Curry phenomenon!) I have not come up with a comparison for this--it’s less a distinctive thing than something that becomes important in combination with the first two.

Tim Curry always does an incredible job in these movies, whatever their quality. And he always seems to be having a great time doing it. One of the top YouTube comments on that clip I linked reads, “A reviewer once said about Tim Curry: ‘For every 1-star movie he's been in, he's the reason that movie got that star.’” He delivers a specific feeling of intense talent being directed, with great pleasure, to a purpose that is, on some level, inexplicable. (No one else would say this line this way! Why is he doing that! Because he’s Tim Curry, and that’s good enough, dammit!) This creates a sensation that somehow combines “admiration” and “this is hilarious,” but in a different way than you might admire a great stand-up set. It’s on purpose without feeling deliberate. It’s cheese being executed at the level of high art. It’s ridiculous and it’s fantastic. IT’S CAMP, BABY. Put that together with the ability to walk a knife-edge between hilarious clown and scary villain (he played Pennywise, hello), in the context of what the film industry outside of Very Special Episode morality tales has been for most of his career, and you have a recipe for a queer culture icon. I give you Frank-N-Furter.

So Tim Curry at this point means a certain quality or texture of zaniness--but one that���s not maniacal or exactly cartoonish, just like, orthogonal to what’s expected or normal. You get Tim Curry for a role when you want things to feel a little too much but in the best way; when you want to sit right on the line between “this character is out of sync with reality” and “telling the audience this is a heightened reality.” This is assuming you’re a good filmmaker who knows what you’re doing. He is the best thing in some bad movies because he reliably creates this delightful sensation even when the movie doesn’t have a clear purpose for it; he can make objectively bad material fun to watch because the things that made the writing dumb or the costuming bad are campy and fun in his hands. This is kind of what I meant by an inexplicable purpose: it doesn’t need to make sense to work. This is also what I mean about being on the line between “is the character acting nuts or is this the kind of world the movie is setting up”--when it’s not what the movie is trying to do, but the movie is failing at what it is trying to do, Tim Curry suddenly makes that fun to watch because whatever he’s doing is both of quality and basically ineffable.

So this is why we live in a world where, say, Justin McElroy can build a whole bit on MBMaM around just repeatedly spitting out the words “CHEESE! PIZZA!” in a Tim Curry voice, or Tim Curry appears on The Simpsons. At this point Tim Curry is not just a man or an actor, he’s a mood. And because that mood is hard to describe, we mostly only invoke it by referring to him. But it’s a wonderful thing that has a lot of room in it to be enjoyed in different ways, whether it’s about queerness or comedy or surrealism or performance craft that isn’t smothered by the uptight standards of “naturalism” or “realism” or “subtlety.” And Clue is one of the best venues for it because it is a good movie made by people who did know what they were doing, and what they were doing was aimed exactly at creating the Tim Curry Experience: it’s clever and artful at being campy and cheesy, and its darkness and funniness are wrapped together in so many layers you can’t separate them.

BONUS:

Evidence of Tim Curry’s skill as a performer: look at him Not Being Tim Curry on SNL here with Eddie Murphy, maybe the one time I can think of that he’s in the “straight man” role. (An FYI more than a warning: The sketch is poking at racism--I think it holds up really well, but it’s deliberately pushing ~the line.)

__________________________________ *I know a lot of Film People etc. now consider Clue a genuine genius classic--for good reason! it’s incredible!--but it wasn’t received that way, and to the extent that it has gained this recognition it’s by that rubric of “succeeds at what it’s trying to do, which is more important than whether what it’s trying to do is be Citizen Kane Paddington 2.”

[secretradiobrooklyn]

Radio Decameron |1.16.21 & 1.23.21

Secret Radio | 1.16.21 & 1.23.21 | Hear it here.

1. Sylvain Sylvain - “I’m So Sorry”

I never feel right saying “RIP” or “rest in peace” about an actual human being who is no longer with us. But I will say: I hope Sylvain Sylvain died content with the music he made and the life he lived. 

2. The Honeydrippers - “Impeach the President”

And ideally, then we would never have to hear from or talk about that accursed criminal ever again. We recorded this section before the inauguration — may we never forget how ALL 50 STATE CAPITOLS plus the US Capitol itself were being guarded against attacks by American citizens on that day — and shit was tense there for many days. As of this writing, things are… unviolent. It feels like a lull to me, honestly, rather than, say, all that stuff being in the rearview. It is not. 

But meanwhile, check that beat out!  

I love how Roy Charles is trying to convince them to stop demanding, but they just keep insisting. This song is brilliant, and the playing is — c’mon now — unimpeachable.

3. Niagara - “Tchiki boum”

We heard this song in the film “Perdrix,” known as “The Bare Necessity” in the version we saw via SLIFF. They’re dancing in a club to this, and it’s just a really distractingly good song for the scene.

- C.K. Mann - “Mber Papa”

We just recently learned about Essiebons by learning that he passed just this August. He was a producer of legendary status to a lot of people. Listening around his music we came upon C.K. Mann and this righteous track, which Essiebons produced. I think this is a pretty ultra track, really. Every instrument really kicks it out. I hope Essiebons died happy.

4. Rocky Horror Picture Show - “Hot Patootie / Bless My Soul”

New president, feeling kinda upbeat and hopeful. Really just starting to feel the tips of my soul from where it’s been getting singed. It’s going to take a long time to scab over what happened to us all over the last four years. I’m so fucking glad he’s gone that it makes me really love that rock n roll!

5. Moon Unit & Frank Zappa - “Valley Girl”

Tell you what: we watched the movie “Zappa” recently as part of a film festival, and I highly recommend watching it at your earliest opportunity. It is absolutely for people who do, and for people who do not, love his music. He shows up as a really interesting character throughout his whole life. The film skips through his songs with amazing speed, which actually works really well in his case. This song is with his daughter Moon Unit, who actually slid a handwritten note under his door introducing herself by name and saying that she wanted to collaborate on a project. They did this, and while Zappa was in Europe, Moon Unit brought the acetates to KROC and the song became an instant hit for them. Meanwhile he was writing for multiple orchestras.

6. Jacques Dutronc - “Sur Une Nappe de Restaurant” 

This is totally not how I tune my drums, but I love how Dutronc’s drums sound in every song. I mean, the whole band of course, but there is a physical space both in the drum part as written and in the recorded texture of the whole that is just deep and wide.

7. Nyame Bekyere - “Medley: Broken Heart / Aunty Yaa / Omo Yaba (Nzema)”

This is another discovery via Essebiens, who released it on Essiebons Enterprises. It’s such an intense track! The cover artwork is by K. Frimpong, who plays a crazy Cuban guitar style on his own albums. 

8. Ros Serey Sothea - “Tngai Neas Kyom Yam Sra (Today I Drink Wine)”

This is a voice, and a cast of characters, I can’t stop thinking about. This is from “Cambodian Rocks Vol 1,” which is full of great recordings. Her voice could shatter glass, and it’s so skillfully wielded — I’d love to hear her in a face-off with Frankie Valli.

- There’s a moment from Paige’s phone archives of a little George and Isabelle aching to ride rides at the Millstadt homecoming.

9. Les Poppys - “Isabelle je t’aime” 

These young boys singing collectively about their — collective? 17 individual? — love(s) for Isabelle is even more innocent in video format:

https://www.youtube.com/watch?v=o618mlIaR7E

- more C.K. Mann - “Mber Papa”

10. The Jam - “In the City”

This song makes me miss the city so much! It sounds like everything we really can’t get up to right now. I feel like this song helps me feel like I’m walking fast under streetlights.

11. Bruno Leys - “Maintenant je suis un voyou”

This 7” from Born Bad is so incredible! Bruno Leys worked on just a few songs with a band that included a guy named Emmanuel Pairault who plays parts on an instrument called the ondes Martenot, a super early, very eclectic and ungainly electronic instrument. The fact that he could actually compose music of any kind on it was considered remarkable. The fact that he was able to write such incredibly expressive parts to thoroughly filigree the choruses is what amazes me. 

This band recorded four songs, then Bruno Leys left for his military service, and when he came back it was all completely over — the catalog was sold, everyone was scattered. Four songs. 

12. Sleepy Kitty - “Nothing = You”

I’m pretty sure this song was essentially our response to our own growing fascination with French pop. To me it sounds more French than American in texture. We played this song with the Incurables once at The Pageant in STL and it was especially glorious. I think of that moment — Kevin Bachmann harmonizing flawlessly with Paige, four different guitars ringing through the chords — every time I hear this track.

13. Plastic Bertrand - “Pogo Pogo”

I don’t know why or when “Ça Plane Pour Moi” became the one French pop song that Americans are likely to know, but it’s a total banger so I have no complaints. It turns out that pretty much all of his songs sound very similar — one-note melodies in the verse, cool vocalese hooks in the chorus, and super-driving guitar parts throughout. Turns out that’s a formula we totally dig!

14. Os K-rrascos & Vanessinha Do Picatchu - “Bochecha Ardendo”

For whatever reason, a variety of Brazilian music seemed to be the very hottest stuff to be found in Chicago’s art-school party nights, and I remember losing my mind to some heavy Brazilian rhythms that just kept folding over and over on themselves while staying so impossibly funky that the whole night just turned into a deep-green-and-dark orange smear of a late-night winter warehouse dancing and sweating and then way, way later, walking home steaming along a cold sidewalk on a tree-lined street.

- Eric Dolphy - “Hat and Beard”

15. Von Südenfed - “The Rhinohead” 

I feel like no one in my zone talks enough about how awesome Von Südenfed is. I mean, we only know this one album, but it’s so fascinating — a band where Mark E. Smith is contributing but not in control, and on purpose. He shows off his pop chops and gets to be a whole different character in this one place, while the Mouse on Mars guys get to play new characters themselves. It feels like it’s related to “Extricate” in how it’s constructed, but the music doesn’t sound like something any version of the Fall has made. 

16. Fischer-Spooner - “The 15th”

A friend of Wire is a friend of ours.

p.s. Paige here, they went to SAIC (before I arrived) but they were super famous to all of us in the dorms. 

17. T.P. Orchestre - “Pourquoi Pas?”

The depths of this band just continue to amaze us. We’re waiting on some T.P.O.C. vinyl right now, featuring mostly songs we’ve never heard, and the everlovin’ post office is misdelivering it BACK to France even as I write this. It’s driving us totally nuts.

18. Nina Simone - “Mississippi Goddam”

The hardness of her voice, the hardness of her experience, the hardness of her words.

19. Fanny - “Blind Alley”

I don’t know who first put this in front of my eyes, but it was a few years ago. The video is so basic — they’re performing in front of a video-psych effect — but the performers themselves are just so absorbing. And the production is so heavy, it feels legendary. 

20. Manmadha Leela soundtrack - “Kushalamena”

I think we first saw a colorful glimpse of this song before we heard it. Paige automatically starts dancing a little dance as soon as “Kushalamena” comes on. 

This I think came from the “Now Playing” group I’m in on FB: a guy was holding out a picture of the cover of this album and said he’d bought 40 more like it and he LOVED EVERY SINGLE ONE OF THEM. He just wanted to see if anyone knew anything more about them. I did my best to hear the album he was showing. I think this is it. I think he’s right to be super jazzed about it, we just want to hang out with him and listen to all those records.

21. Francis Bebey - “Je vous aime zaime zaime”

Paige was working on her pronunciation and when to use the ellision — the z sound for the s letter, depending on what comes next — and he said something about, “Unless you’re Francis Bebey and you’re singing ‘Je vous aime zaime zaime.” And she said, “Francis Bebey? I know Francis Bebey!” and he said, “No, you’re thinking of another Francis.” But we all know the truth. This was our introduction to the song though.

- Jack Teagarden - “I Guess I’ll Have to Change My Plan”

Paige was looking for the Fred Astaire & Jack Buchanan version from “The Bandwagon,” but found this great instrumental trombone-forward version instead.

22. Pono AM - "Good Vibes"

This is one of those things you see every once in a great while when you’re playing clubs in a music scene — a band hits a natural home run. They just have an undeniably appealing crowdpleaser of a song that they wrote, and everyone flips out when they hear it. We salute Pono AM for writing this perfect song. They enrich the STL music world. My only advice to them was to never get tired of it or take it for granted. 

Paige: We took their band photos at our space on Cherokee Street, for an RFT article. I was impressed because they arrived with matching shirts that still had the tags on them, and it was really exciting to see a new band on the scene who was really good and also putting in the effort to be graphically interesting. We believe that stuff counts. All of their shows, if you got there early, you’d see all of the band members blowing up as many balloons as they could, so there would be balloons bouncing around their set for the whole show, and it made it even better.

23. Sir Victor Uwaifo And His Titibitis - "Iranm Iran"

Analog Africa has a new album! It’s called “Edo International,” and it shows off a whole other side of Beninese music that isn’t T.P. Orchestre. I think of T.P. Orchestre as just a giant force in Beninese music, but then this comp comes out showing so many other roots of Benin City’s highlife-funk scene. Victor Uwaifo was a Nigerian guitarist who returned to his hometown in Benin City and built Joromi Studio. The sound he put together at that place, via his own bands and others’, came to be called Edo Funk.

24. Laughing Man - "Brilliant Colors"

This is a tape of one of the artists of one of the group houses that we always would stay at in DC. Benjamin Schurr runs a tape label and it was always such a treat getting the new batch of Blight. releases for the van soundsystem when we’d roll through town, or one of his bands would tour through St. Louis. They were always interesting stuff and a wide range of sounds and styles. 

We first met Brandon Moses when he was on tour with Paperhaus in St. Louis. I think it was his birthday, too. He didn’t tour a ton with them. Laughing Man was our first time hearing him front songs. We always enjoyed staying with Erik and Benjamin and Brandon and enjoyed sharing that green power juice that Brandon gave us — really powered us up for the next drive. 

- Bembeya Jazz - “Petit Sokou”

I have felt love for this song for awhile, but Josh Weinstein recently sent a video of the band actually performing this song and WOW, it is hypnotizing. The outfits, the instruments, and the expressiveness of the guitar playing are all so vivid in black and white: https://www.youtube.com/watch?v=RpZVF_kKUJ4

25. Maxime le Forestier - “San Francisco”

Our thanks to Paige’s French instructor for showing us this song. Paige’s version is well worth hearing too, I must say: https://www.instagram.com/p/CKhJfqDDe2q/

p.s. Paige again, if you want to see the dragon birthday card that Evan made, here it is!

[ranwing]

Rent Live on Fox: A Review

Many of my followers and readers of my stories know that I’m something of a musical theater buff, and I hold a lot of affection for the show “Rent”. This was a musical about my generation - the one coming of age in the era of AIDS. Where the east Village was gritty and filled with creative artistic types (before it was taken over by chain stores and rents - no pun intended - skyrocketed). When I was of an age with the characters, there was something intriguing and romantic about living for art and not worrying about what the next day might bring. So needless to say, the prospect of seeing Rent performed again was going to be a nice trip down memory lane.

Like all live productions, there were good things, bad elements and things that made me wonder what the production team was thinking about. To start off with, I’m not worried about the fact that the show did not air “live” due to the injury of one of the lead actors. In fact, I would have preferred better, smarter editing because I had some serious issues with the staging. But more on that in a bit.

Casting: For the most part, I found the casting of the show... adequate. There were a few performers that really blew me away but mostly I was struck at how generic most of the players were. I’m a firm believer that musical shows like this are best served with musical theater actors who can balance singing and acting. Too often, performers are chosen by name recognition and the show suffers as a result. Rent was no different.

First, there were some really outstanding performers. I adored Tinashe, who brought the right balance of sultriness and vulnerability that I want to see in Mimi. Her rendition of Take Me Out was amazing and she managed to overcome the annoying frenetic camera angles (more on that later). Another standout was  Kiersey Clemons as Joanne, who was able to bring appropriate gravitas to the “straight” woman of the Joanne/Maureen pairing. Brandon Victor Dixon’s experience as a Broadway actor showed and he gave Tom Collins depth and charm.

And I was really delighted to see  Keala Settle as the leader of the Life Support meeting. She’s always a joy to watch. Most of the background performers were excellent and I think that the show did a good job filling out the supporting cast with talented singers and actors.

Of the other leads, I was less in love. Vanessa Hudgens had some enjoyable moments as Maureen, but I sometimes found her too frenetic and superficial. There were times when she was grinning that just felt... off. Brennin Hunt looked the part of Roger, but his vocals sounded thin at times. And while I think that  Jordan Fisher is exceptionally talented, I feel that he was miscast as Mark. I understand that the show did want to have as diverse a cast as possible, but he was a poor fit for a geeky Jewish boy from Scarsdale. Valentina had moments where she really shone as Angel, but there were also moments when she struggled with the music.  So the casting and acting was a mixed bag for me.

Production: When I first heard that FOX would be airing Rent, I’m going to admit that my heart sank because I had no clue how they were going to air a show like this without totally butchering it (the way Rocky Horror was). The show is filled with profanity, frank discussions about sex and relationships (including one song that is all about fucking). But unlike the ill-fated attempt to bring Rocky Horror to the screen, I ended up being pleasantly surprised that a lot of the show was left more or less unedited. Yes, the cursing was cut out (and not always adeptly) but the song about fucking was left intact (Contact). The lesbian and gay relationships were highlighted and the actors were able to show kissing and physical affection between their characters (including Maureen bouncing on her’s and Joanne’s bed during Take Me or Leave Me). Angel’s gender fluidity wasn’t whitewashed away, and all of the drug references seem to have made it through the editing phase.

That’s not to say that there weren’t edits that left me annoyed. During La Vie Boheme, there were edits made clearly to reduce run time that I felt affected the flow of the number and made no sense. And while they characters could sing about “mucho masturbation” and S&M, the word dildo had to be changed for some silly reason. But for the most part, they got a lot of the original musical in, which made me quite happy.

Explaining the setting of the show (including the impact of the AIDS crisis to viewers who might be too young to understand) and the tribute to Larson at the end was well done and gave the show a frame in history from which to operate. The New York of Rent has changed dramatically since, but this show provides an interesting window on that brief period of our history. And bringing back the original cast from the Broadway production (who I got to see perform several times back in the day) made sitting through the whole show worth while.

Staging: This was an issue that I had a love/hate relationship with. Sometimes the staging was great, and other times it just looked too random. Like they had all this scaffolding, so actors had to run about it as much as possible. I think that the show could have done a better job in setting up actual sets within the scaffolding to create the different settings (Mark’s and Roger’s loft, the Life Cafe, etc). They had the luxury of all that space and didn’t seem to utilize it in a way that was effective. We got the impression of settings rather than actual settings in a lot of cases.

And I had issues with how the show interacted with the studio audience. Too often it seemed that the audience was getting in the way of the production. There were times when it was difficult to hear the singers, and I could have done without the pointless body surfing done during What You Own. 

So all it all, it wasn’t a bad production for the most part. I enjoyed it and have it saved on my DVR so I can watch it again later. I think that the weaknesses of the show don’t detract from my generally being able to enjoy it. Of all the musicals done on television, this is probably one of the better efforts (along with Jesus Christ Superstar last season). I’m looking forward to seeing what happens with Hair (which is airing on NBC in May 2019) and hope that maybe one day we’ll get to see a show aired in its entirety. Too many people don’t have the luxury of seeing live theater and this is a wonderful way to give them a small taste of what going to a Broadway show can entail. Rent wasn’t perfect, but it did a decent job given the limitations of the medium.

[aion-rsa]

Aliens, Clowns & Geeks Review: Sci-Fi Comedy Aims Low And Scores High

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No one sets out to make a cult movie. Most filmmakers aspire to commercial heights even if they only have the budgets for a B-movie. They see films like Blair Witch realign box office accounting and apply all kinds of quantum physics to mimic the exponential multiplication. Very few achieve it, and the ones which do usually do it by accident, and certainly not with serious intent. Aliens, Clowns & Geeks is not afraid to be ridiculous. It joins the ranks as such brave films as Attack of the Killer Tomatoes, Killer Klowns From Outer Space, and Frankenhooker.

It is also so much more than these films, dripping with artistry, and yet considerably less, with masturbating aliens, pussy ping pong, and sphincter-pinching obelisks. Richard Elfman’s sci-fi comedy has an abundance of experimental fun and a happily reckless disregard for taste. It owes as much to Frank Zappa as it does to Frank Capra, and can in some ways be seen as a screwball comedy take on the 1955 film noir classic Kiss Me Deadly. For a silly film, Aliens, Clowns & Geeks summons serious plot twists. It captures the casual surrealism of the Marx Brothers in hyper-speed.

Though it’s not on the level as Forbidden Zone, how could it be? Elfman’s 1980 cult classic ranks way past closing time on the clock of midnight movies. Aliens, Clowns & Geeks is still completely original. Unlike other films where low budget hobbles creativity, this uses a lack of funds to its advantage. In some ways this is like Tim Burton’s Mars Attacks!, except done on one-thousandth of the budget and with 1/100th of the stars. Aliens, Clowns & Geeks marks the final feature film role for the late Verne Troyer (Austin Powers: The Spy Who Shagged Me, Goldmember, Harry Potter and the Sorcerer’s Stone). His Clown Emperor Beezel-Chugg is a memorable turn. Narcissistic, lethal, and commanding, he is the Emperor of the Nine Planet Federation, and still gets hauled in for Illegal dwarf tossing.

The little clown who gets tossed around is played by Nic Novicki, but don’t feel too bad for him, he takes dirty pictures of nuns in porta-potties in his spare time. George Wendt plays a priest who condemns him to eternal damnation for it. French Stewart (Stargate, 3rd Rock from the Sun) gets the Fickle Finger of Fate Award for being able to maintain an Arte Johnson impression throughout a whole film as the German scientist Professor von Scheisenberg.

Mimicry is only one extra talent the actors bring into their roles. Rebecca Forsythe contorts her voice and face excruciatingly and exquisitely as Swedish lab assistant Helga. She’s studied quantum, subquantum and super-quantum dynamics, and delivers one of the greatest pickup lines in cinema history: “you would be surprised at how incorrect the calculations of many rocket scientists can be.” Her body proves to be equally supple whether during head-banging sex or in one-on-one martial arts combat.

No one quite makes the faces or shrieks the screams quite like Bodhi Elfman, who plays the lead, a jaded actor named Eddy Pine. Bohdi, the actor playing the actor, is a cartoon character masquerading as a person. His cynical Steve Buscemi-esque delivery grounds him even as the only missed opportunity in the film is a Looney Tunes sight gag where hens lay so many eggs they rise to the roof of Porky Pig’s barn. 

Happily, the camera turns away when the obelisk is introduced to the film. Whether it is just a worthless novelty or the key to the universe, Eddy’s anus is “the chosen portal.” The Chinese military wants the obelisk, there’s an intergalactic battle between alien clowns and green Martians over it, and Dr. von Scheisenberg wants to melt it down for clean energy. About a foot long, and looking like the Washington Monument with squiggly sub-particle lettering, it is also known as the jamtoid key, and is worth more than a three-picture deal, but “money won’t mean nothing if the world explodes.”

Elfman, who also directed Shrunken Heads, and Modern Vampires, has a background in theater, and uses troupe mentality by casting actors in multiple roles. Anastasia Elfman brings the fire of a true believer to five characters. Helga’s sister Inga is played by Angeline-Rose Troy, who also plays Eddy’s junkie-whore mother. The noises she makes in one particular chase scene is so alien and unexpected, it brings the whole movie to another level. Steve Agee plays Eddy’s recently transitioned Burlesque dancer and bar-owning sister Jumbo, as well as the chicken-suit wearing Eddy Pine. Richard Elfman plays the clown Da-Beep. Martin Klebba is an angry clown captain.

The final character is the original soundtrack, which upstages the action in the best of ways. Aliens, Clowns & Geeks could be called a musical, but not in the same way The Rocky Horror Picture Show is, even if there is gender fluidity flowing through it. For the film, Elfman reunited with the Mystic Knights of the Oingo Boingo, who starred in Forbidden Zone. The score was written by Danny Elfman and Ego Plum. Danny Elfman wrote the theme song to The Simpsons, the music to Nightmare Before Christmas, and did the singing voice of Jack Skellington. Plum is best known for the noises he made for SpongeBob SquarePants and The Ghastly Love of Johnny X, but also plays in the band Mambo Demonico. Consisting of 75 minutes in a ninety-minute movie, the music makes the film unique. The diverse mix of genres makes the movie feel like live performance.

Aliens, Clowns & Geeks is laid out in the three-act story structure of classic comedies. It is zany, evoking the feel that logic has been usurped by the most unreasonable intrusions. The film opens on the road. The first victim is a large biker clown who is mind controlled to be some kind of monosyllabic Terminator-style obelisk retrieval machine. Eddy is taking his sorrows for a swim in the deep end of a dive bar. His network series, “Cry Me Dry,” was cancelled a day before it was set to air. Their first encounter is inadvertently suspenseful, as the clueless Eddie chalks up a seemingly random request to another day in Hollywood. 

The movie then takes on a science fiction turn while keeping to an LA Noir sensibility, albeit with frenetic sexcapades (“May you procreate and spread your clown seed wide”), campy caricatures, vampy vehicular battles, and trampy throughlines. Masturbating aliens remotely manipulate blond femme fatales with X-box controllers, making the conquest of earth look like a video game. This highlights the depersonalization of battle, intergalactic or terrestrial. This very human alienation is further accentuated every time the green aliens have to get approval from corporate. There are impossibly surreal scenarios, like a ménage à trois scene where Eddy’s on the bottom and the POV shows the two girls on top. The scene ends in a nuclear explosion, topping the fireworks display of the first climax of Deep Throat. There is a head exploding scene which is more over-the-top than Scanners.

As comedy, each of the set ups have great payoffs, and the running gags never trip up, even if Eddy slips into Shakespearean soliloquies before exiting, stage left. Elfman mocks Hollywood itself, pointing out that the Beverly Hills Police Department only takes calls from celebrities while actors kiss ass on Hollywood Boulevard all day. The film even throws in visual sight gags, like a bucket of brains which is kept in a joint compound container labeled “head stuff.” One character is reading a book called “The Strawberry Fields of Heaven by Blossom Elfman.”

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Aliens, Clowns & Geeks makes no apologies. You just have to go with it. Groucho Marx once advised if nothing else is getting a laugh, “drop your pants.” This turns out to be the greatest weapon of the movie. It saves the day as much as it lowers the bar. It is worshipfully irreverent, and politically incorrect. There is no shame nor the slightest consideration given to cancel culture. “Life is complicated, take if from the guy with a dick in a dress,” we are advised in the film. Even insane biker clowns may not be what they seem. Aliens, Clowns & Geeks is silly, goofy, stupidly intelligent, and absolutely what a mad scientist would order.

Aliens, Clowns & Geeks will be opening in a drive-in run, double billed with Forbidden Zone: Director’s Cut. Details will be announced. 

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[motherofangst]

Sniperpilot Halloween: DAY 7 : Costumes Still super late with the prompt but -- used the costumes word prompt to have an excuse for theatre kid Bodhi, and to throw some Rocky Horror into it. Because, it's not Halloween without Rocky Horror. CROSS POSTED ON AO3.

SCIENCE FICTION/DOUBLE FEATURE

SUMMARY: “By the time he finds the door that leads him back stage, and side stepping a half dressed and soaking wet Frank ‘n Furter, he finds Bodhi in the hallway of the backstage ; still in his ridiculous costume from the last scene.”

Cassian was going to kill Jyn. No, really. At this point in their friendship, he had contemplated one too many ways on how to arrange her untimely demise and how to make it look like a simple accident. Now was no different. Now, Cassian was burning in musical theatre hell -- this had to be what hell felt like. The room was hot and stuffy, it reeked of alcohol and sweat and everything else that was unholy in this world.

Jyn was talking again -- or, he thinks it was Jyn talking. He wasn’t really listening anymore at this point. He was, instead, sunk down in his seat with his thumb cradling his chin and his fingers tapping against his temple -- wondering just how in the hell Jyn Erso had managed to drag him to a performance of Rocky Horror Picture Show. ( “Bodhi would be really upset if I didn’t come and see at least one of his performances -- I come every year. He’s gotten much better, you know! They cast him as Riff Raff this year, and it’s his first time having more than one line. He was so excited when they told him --“ )

Oh, that’s right. Jyn lured him out here by telling him that her stupidly attractive step-brother was in it. ( “People aren’t going to throw things are they?” Cassian had asked. Jyn laughed, but she didn’t answer. When Cassian was younger, he had gotten dragged to one of the shadow cast floor shows -- and promptly made him realize he never wanted to come to one again, but he wasn’t sure how live shows worked -- )  “I didn’t even know he could sing,” was his comment instead, trying to ignore the banshee-like laughs of the teenagers behind them.

Jyn laughs, waving a hand at him, “He used to suck, and I can say that because I’ve known him since he was five. He used to sound like a dying animal. It was terrible. If he asks, my teasing was merely criticism to make him get better.” Cassian doubted that, and he was sure his doubt was clear on his features, because Jyn added, “It worked, didn’t it?”

Cassian went to reply, but she was shushing him with a sharp shove on his shoulder -- the lights beginning to dim as a woman walked out on the stage ; too sharp and florescent lights on her. Bouncing off of her loud makeup and making her wig look shimmery against the different colors. Painted lips smiled as the Magenta puffed her hair and the beginning chords of Science Fiction/Double Feature started.

It was only three lines into the song that he realized that  ( “On our feet!” )-- yes, it was going to be one of those shows, despite the aspect that it was live and lacked the projection of the movie behind him. Cassian sunk lower in his seat, a scowl on his lips that betrayed that perhaps a small crush really wasn’t worth this. ( Or -- in hindsight, not so small. )

Cassian was delighted to learn that Jyn also liked to take part in the call backs, as he learned at her all too eager call back ( “See androids fighting -- “ ) of “ -- and fucking! And sucking on --!” And he nearly grabbed her and jerked her back into her seat at the wail of “ Fuck the back row!”

It was going to be a very long night.

For the first half of the first act, Cassian’s eyes were instead glued to the back of the monstrosity of whatever hairstyle the woman in front of him was wearing, still several feet shorter than usual as his knees poked out awkwardly to either side of him -- practically hiding in his seat from the hellish chaos that was ensuing around him. Perhaps he was hopeful that the seat beneath him would swallow him whole so that he didn’t have to witness the rest of the horror in front of him.

“In the velvet darkness of the blackest night -- “ Jyn was nudging at him with her sharp elbow, causing a huff of an irritated breath to leave Cassian, looking to her where -- for once -- she was towering over him. “What?” he hissed out in a stage whisper.

She rolled her eyes at his reaction, forcefully shoving her hand beneath his underarms and jerking him to sit upright. “If you aren’t going to watch the rest of the best cult classic musical to ever grace the earth, at least watch Bodhi’s parts -- that’s why you came, isn’t it?” The first part was bit out with a grunt, from the effort of pulling Cassian’s weight up, but the last part was said with a smirk. The one she wore so easily, the one that Cassian wished she could just slap off her face at times.

He narrowed his gaze at her, to which that shit-eating smirk merely grew and egged the frustration inside of him further -- but, he realized to his own dismay -- that his own silence and reaction gave himself away. So, instead, he pressed his back into his seat and folded his arms over his chest so he could watched -- giving her a pointed look as if to say See? I’m watching.

The focal point of the stage shifts with the spotlight on a man standing atop what Cassian assumed to be the castle the couple was trying to walk to ( he was at least half paying attention to the plot ) -- when actuality it was a large cut out in front of a latter. His eyes follow the prop up to where Riff Raff -- Bodhi -- was stationed. Cassian had known Bodhi for a few months now -- and he was used to the smile crinkle of his eyes, the brightness of his smile, the stupid infectious bubbly energy that the man bounced around with -- seeing him in fully costume with dark circles under his eyes and an expression to match was … different. And at least caught his attention long enough for his stiff posture to loosen.

“The darkness must go down the river of night’s dreaming -- Flow morphia slow, let the sun and light come streaming into my life --- into my life.” By the time that he hit the note on the last word, Jyn was chuckling. Low enough for the rest of those around them to not hear, but loud enough for Cassian to ignore it. He was sure that it was the expression against his features that amused her, shouldering him once more. He ignored that as well.

  During the remainder of the play, Cassian didn’t slump back in his chair any longer. He didn’t participate in the call backs and yelling that Jyn was much too eager to scream against his ear. And, for most of it, he still seemed more bemused than anything. Albeit, Jyn would steal a glance to him while Riff Raff was on stage -- ( specifically the Time Warp scene, and Jyn took note of this to tease Cassian with later ) -- and he would seem much more interested for a limited amount of time.

Despite this, at curtain call, he was still very quick to stand -- Jyn cocking a stubborn brow at him as he tried to push her knees to the side so he could get by her. After a death glare from Cassian, she was relenting and pulling them in so he could get back -- but, not without a harsh roll of her eyes. “Dressing room is in the back, if you want to tell Bodhi what you thought of it yourself,” she tells him, that same knowing smirk against her lips that he hated so much.

Perhaps he shouldn’t. If he left now, he wouldn’t even have to tell Bodhi he was here and have to try and explain his way around why he was here. ( He remembered, with a pang of guilt, how he had commented negatively about musicals once or twice -- and he remembered the look of hurt Bodhi had given him. ) But, he also knew Jyn would continue to give him shit if he didn’t.

Again, he doesn’t speak -- shoving past her.

By the time he finds the door that leads him back stage, and side stepping a half dressed and soaking wet Frank ‘n Futher, he finds Bodhi in the hallway of the backstage ; still in his ridiculous  costume from the last scene. “Cassian?” Bodhi is asking, and it looks almost comical to see his bright grin flash against his features in the costume -- his hair was still covered by the stupid wig. Cassian swallowed, to ignore the warmth that Bodhi’s lighting up caused him -- to ignore the impulse to jerk the wig off his head so he could unravel his dark hair between his fingers. Shit --

Bodhi lowers his phone, which looks awfully out of place in his Riff Raff costume -- the silver of it catching the dull lights of the back hallway. “I didn’t think you’d actually come when Jyn said she invited you. It doesn’t seem like your kind of scene. I mean -- “ Brows furrow on the male’s face, an expression that Cassian recognizes from when Bodhi would grow too anxious and nervous. Nervous? Because of Cassian?

So Cassian steps closer, making a point to obviously eyeball the bun at the top of the wig before looking back down to the other -- “It’s not,” he admitted, trying to avoid the elephant in the room at his admission.

It was quiet for a beat, and Cassian was forced to step closer to Bodhi as some of the other actors shuffled around him -- Cassian ducking his head down as his shoulder brushed the shoulder blade of Bodhi’s costume.

“Oh,” Bodhi says, a stark contrast for the man’s usual endless stream of words.

“Oh --” Cassian echoes with an audible swallow, thinning his lips before finally daring to look up at Bodhi; realizing how close they were. Not missing the way that Bodhi’s eyes flickered down towards his lips and -- even in the dim lighting of backstage -- he could see the way the male’s deep skin colored with a pink tinge. Oh, Cassian’s brain echoes back at him.

He cages Bodhi near the wall they leaned against with one arm, forearm supporting his weight against cheap drywall. “How about you take that ridiculous wig off so I can kiss you?” he asks. Cassian was anything if not bold, raising his brows to swallow down the anxiety he also echoed internally.

Bodhi sputtered before shaking his head, “Why do I need to take my wig off for -- “ Full stop. Realization. And Cassian swore he saw Bodhi go even deeper red. “Oh -- you want to kiss me?”

Cassian smiles, the first he remembers since walking into the theatre -- tugging at the bun on the wig. “It’s distracting, and you were about to take it off anyway, weren’t you?”

“Yes, but -- it’s a lot more than just yanking it off. There’s pins, and glue, and --” Bodhi started. And there’s the rambling mouth that Cassian knew so well. Fuck it, his brain supplies ; hands catching Bodhi’s cheeks in mid-sentence, and the male stops abruptly -- wide, dark eyes finding Cassian’s before Cassian is ducking inwards. Closing the space between them until all he can taste is the mint of Bodhi’s breath and the lingering smear of whatever make up the other was still wearing.

Bodhi’s hand twitch awkwardly in the air between them before finally settling in the back of Cassian’s shirt -- twisting into the fabric of it, and Cassian let out a quiet, happy sigh -- nearly melting into him. Nearly -- until a half naked Rocky was bumping into Cassian's back and giving a cat call down the hallway. "Get some, Rook!"

Bodhi flustered, but at the least gathered enough confidence to yell back, "As if you have room to talk, Solo!"

Cassian can feel a heat at the back of his neck, but it doesn't travel back his collar -- his eyes settled warmly on the other. “Now, go get changed and out of that stupid thing -- and I’ll take us somewhere to eat.”

[the-one-blog-to-rule-them-all]

KRISTIAN LIVEBLOGS THE ROCKY HORROR PICTURE SHOW: LET’S DO THE TIME WARP AGAIN 2016 MOVIE

don’t go in here if you stan for the actors bc i shit on them except for like two of them LMAO but not a bad experience all around

i'm gonna try hard not to be a bitch this whole time but my first thought on this is that it's too clean cut LMAO this bitch is talented at singing but i'm not interested in her perfection also i think it's cute intro bc of the posters of the movies also the aesthetic of the movie goers is good girl in the background looked like the ugly chick from crybaby..... hatchet face?? there's like SIX PEOPLE IN THIS THEATER but it's a nice theater she didn't turn her flashlight off lmfao @ them for thinking people would rly be that excited about this movie coming on SORRY I'M NOT BITCHING yo brad is mcFucking cute as hell "she said i do, now i'm doing" put that on my car if y'all don't run after my car like that .... smh yo brad is MCFUCKING CUTE it's those brown eyes i swear lol her struggling to get the glove off, that was cute once again the music is waaaay too polished that's gotta be frank under that cloak GRAVE IN THE BACK SAYS COTTON CAHTUN... THICK CLOUDS OF CAHTUN this funeral procession is following their ass everywhere wth THAS MY BOY!!! THAS TIM RIGHT THERE!!! the audience going wild for this part actually makes sense "life is pretty cheap to that type" good work on the line bitch.. u had a blowout?? i know that feel binch!!! i like their delivery in this scene it's so on the nose LMAO mood they're BOOKIN it to this house LMAO WASTE NO TIME WE GOTTA GO!!! EMO RIFF RAFF LARKGJLARJGKLAJER DOES HE HAVE STREAKS IN HIS HAIR wow his voice is killer tho he's putting his heart into that scene LMAO yo i'll say it again brad is way too cute holy fuck oh shit !! is the castle an old theater or something?? that's interesting okay lady in the bg who is that behind tim i'm not super into her presence and that scream LMAO Riff raff is me "yesh" riff raff is reall doing his best WOW BRAD IS CUTE that riff raff hair is killing me inside BLUE MOHAWK IS DOPE I LIKE HIM this is the most lifeless version of time warp i ever heard in my life this is a really diverse crowd tho which is neet columbias delivery on her part was really good tbh riff raff shredding on a guitar lmfao god brad is mcfucking cute "until IIII GET TO..... a phone" cute HERE COMES FRANK BOYS! laverne bitch you know i love you but this singing is so lifeless wtf is with everyones singing in this movie her dancing is great and facial expressions are great like she's putting life into the movements but the singing ain't shit "could we use ur phone?? :^))))" "antici................................................................................................................pation" i do like columbia she's got this really bored personality but she does it so well victoria justice was so cute right there LMFAO brad trying to GET INTO HIS SHOES i barked LMAO this scene is fun as hell laverne is enjoying the fuck out of it the snapping tho i don't get FROSTED TIP HAIR he looks like the guy from american horror story boxers..... ? i'm disappointed smh WOAH good jump rocky once again like the singing is lifeless LOL BRAD GONNA KARATE CHOP HIS ASS i'm thoroughly enjoying the comedy brad brings to this role "heh heh yes..." LMAO i loved the delivery laverne really is doing a good job except the singing part her delivery is enjoyable charles ATLAS SONG!!! DO ME GOOD PLS I BEG OF U that low laugh LMAO EDDDIIIIIEEEE aslright adam lambert is killing it as eddie he's putting a lot into the performance the weird sideburns are doing a lot for me on his face one thing i don't like about columbia is that she's lost the fun spirit she has in the original but i don't hate the big character change so i'll live LMAO GET HIM FRANK!!! BITCH !11 bye eddie the guy playing rocky is doing great playing stupid YESS SHE CHOKED THE "HOT" PART i appreciate it LMAO janet looking at rocky "going down" nice i like how much brad and janet ham up their lines LOL this scene is so cheesy they're having so much fun WHY DO THEY HAVE ROCKY IN THE SHITTY BASEMENT GOOD GOD rocky runs like me when i have to shit magenta is super cute god I wish that were Me.jpg because brad is so mfUCKING CUTE HES SO EXTRA I LOVE THE HAMMINESS aww poor rocky i always feel so bad for him rocky looking for camera lmao rocky is so lovably dumb WHAT WHY IS THIS A POP SONG LMFAO but i don't mind this song as much as i do the others bc i'm a pop bitch "congratulations janet" laverne this is a look GOD BRAD IS SO MCFUCKING CUTE "bread" is how she pronounces his name and it's amazing dr scott looks like a muppet with that hair the audience participation parts are taking me out of the movie so much magenta is MAD CUTE jesus christ it's the last supper MEAT LOAF AGAIN LMAO I LOVED THAT SCENE listen the awkward tone of dinner and the stopping of singing the song in the middle fucking gets my goat every time LOL BRAD LOOKING AT THE CAMERA rocky is me at dinner chowing down dr scott dancing in his chair to the song i always thought they said "when eddie said he didn't like his DADDY" whoops that's my bad i love dr scott in this omg BEST SONG BETTER DO IT RIGHT LAVERNE I SWEAR the little snap with "bell ring" was cute once again like she's killing it with character in the moves and face but i'm getting nothing from the singing ://// "MENTAL MIND GAME" WEAK WEAK WEAK WEAK WEAK LET FRANK N FURTER SAY FUCK YOU COWARDS that's the best part of the sONG even smiling makes my face ache ahhh the floor show omg best scene i've already seen this scene LOL but i'll express my disappointment with columbias outfit rn becasue it's sOOOOOO BORING LET COLUMBIA WEAR LINGERIE COWARDS but the singing in this whole scene is amazing rocky dances like me in my head BRADDDD INNNNN THE SEXY LOOK OMG THIS IS MY FAVE PART I SWEEEAR WE'VE GOT THE LEGGINGS AND THE TOP AND THE HEELS AND THE GLITTER AND THE GOLD AND SPARKLES WOAH I'M GOOD WITH IT AND THE DANCING AND SINGING KILLS IT BRAD FUCK IT UP JUST rewound it because i love it so much god damn so good even janet is great yo i swear this is the exact same fanfare from the og movie i'm not kidding i don't think they remade it i think it's the same one IT TOTALLY IS OMG that's cool awww man this is bummin me out bc tim curry makes me mad emotional in this scene with the song but her voice hasn't got the life in it actually... we're pickign up now and she's getting better but still hit the notes do it do it GET THE POWER aw FUCK YOU WEAK WHAT A LET DOWN LOL dr scott is a really great actor he's got such personality god i wish that were me.jpg my eyes are literally GLUED to brad who was that SNAZZY MAN the guy playing riff raff is really giving it all he's got and he's super killing it magenta is really me during this scene that columbia death was mad extra LMAO brad like bitch we gotta get the fuck out of here THEY DIDN'T LIKE ME, THEY NEVER LIKED ME yo dr scott is literally the best character omg oh brad you look so pretty they're wrecking this song whcih blows because it's like the PERFECT ending song and always gets me like "damn... what a tragic and wild story..... emotions now" ALRIGHT SO FINAL SYNOPSIS not horrible honestly like they had a lot of fun and it shows and they put a LOT into their acting and everything but the music is just boring as hell aside from a couple songs but not a regrettable hour and a half

[dangan-ronpa-imagines]

Have any of the watched Rocky Horror Picture Show before? I've heard about Heathers but never RHPS.

Ok, so if y'all thought I was going to just see a rocky horror picture show ask and not make an au out of it, you are sorely mistaken.

So, if you haven’t watched rocky horror picture show, I very highly suggest you do because the music is great, and Tim Curry plays a transvestite from space, and it’s all very sexually twisted and amazing.

So lets start with Brad and Janet. They’re supposed to represent normalcy and innocence of people living in the suburbs, which then crashes beautifully later with all the sexually inclined and violent gothic freaks later. I was thinking either Makoto and Sayaka, or Hajime and Chiaki? I think mostly due to the rest of my character choices I’m going to go with Hajime and Chiaki. Hajime (completely separate from Izuru, I’ll get to him later) is, as we know, the Normal Boi™. And even though Chiaki is very unique, and I believe her to be a sex goddess personally, at face value she is seen as pretty bland and not experienced in any kind of mature content. Plus, the thought of them singing ‘Dammit Janet’ basically puts me in stitches.

I’m gonna go onto the one and only Dr Frank N. Furter. After quite a bit of deliberation I have decided upon Junko for this role. Now, I know that part of the doctor’s whole thing is he’s a sweet transvestite, but Junko is basically a genderless being of despair and she can pull that shit off. I feel like Junko just totally matches the doctor’s freakish ways and she totally fits being a crazed scientist who wears fish net stockings and extremely high heels. The doctor is also the boss of the house, and even though he’s not really in control, as we later find out, I think she would be great at bossing around her servants. And sex is a big part of Junko’s normal persona anyway, so her being a sex fiend is basically in character. And Junko performing ‘Sweet Transvestite’ is both extremely arousing and entertaining.

For Riff Raff and Magenta I have been thinking a lot. I’ve finally decided on Mukuro as Riff Raff and Nagito as Magenta. Now, hear me out on this. I know Riff Raff and Magenta are siblings, and Mukuro and Nagito have no connection beyond being Junko’s subordinates. But, I feel like that connection is enough already? Like, having to serve under somebody that treats you like shit at every turn, and either basically or literally brainwashing you into doing so, creates an amazingly strong comradory, as we’ve seen. Plus, I’ve always thought that if Nagito and Mukuro ever did meet, they’d be friends. Her stoic nature levels out Nagito’s eccentric one. They both have been through shit childhoods, and while Mukuro likes being degraded by Junko, Nagito is prone to self deprecation. Buut, back to rocky horror. I also felt like, for everybody working in the house, they need to be people who we know about their personal feelings towards Junko. I also chose these two because I feel like their personalities kind of match? Nagito fits Magenta as a freaky maid (yes, he would keep the maid outfit), and Mukuro fits a solemn butler who occasionally breaks out into rock solos. Cause I want to see Mukuro do that. What I’m saying is I want to see Mukuro and Nagito do the start of 'Time Warp’.

Now to Columbia. Hands down, this is Mikan for me. I just think she would really fit Columbia for some reason? She’s madly in love with Junko, having given up everything for her. She’s twisted. She’s got that weird sort of sweetness. Not only that, but she would look great in Columbia’s outfit.

Ok, so, Rocky Horror. This was, again, easy for me. It’s ya boi Izuru. He was artificially created, Junko has an obsession with him, he’s physically attractive (I assume? He’s the ultimate model as ons of his talents, so), and supposedly 'perfect’. But, in this version of the musical, the roles would sort of bend a bit to fit the character of their DR counterpart. This would be most apparent in Izuru, who would not be dumb, just very stoic and aloof.

For Eddie, I would definitely have to go with Ibuki. I know Ibuki isn’t as much as an asshole as Eddie was, but still. I think the thought of her busting out of a freezer on a motorbike looking like a fucking greaser is amazing. And the fact that Eddie was just a wayward delivery boy who didn’t mean to get caught up in the doctor’s bullshit fits Ibuki’s experience well. Plus, her as Eddie fits Mikan as Magenta. I also really wanna see Ibuki perform 'Hot Patootie’.

I’m kind of lost for Dr Scott. It has to be somebody closely connected to Ibuki, because of the whole uncle thing, and also very wise? So maybe Mahiru? I guess? Or maybe Sonia? I honestly don’t know. I just like the thought of Mahiru exasperatedly singing 'Eddie’.

And lastly the criminologist. I think Kyouko might be good for this role. Just cause. Also her just amusedly saying “It’s just a jump to the left,”.

So, yeah, that’s my rocky horror au nobody asked for. Enjoy!

~Mod Yoyo

[519magazine]

Not Just a Pelvic Thrust: Stratford's Rocky Horror Picture Show Entertains

I have been a fan of Richard O’Brien’s 1975 cult-classic, “The Rocky Horror Picture Show” for such a long time. I remember setting my sights on Tim Curry (who played Frank N. Furter) in fishnet stockings, smudged lipstick and eye liner and feeling that twinge of excitement. I had no idea boys (other than my heart throb Robert Smith of The Cure who smudged his makeup proudly) could look so feverishly handsome this way and I had even less knowledge about what a sweet transvestite from Transylvania was all about. One thing that was crystal clear, I knew early in my life that I was not quite like the other girls and that was okay. I had the pleasure to see a stage play of Rocky Horror before, which was really impressive. I bought my first pair of fishnets for the event, put on gobs of makeup and looked like a walking dominatrix.  I felt really uncomfortable until walking through the theatre doors and saw everyone was dressed in a similar fashion. For one night, no one was judging.  I could swoon over all the boys who looked liked girls, or maybe it was girls who looked like boys. It was hard to tell at times.  I hung up my fishnets that night after coming home with a little jump to the left and then a step to the right. Fast forward to the present day. When I found out that the Stratford Festival was putting on the broadway musical at the Avon Theatre (produced by David Auster),  I was incredibly excited to see what this version would look, sound and feel like.  Of course after seeing the movie countless times (note the tv special in 2016 was cringe-worthy and I couldn’t even get through it) and getting a taste of a live theatre performance, it wasn’t just about the music, the characters really needed to WOW me. I have a lot of praise to give, which I will go into more detail later, but unfortunately, it wasn’t a flawless performance in my eyes. Here’s why: One of my favourite songs “Eddie’s Teddy” was a huge letdown. How can I describe Eddie’s (Trevor Patt) character? It felt like a fake orgasm.  Sorry, I had to be so blunt but where was the hyper-masculine, bad-boy, you’d never bring home to your parents that we all grew to love? He was lost in a sea of air guitars and broad way smiles. Nope, pass. Then there was Rocky (George Krissa). I’m going to be superficial but it was something that really stood out. Rocky’s hair was poofy and kind of reminded me of Carrot Top. His physique was... perfection and even being higher up in the balcony section, I could count his glistening abs. His hair though was another story. I much rather preferred the slick down hair cut, just like what was in the movie. Character wise, I don’t think he was able to get the right balance of passive creature and aggressive. Plus during Touch-a-Touch-Me, he should have looked at Janet’s ta-ta’s with awe and lust, yet his facial expression told a different story. Instead it felt like “yeah i’ve seen these before, let’s move on.” For a song that is meant to be highly sensual and sexual, my libido fell flat. Next, oh Janet! (Jennifer Rider-Shaw). Although her voice was angelic and her look was pure as snow, I didn’t really get the demure vibe even at the start of the show that Susan Sarandon (1975 movie) pulled off so wonderfully convincing. Also, where was that repressed sexual tension? It was really missing for me. Then we have Columbia (Kimberly-Ann Truong). When I think of her, all I can envision is the phallic lollipop sucking. It was really distracting and not in a good way. I felt her role was really over the top, yet in the scenes where she should have been highly dramatic (when Eddie’s death was announced), it felt like she was holding back.  She hit that level of crazy that just didn’t work for me. Her whole character was really quite confusing to be honest, but despite those flaws, she had quite the voice on her! Magenta (Erica Peck) didn’t really grab me. Magenta was the spitting image of Tim Burton’s ex-wife, Helena Bonham Carter, yet she kind of blended into the background with the phantoms. Plus where was her inappropriate lusty self? Lost in the shadows, I guess. Dr. Scott...well this was played by the same person as Eddie, so I definitely didn’t enjoy this performance. Now onto the positives! Riff Raff (Robert Markus) and Frank N. Furter (Dan Chameroy) were incredible, beyond anything that I really could have dreamed of! You could see the passion and love in both of these characters.  To me, they were the stars of the show. Brad (Sayer Roberts) also did a great job, exuding in overt geekiness and awkwardness, just like what I remember. Plus, what a voice! The narrator (Steve Ross) was also enjoyable. His deep voice gave me chills and he never broke out of character once, even when he went down to his skivvies and fishnets! The choreography (done by Donna Feore) for the dance scenes were wonderful. I loved hearing all my favourite songs with a few surprises along the way. The set, lighting, and costuming (kudos to: Michael Gianfrancesco, Dana Osborne, Michael Walton) were done really well. I have to find out where Frank N Furter gets his lingerie. Ooh la la! Also, despite a lot of the character flaws, the vocals of everyone really blew me away, especially Frank N Furter’s solo part of “I’m Going Home.” I almost shed a tear. I loved the audience hecklers who blurted out random comments throughout the show. They had the audience in stitches. Be warned that they don’t hold back. You will hear lots of profanity! Nothing is off limits, including a quick shout-out for the legalization of marijuana, which fit in rather perfectly since it was actually legalized on the day we went; Oct. 17, 2018 and some mentions of sexual positions that you may or may not have tried already at home.  There are audience alerts up mentioning mature themes and offensiveness, so if you tend to trail along the overly-sensitive path, this show is NOT for you. Despite some criticisms, I really loved the show. I understand the blood, sweat, and tears that go into making these productions and I can appreciate that they didn’t want to stick to the film entirely and used their own creative juices to add a bit more flair. If you are looking for a fun-filled, gender-bending good time, then I would highly suggest you book your tickets to see The Rocky Horror Picture Show. They have added a number of new shows, but they sell out quickly, as does everything in Stratford because this is truly world-class entertainment. The show runs at Stratford Festival until Nov. 25, 2018. Tickets start at $25 and are available online. Read the full article

[aion-rsa]

Aliens, Clowns & Geeks Review: Sci-Fi Comedy Aims Low And Scores High

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No one sets out to make a cult movie. Most filmmakers aspire to commercial heights even if they only have the budgets for a B-movie. They see films like Blair Witch realign box office accounting and apply all kinds of quantum physics to mimic the exponential multiplication. Very few achieve it, and the ones which do usually do it by accident, and certainly not with serious intent. Aliens, Clowns & Geeks is not afraid to be ridiculous. It joins the ranks as such brave films as Attack of the Killer Tomatoes, Killer Klowns From Outer Space, and Frankenhooker.

It is also so much more than these films, dripping with artistry, and yet considerably less, with masturbating aliens, pussy ping pong, and sphincter-pinching obelisks. Richard Elfman’s sci-fi comedy has an abundance of experimental fun and a happily reckless disregard for taste. It owes as much to Frank Zappa as it does to Frank Capra, and can in some ways be seen as a screwball comedy take on the 1955 film noir classic Kiss Me Deadly. For a silly film, Aliens, Clowns & Geeks summons serious plot twists. It captures the casual surrealism of the Marx Brothers in hyper-speed.

Though it’s not on the level as Forbidden Zone, how could it be? Elfman’s 1980 cult classic ranks way past closing time on the clock of midnight movies. Aliens, Clowns & Geeks is still completely original. Unlike other films where low budget hobbles creativity, this uses a lack of funds to its advantage. In some ways this is like Tim Burton’s Mars Attacks!, except done on one-thousandth of the budget and with 1/100th of the stars. Aliens, Clowns & Geeks marks the final feature film role for the late Verne Troyer (Austin Powers: The Spy Who Shagged Me, Goldmember, Harry Potter and the Sorcerer’s Stone). His Clown Emperor Beezel-Chugg is a memorable turn. Narcissistic, lethal, and commanding, he is the Emperor of the Nine Planet Federation, and still gets hauled in for Illegal dwarf tossing.

The little clown who gets tossed around is played by Nic Novicki, but don’t feel too bad for him, he takes dirty pictures of nuns in porta-potties in his spare time. George Wendt plays a priest who condemns him to eternal damnation for it. French Stewart (Stargate, 3rd Rock from the Sun) gets the Fickle Finger of Fate Award for being able to maintain an Arte Johnson impression throughout a whole film as the German scientist Professor von Scheisenberg.

Mimicry is only one extra talent the actors bring into their roles. Rebecca Forsythe contorts her voice and face excruciatingly and exquisitely as Swedish lab assistant Helga. She’s studied quantum, subquantum and super-quantum dynamics, and delivers one of the greatest pickup lines in cinema history: “you would be surprised at how incorrect the calculations of many rocket scientists can be.” Her body proves to be equally supple whether during head-banging sex or in one-on-one martial arts combat.

No one quite makes the faces or shrieks the screams quite like Bodhi Elfman, who plays the lead, a jaded actor named Eddy Pine. Bohdi, the actor playing the actor, is a cartoon character masquerading as a person. His cynical Steve Buscemi-esque delivery grounds him even as the only missed opportunity in the film is a Looney Tunes sight gag where hens lay so many eggs they rise to the roof of Porky Pig’s barn. 

Happily, the camera turns away when the obelisk is introduced to the film. Whether it is just a worthless novelty or the key to the universe, Eddy’s anus is “the chosen portal.” The Chinese military wants the obelisk, there’s an intergalactic battle between alien clowns and green Martians over it, and Dr. von Scheisenberg wants to melt it down for clean energy. About a foot long, and looking like the Washington Monument with squiggly sub-particle lettering, it is also known as the jamtoid key, and is worth more than a three-picture deal, but “money won’t mean nothing if the world explodes.”

Elfman, who also directed Shrunken Heads, and Modern Vampires, has a background in theater, and uses troupe mentality by casting actors in multiple roles. Anastasia Elfman brings the fire of a true believer to five characters. Helga’s sister Inga is played by Angeline-Rose Troy, who also plays Eddy’s junkie-whore mother. The noises she makes in one particular chase scene is so alien and unexpected, it brings the whole movie to another level. Steve Agee plays Eddy’s recently transitioned Burlesque dancer and bar-owning sister Jumbo, as well as the chicken-suit wearing Eddy Pine. Richard Elfman plays the clown Da-Beep. Martin Klebba is an angry clown captain.

The final character is the original soundtrack, which upstages the action in the best of ways. Aliens, Clowns & Geeks could be called a musical, but not in the same way The Rocky Horror Picture Show is, even if there is gender fluidity flowing through it. For the film, Elfman reunited with the Mystic Knights of the Oingo Boingo, who starred in Forbidden Zone. The score was written by Danny Elfman and Ego Plum. Danny Elfman wrote the theme song to The Simpsons, the music to Nightmare Before Christmas, and did the singing voice of Jack Skellington. Plum is best known for the noises he made for SpongeBob SquarePants and The Ghastly Love of Johnny X, but also plays in the band Mambo Demonico. Consisting of 75 minutes in a ninety-minute movie, the music makes the film unique. The diverse mix of genres makes the movie feel like live performance.

Aliens, Clowns & Geeks is laid out in the three-act story structure of classic comedies. It is zany, evoking the feel that logic has been usurped by the most unreasonable intrusions. The film opens on the road. The first victim is a large biker clown who is mind controlled to be some kind of monosyllabic Terminator-style obelisk retrieval machine. Eddy is taking his sorrows for a swim in the deep end of a dive bar. His network series, “Cry Me Dry,” was cancelled a day before it was set to air. Their first encounter is inadvertently suspenseful, as the clueless Eddie chalks up a seemingly random request to another day in Hollywood. 

The movie then takes on a science fiction turn while keeping to an LA Noir sensibility, albeit with frenetic sexcapades (“May you procreate and spread your clown seed wide”), campy caricatures, vampy vehicular battles, and trampy throughlines. Masturbating aliens remotely manipulate blond femme fatales with X-box controllers, making the conquest of earth look like a video game. This highlights the depersonalization of battle, intergalactic or terrestrial. This very human alienation is further accentuated every time the green aliens have to get approval from corporate. There are impossibly surreal scenarios, like a ménage à trois scene where Eddy’s on the bottom and the POV shows the two girls on top. The scene ends in a nuclear explosion, topping the fireworks display of the first climax of Deep Throat. There is a head exploding scene which is more over-the-top than Scanners.

As comedy, each of the set ups have great payoffs, and the running gags never trip up, even if Eddy slips into Shakespearean soliloquies before exiting, stage left. Elfman mocks Hollywood itself, pointing out that the Beverly Hills Police Department only takes calls from celebrities while actors kiss ass on Hollywood Boulevard all day. The film even throws in visual sight gags, like a bucket of brains which is kept in a joint compound container labeled “head stuff.” One character is reading a book called “The Strawberry Fields of Heaven by Blossom Elfman.”

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Aliens, Clowns & Geeks makes no apologies. You just have to go with it. Groucho Marx once advised if nothing else is getting a laugh, “drop your pants.” This turns out to be the greatest weapon of the movie. It saves the day as much as it lowers the bar. It is worshipfully irreverent, and politically incorrect. There is no shame nor the slightest consideration given to cancel culture. “Life is complicated, take if from the guy with a dick in a dress,” we are advised in the film. Even insane biker clowns may not be what they seem. Aliens, Clowns & Geeks is silly, goofy, stupidly intelligent, and absolutely what a mad scientist would order.

Aliens, Clowns & Geeks will be opening in a drive-in run, double billed with Forbidden Zone: Director’s Cut. Details will be announced. 

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