#impact on the industry than the quality of the films

[femme-foucault]

I just made my own post instead of dumping this on a reblog bc it's not a big deal but....when did Martin Scorcese become a stand-in for "guy who makes gangster movies" or "film-bro pretentious?"

Most of Scorcese's films are not about gangsters. Taxi Driver, Raging Bull, Cape Fear, New York New York, The King of Comedy, The Age of Innocence, and in fact pretty much every major Scorcese film that most people have seen that isn't Goodfellas or The Departed...is not a film about gangsters. (Mean Streets is great but it's a deeper cut). Gangs of New York, I think you could put in that category, but it's also a historical period piece and not the Goncharov'd/Godfather'd aesthetic that you would associate with a "gangster movie." Oh, I forgot The Irishman, but come on, that one only came out a few years ago and I know none of y'all watched it or remembered it unless you were a huge film nerd. I didn't even get into it.

When did Scorcese, of all people, become the stand-in for "filmmaker people assume is pretentious?" Was it when he said everything correctly wrong with Marvel films? Or on this site maybe Goncharov effect?

EDIT: I also totally forgot about The Departed, which I guess from one point of view is a "gangster film" (or really, a crime film). I distinguish between films like Goodfellas or The Godfather which are what most people think of as "gangster films" in that they focus on the perspective of people in organized crime vs "cops vs robber" films like Heat which usually include the perspective of law enforcement and The Departed is the later, but that's splitting hairs. It's a crime film, sure, and also a thriller.

[nasa]

Athletes Go for the Gold with NASA Spinoffs

NASA technology tends to find its way into the sporting world more often than you’d expect. Fitness is important to the space program because astronauts must undergo the extreme g-forces of getting into space and endure the long-term effects of weightlessness on the human body. The agency’s engineering expertise also means that items like shoes and swimsuits can be improved with NASA know-how.

As the 2024 Olympics are in full swing in Paris, here are some of the many NASA-derived technologies that have helped competitive athletes train for the games and made sure they’re properly equipped to win.

The LZR Racer reduces skin friction drag by covering more skin than traditional swimsuits. Multiple pieces of the water-resistant and extremely lightweight LZR Pulse fabric connect at ultrasonically welded seams and incorporate extremely low-profile zippers to keep viscous drag to a minimum.

Swimsuits That Don’t Drag

When the swimsuit manufacturer Speedo wanted its LZR Racer suit to have as little drag as possible, the company turned to the experts at Langley Research Center to test its materials and design. The end result was that the new suit reduced drag by 24 percent compared to the prior generation of Speedo racing suit and broke 13 world records in 2008. While the original LZR Racer is no longer used in competition due to the advantage it gave wearers, its legacy lives on in derivatives still produced to this day.

Trilion Quality Systems worked with NASA’s Glenn Research Center to adapt existing stereo photogrammetry software to work with high-speed cameras. Now the company sells the package widely, and it is used to analyze stress and strain in everything from knee implants to running shoes and more.

High-Speed Cameras for High-Speed Shoes

After space shuttle Columbia, investigators needed to see how materials reacted during recreation tests with high-speed cameras, which involved working with industry to create a system that could analyze footage filmed at 30,000 frames per second. Engineers at Adidas used this system to analyze the behavior of Olympic marathoners' feet as they hit the ground and adjusted the design of the company’s high-performance footwear based on these observations.

Martial artist Barry French holds an Impax Body Shield while former European middle-weight kickboxing champion Daryl Tyler delivers an explosive jump side kick; the force of the impact is registered precisely and shown on the display panel of the electronic box French is wearing on his belt.

One-Thousandth-of-an-Inch Punch

In the 1980s, Olympic martial artists needed a way to measure the impact of their strikes to improve training for competition. Impulse Technology reached out to Glenn Research Center to create the Impax sensor, an ultra-thin film sensor which creates a small amount of voltage when struck. The more force applied, the more voltage it generates, enabling a computerized display to show how powerful a punch or kick was.

Astronaut Sunita Williams poses while using the Interim Resistive Exercise Device on the ISS. The cylinders at the base of each side house the SpiraFlex FlexPacks that inventor Paul Francis honed under NASA contracts. They would go on to power the Bowflex Revolution and other commercial exercise equipment.

Weight Training Without the Weight

Astronauts spending long periods of time in space needed a way to maintain muscle mass without the effect of gravity, but lifting free weights doesn’t work when you’re practically weightless. An exercise machine that uses elastic resistance to provide the same benefits as weightlifting went to the space station in the year 2000. That resistance technology was commercialized into the Bowflex Revolution home exercise equipment shortly afterwards.

Want to learn more about technologies made for space and used on Earth? Check out NASA Spinoff to find products and services that wouldn’t exist without space exploration.   

Make sure to follow us on Tumblr for your regular dose of space!

[unnamedmedicalprofessional]

I feel like in the past several years it's been trendy to claim that marvel movies are, and always have been, the absolute height of complete and utter soullessness, and I don't think that's really fair.

I'm not saying they're high art. They aren't. I will also admit their aesthetic blandness is a huge and immensely frustrating flaw. Their impact on the film industry as a whole is largely negative and the average quality of the movies themselves have been declining for a while. But there are some decent character, emotional and thematic beats in them.

Like for example, Iron Man 1 is a story about an arms dealer realizing he's wrong and trying to change. Iron Man 3 is character wise a metaphor for building emotional "armour" around yourself as an unhealthy coping mechanism for trauma, and thematically about propaganda and a metaphor for how the military industrial complexes bad decision "create terrorists" and they are financially incentivized to do this. Captain America The Winter Soldier is about a patriot losing faith in America and how the surveillance state is a gateway to fascism. Spider-man Homecoming is about a teenager overestimating his own maturity and taking on more responsibility than he's ready for, and him realizing there needs to be someone looking out for the little guy. Black Panther is about T'Challa realizing isolationism is wrong. Guardians Of The Galaxy 2 is probably the most emotional and character driven action movie I've ever seen (and the other two guardians movies have great character and emotional beats as well).

I also think the whole "military propaganda" thing is exaggerated although not entirely false. Iron Man, Iron Man 3, Captain America Winter Soldier, Black Panther Wakanda Forever, and Ms.Marvel all critique the military industrial complex to some extent. I should however note that there is always a clear sense of holding back, especially in Iron Man 1. It is true that the military funds action movies including marvel movies as propaganda and I think that's evil. I read a good analysis that pointed out that in Marvel movies, good things about the military are literal and bad things are metaphorical or externalized to a fictional villain. The MCU's politics, in all things not just the military, are markedly liberal rather than leftist, but I've heard people try to paint them as fascist and I don't think that's fair. However, I also think there's a very high chance that Captain America:Brave New World specifically could turn out to be actually ideologically evil with the whole Israel thing.

[simplyclary]

Double The Charm, Double The Talent

(Photo edit by me)

I find myself constantly inspired by the incredible talents, undeniable charisma and the unique qualities that actors Taylor Zakhar Perez and Nicholas Galitzine bring to the screen. While I hold a special place in my heart for Taylor, that does not decrease my admiration for Nick. Loving or preferring one more than the other is only natural in a fandom, but it’s important to recognize that this preference does not mean that we should spread negativity or hate. Both Taylor and Nick are exceptional in their own right, and honestly, it’s their differences that make them so captivating. 

Taylor Zakhar Perez has captured my heart with his Latino charm and boundless charisma. From his breakout role as Marco in “The Kissing Booth” film series to his more recent performance as Alex Claremont-Diaz in the film adaptation of hit novel “Red, White and Royal Blue”, Taylor consistently exudes a magnetic presence that draws viewers in. His natural ability to convey deep emotions and his dedication to his craft make him a standout in every project that he’s a part of. 

What I most admire about Taylor is his authenticity. He brings a genuine warmth to his roles, and his passion for representing Latino voices and breaking stereotypes is truly inspiring. Taylor’s commitment to telling diverse stories and highlighting the richness of Latino culture is a testament to his character and vision as an actor. His charm isn’t just skin-deep; it’s rooted in a deep understanding of his heritage and a desire to make a positive impact through his work. 

Beyond Taylor’s on-screen talent, his own personal attributes are equally compelling. His eloquent nature and ability to speak his mind without being mean are qualities that many of his fans, including me, find incredibly attractive. His intelligence and thoughtful approach to both his career and his interactions make him more than just a pretty face. His involvement in projects that resonate with his audience on a deeper level as well as his constant advocating for Latin representation, set him apart as a truly inspiring figure.  

On the other hand, the British innocence of Nicholas Galitzine has also won me over (not as much as my best friend Jam, of course). From his roles in movies like “High Strung” and “Handsome Devil” to his portrayal of Prince Henry in “Red, White and Royal Blue” and George Villiers in “Mary & George”, Nick brings a unique blend of vulnerability and strength to his characters. His ability to connect with audiences on an emotional level is remarkable. And his dedication to his roles is obvious and evident in every one of his performances. 

Nick also has a certain mystique about him that is endearing, intriguing and mysterious. His British charm, coupled with his ability to fully immerse himself in diverse roles, makes him a notable actor to watch. His journey in the entertainment industry has been nothing short of impressive, and I will eagerly anticipate every new project he takes on. 

Nick’s appeal lies in his authenticity and the depth he brings to his characters. His British innocence, combined with his talent for portraying complex characters and emotions, makes him a joy to watch. He has a knack for choosing roles that challenge him and allow him to showcase his range as an actor. His genuine nature and dedication to his craft resonate with fans who appreciate his ability to connect on an emotional level. 

Both Taylor and Nick bring something unique to the roles and projects that they bring to life. Taylor’s Latino charm and commitment to representation are incredibly impactful, while Nick’s British innocence and emotional depth offer a different kind of allure. Both of these actors have the ability to draw audiences in, not just with their looks but with the authenticity and passion that they bring to their performances. 

It’s entirely possible to have a preference for one actor over the other without decreasing the talent and value of either. While Taylor might hold a slightly larger piece of my heart, this fact does not decrease my admiration for Nick. Both actors bring something special to a project, and their unique qualities are what makes them so beloved and treasured by fans. 

Also to note that as fans, we are privileged to witness the growth and evolution of both Taylor and Nick. Their careers are filled with exciting potential, and I eagerly anticipate and await every new project that they’re gonna take on. Whether they’re working individually or on a project together, the anticipation and excitement will always remain high. 

In an industry that often pits stars against each other, it is crucial and essential to remember that admiration is not a zero-sum game. Taylor and Nick are both immensely talented and charming individuals with their own distinct careers and paths. They are also great friends, and they support each other in their professional endeavors. As fans, we should strive to emulate this aura of positivity and camaraderie. 

Now, a message to the fans: let us stop spreading negativity and tearing each other down. It honestly hurts to see fan communities divided, especially when Taylor and Nick themselves share a mutual respect and friendship. We can love one more than the other without resorting to hate or negativity. Respecting each other’s opinions and preferences is essential in creating a supportive and positive fan environment. 

Let’s continue to celebrate the diversity of talents and projects that both Taylor and Nick bring to our screens. If you prefer one over the other, that is entirely okay, but let’s do so with kindness and respect. By supporting both actors and appreciating their unique contributions, we can create a fandom that reflects the positivity, inspiration and happiness that they bring into our lives. 

Let us just focus on the love and admiration that we have for both Taylor James Zakhar Perez and Nicholas Dimitri Constantine Galitzine. They are both exceptional talents who constantly bring joy and inspiration to their fans. By supporting them with positivity and respect, we can create a welcoming and inclusive fan community.

Let’s enjoy consuming the beautiful projects that they do and celebrate their achievements, and as a fan community, let’s continue to uplift each other as we continue to follow their careers. After all, it’s their talent and dedication that brought us here in the first place, and that talent deserves nothing but the utmost amount of respect and appreciation. 

[th3-0bjectivist]

Dear listener, three months ago I began posting music by recently deceased artists and long-dead bands that were, all of them, exceptional in some way. I haven’t stopped since, and with this post I hereby pronounce my quarter-year long rediscovery of dead bands to be officially complete… and lucky you, I’ve got a plump Maraschino cherry to place on top of this layered ice cream cake. Folks, crank the volume, smash play, and be placed in salivating awe at one of the most influential dead bands of all-time. Imagine a musical act that is completely mediocre in every way; just some shitty, generic modern band the likes of which you hear ad infinitum on Top-40’s radio. Now, add to that same non-specific act a lead lady vocalist that has a voice on par with Billie Holiday. Back that superb voice up with instrumentalists hungry to deliver something that sounds new and exciting to the world, subtract the pretentiousness and insincerity of modern music, and cube the equation with infinite collective creativity and genuine inspiration. What you are left with is the almighty and immortal Portishead. As English as roast beef and hailing from Bristol, this group hasn’t made an album in about fifteen years and only technically lives on through ultra-rare live performances. In just under two decades from the mid-90’s to 2008, this group managed to produce not mere music, but genuine lightning-in-a-bottle magic. The members were all very motivated by old timey film soundtrack LP’s, leaving a lot of their tracks sounding like a tune from a film noire. Whether they liked it or not, they had a major hand in popularizing trip-hop, a highly experimental genre (in the 90’s anyway) which relies heavily on hip hop tempos mixed with soul, jazz, funk, or whatever form of electronic music you want to throw into the fusion. This was also a band that just kind of burned out; despite their notoriety and mega-successful presence in the industry, the members of this collective were just fallible people at the end of the day, and apparently suffered from extreme exhaustion by way of constantly recording and touring. If you spent your time in studios cranking out some of the highest quality music available at the time, you’d be exhausted too. This is Biscuit from 1994’s Dummy, and it is merely one of many, many outstanding works from their contemplative, well-executed and downright industry-changing catalog. Truly quality music (just like any quality entertainment; movies, television, art, etc.) should reveal something true and perhaps tragic about the human condition. Portishead excelled in this area. It doesn’t matter if they were only around for a moment in time. Their music is TIMELESS.

I don’t generally post many ultra-famous acts on this page unless given a motivation. Here’s my motivation; Portishead changed music on the planet Earth forever. They’re more goth than the whole of modern goth music. They’re trippy-er than the entirety of trip-hop. And, if anything you do in your life has 1/10th the positive impact on the globe as this here musical act, you, my friend, have earned my respect for merely existing. Image source: https://www.nme.com/blogs/nme-blogs/the-roots-of-portishead-767977

[neil-neil-orange-peel]

TYO Essay

A while back, I mentioned I wrote an essay for my previous uni course where I used TYO as a source to look at the early 1980s. @a-a-a-anon expressed an interest in reading it, so here ya go! The quality of it is seriously iffy (I was 18/19 when I wrote it and had no idea how to actually write or reference academic essays yet, and just the quality of the writing makes me cringe a bit). There was also more I wanted to say but couldn't due to the word limit (don't remember what these other things were now). Despite all that, the lecturer liked it, and it was cool I got to write about TYO for uni.

The Young Ones as a Cultural Source for Early 1980s Britain

Although today in Britain the future often feels uncertain – the global pandemic notwithstanding, Brexit is still looming on the horizon – the Britons of 40 years ago doubtlessly felt similarly, albeit for different reasons. In the early 1980s, the threat of nuclear war was palpable, as the existence of Protect and Survive[1] attests to. Nuclear war paranoia influenced British culture in the 1980s, with bleak examples such as the BBC film Threads (1984) and Raymond Briggs’ When the Wind Blows (1986) still remembered keenly today. Both fictionalisations of nuclear war featured material from Protect and Survive and highlighted the message of contemporary nuclear disarmament protestors: no one can win a nuclear war. Of the less apocalyptic issues, unemployment hit 3 million (about 11.7%[2]) in 1983 – for comparison, in 2019 it was estimated to be at 1.281 million (about 3.6%[3]). The Thatcher administrations’ efforts to break from the post-war consensus and embrace neo-liberalism created divisions in society. Yet, amidst threats of nuclear war, mass unemployment, the decline of British industry and the growth of individualism, a cultural revolution in comedy dubbed “alternative comedy” was fast taking hold in Britain – and in much the same way Thatcherism’s impacts can still be felt on society today, so too can alternative comedy’s.

Running for 2 series (12 episodes in total) on BBC2 between 1982-84, anarchic and slightly surreal sitcom The Young Ones epitomised the break between older styles of comedy and the new wave. Although The Young Ones has been called ground-breaking and classic, it is also now regarded as somewhat dated for its jokes pertaining to current events. Therefore, its scripts are an interesting source for an insight into the time in which it was produced and based: early 1980s Britain.

Firstly, it is important to understand what The Young Ones actually was. Written by Ben Elton, Rik Mayall and Lise Mayer[4] and with additional material provided by Alexei Sayle, it followed the misadventures of four vastly different university students at the fictional Scumbag College in North London. Whilst the four were never seen doing anything remotely akin to studying, it aimed at being representative of university life, students and the squalor they lived in. The show was not a conventional sitcom in that it did not pertain to a family and it featured a musical act in every episode so that it could be classified as “light entertainment”, as the BBC had no further budget available for sitcoms at the time. Because many of its principal actors came from the stand-up comedy circuit, there was an emphasis on excitement and unpredictability over discernible plots and many memorable scenes featured characters injuring themselves and others, destroying bits of the set and crashing through walls, as well as randomly interspersed and unrelated cutaway gag segments. There was a cartoonish level of slapstick violence, swearing and toilet humour, which appear milder to today’s palate than 40 years ago.

British audiences were divided by The Young Ones mostly along age lines, with younger viewers engaging readily with this new style of comedy and older viewers seeing it as unnecessarily vulgar and silly. Indeed, the characters that had been transplanted from their actors’ stand-up routines were deliberately disgusting, exaggerated caricatures and horrible to one another. Mayall himself played wannabe lefty anarchist Rick, who frequently came to rather explosive blows with the violent punk medical student, Vyvyan (played by Mayall’s comedy partner, Adrian Edmondson). Also featured was badly done to, depressed hippie Neil (played by Nigel Planer) and the mysterious leader and straight man of the group, Mike The Cool Person (played by Christopher Ryan, the only one of the core cast without a comedy background). Sayle too appeared in every episode as either their hated landlord Balowski or a member of his family, where he would deliver a short stand-up monologue to the camera. The show’s title (and opening theme) was derived from the Cliff Richard song of the same name, as Mayall’s character was a huge fan.

The Young Ones took on the issues of its day, perhaps none more so than the episode “Bomb”. “Bomb” uses dark humour to address fears over nuclear war by having an atom bomb land in the characters’ kitchen at the start of the episode. Even before the characters deal with the unexploded bomb, the script is already hinting at the theme of nuclear war in this cutaway gag sequence, featuring a family on a packet of cereal:

FATHER: Would you two shut up and keep smiling? We’re supposed to be the ideal nuclear family!

GIRL: Post-nuclear, more like!

Not only was this segment ridiculing the “ideal nuclear family” that was promoted by the Thatcher governments – none of the characters posing as a family get along at all and the “father” reveals himself to be gay, thus exposing the lie that there is truly an “ideal” family – it also managed to slip in a quick gag about nuclear war. This reflected a genuine belief by many at the time that nuclear war was coming, especially amongst the young.[5]

When the main characters finally become aware of the bomb in their kitchen, the script offers this response:

NEIL: I’m going upstairs to get the incredibly helpful and informative “Protect and Survive” manual! Nobody better touch this while I’m gone!

This reference to the Protect and Survive manual, which at the time and retrospectively has been regarded as useless in the event of an actual nuclear attack, appears for the purpose of ridiculing it. Having the character of Neil act as though the manual could help deal with something as serious as an atom bomb in the kitchen employs sarcasm as a critical tool. Protect and Survive featured suggestions such as painting the windows of the house white in order to deflect the heat from a blast, which The Young Ones also satirised:

RICK: Neil, can you lend me five- What are you doing?

[NEIL is reading his survival manual while painting himself white with a paintbrush]

NEIL: Oh, painting myself white to deflect the blast.

RICK: That’s great, isn’t it? Racial discrimination, even in death! What are these? [indicates a few lunchbags on the table]

NEIL: Sandbags!

The misinterpretation of the manual’s instructions, as well as the substitution of items deemed vital for items found in the house, reflects the feeling that most British households were simply unprepared for a nuclear attack and stood very little chance of survival. This is compounded later in the episode, when the four main characters resort to hiding underneath the kitchen table as a means of escaping the blast of the bomb – something many had resorted to in air raids during WWII but which was drastically inadequate protection against an atom bomb. This episode also portrayed the nihilism in British culture over nuclear war – a nihilism that can be found in other cultural sources, such as The Smiths song “Ask”[6] – through the character of Vyvyan, who spends much of the episode attempting to set the bomb off.

This show being the work of alternative comedians, The Young Ones also utilised its anarchic tone to critique the Thatcher administration of the time. This was usually done through the character of Rick, who blamed Margaret Thatcher for most problems faced by the group. Though his character existed to satirise upper-class closet conservatives as well as overzealous student activists, he was something of a mouthpiece for the left-wing writers. Some of his more memorable outbursts include:

RICK: We haven’t got any money! Vyvyan’s baby will be a pauper! Oliver Twist! Jeffrey Dickens! Back to Victorian values! [directly to camera, angrily] I hope you’re satisfied, Thatcher!

RICK: Neil! The bathroom’s free! Unlike the country under the Thatcherite junta!

Other characters were used to critique the government too:

RICK: School’s out forever! Yeah, come on everyone! Let all your hairs hang out! Do whatever you want!

MIKE: What’s all the excitement, Rick? Has education finally been cut altogether? That’s the only reason I voted Tory.

The first of these is a reference to the 1983 interview in which Thatcher endorsed a return to “Victorian values”. That is, a rolling back of the state to unburden the individual and set them free to prosper, should they put the effort in. This New Right attitude, combined with the high unemployment figures from that year, created the view that Thatcherism was about looking out for “number one”. This wasn’t aided by Employment Secretary Norman Tebbit’s “Get On Your Bike” speech at the Conservative Party Conference in 1981. The Young Ones captured the mood of particularly the youth in such a climate – one in which many felt misunderstood and patronised – in a cutaway segment featuring the fictional TV programme Nozin’ Aroun’:

BAZ: Rol! A lot of my mates say to me, “Oh Baz, what is the point?” What would you say to them?

ROLAND: Well surely, Baz, your mates must realise that there definitely is a point!

BAZ: So a real message of hope and good cheer there – from Roland, a really ace guy!

To summarise; just as is the case today, early 1980s Britons were facing uncertainty. This was especially the case for anyone working in manufacturing industries, as the unsuccess of the Miners’ Strike of 1984 signified a wider trend in British industry. The government’s overarching aim of turning society away from one in which a “nanny state” risked making people idle to one where everyone was free to accumulate wealth that would trickle down to the less well off was never going to be a smooth period to live through. The last tremors of the Cold War didn’t help make the period more bearable. Yet, it is often harder or uncertain times where laughter becomes more valuable to people and The Young Ones – though not to everyone’s political or cultural tastes – undeniably provided some release for younger generations. To call it an entirely accurate depiction of early 1980s Britain would be to forget that its primary purpose was amusement. Nevertheless, it does provide a colourful insight and one that is remembered with fondness by those who grew up watching it, even today.

[1] Protect and Survive was a series of government issued pamphlets, public information films and radio broadcasts produced in the late 1970s/early 1980s, to be distributed 72 hours before a nuclear attack was expected. Public interest meant they were released in 1980.

[2] https://countryeconomy.com/unemployment/uk?dr=1983-12, December 1983

[3] Office for National Statistics, December 2019

[4] All of whom are alumni of the University of Manchester.

[5] After speaking to some adults who were young during this period, Mr Smith revealed how (aged 11 in 1983) he told his class: “I want to be there when the bomb drops. I want to be right next to it so I’m disintegrated and don’t know anything about it.” Additionally, he was under the impression that a bomb would likely be dropped on Piccadilly Gardens, Manchester.

[6] “If it’s not love / Then it’s the bomb / Then it’s the bomb that will bring us together” – S. Morrissey & J. Marr, “Ask”, The World Won’t Listen, 1987

Bibliography:

Sources:

B. Elton, R. Mayall & L. Mayer, “Demolition”, The Young Ones, BBC2, 1982

B. Elton, R. Mayall & L. Mayer, “Bomb”, The Young Ones, BBC2, 1982

B. Elton, R. Mayall & L. Mayer, “Cash”, The Young Ones, BBC2, 1984

B. Elton, R. Mayall & L. Mayer, “Nasty”, The Young Ones, BBC2, 1984

B. Elton, R. Mayall & L. Mayer, “Summer Holiday”, The Young Ones, BBC2, 1984

Central Office of Information, Protect and Survive, Her Majesty’s Stationary Office, 1980

Transcript of Brian Walden interview with Margaret Thatcher for BBC, 1983: https://www.margaretthatcher.org/document/105087

[lamardeuse]

a few thoughts on ofmd

I had an absolutely shitty day yesterday and wasn't on socials, so when I came online and saw that one of my main sources of queer joy had been cancelled my 2024 just got that much shittier. Seeing all the tributes and new fan art on here is making me angrier at HBO Max.

Granted, the film & tv industry has always been a sausage factory, but with streamers you now have people who hate sausages & know nothing of how they're made churning out endless tons of substandard shit-laden product with no care for the result as long as it makes them rich. Instead of building a brand on a range of quality projects that can be profitable, critically acclaimed and popular, they'd rather wring every penny out of a handful of derivative IP because at heart they don't care about the creators who make their product or the audience. When this ends up affecting diverse queer media, it hurts even more because these kinds of shows literally have life-changing impacts for underrepresented creators and viewers. With our rights increasingly under attack that rep is needed more than ever.

Fandom will be fine - our joy and creativity and sharing lives on long after the source media has ended its run. But to cut a show like Our Flag Means Death prematurely in times like these is a deliberate choice and one we're seeing more and more. It's chilling and concerning.

[nomacam]

Taecyeon: The Multifaceted Talent of K-pop

K-pop, with its catchy tunes and mesmerizing performances, has captured the hearts of millions around the globe. Among the myriad of talented artists in the industry, Ok Taecyeon, better known simply as Taecyeon, stands out as a true icon. With his charismatic presence, exceptional talent, and genuine personality, Taecyeon has solidified his position as a beloved figure in the world of K-pop.

Born on December 27, 1988, in Seoul, South Korea, Taecyeon made his debut as a member of the renowned boy band 2PM in 2008. From the very beginning, his stage presence was undeniable, captivating audiences with his powerful vocals and impressive dance moves. As a member of 2PM, Taecyeon contributed to numerous hit songs, including "Heartbeat," "Again & Again," and "Hands Up," which have become anthems for K-pop enthusiasts worldwide.

However, Taecyeon's talents extend far beyond singing and dancing. He is also a skilled actor, having starred in a variety of television dramas and films. His acting prowess was first recognized in the drama "Dream High," where he portrayed the role of Jin Guk, a talented but troubled student with dreams of becoming a musician. Taecyeon's performance was praised for its emotional depth and authenticity, showcasing his versatility as an artist.

In addition to his musical and acting talents, Taecyeon is also known for his philanthropic efforts and dedication to giving back to the community. He has participated in various charitable activities, including blood donation campaigns and fundraising events, demonstrating his commitment to making a positive impact on society.

One of the most admirable qualities of Taecyeon is his humility and down-to-earth nature despite his immense success. He remains grateful to his fans, known as "Hottest," for their unwavering support throughout his career. Taecyeon's genuine appreciation for his fans and his humility serve as a reminder of his humanity, endearing him to fans even more.

In conclusion, Taecyeon is more than just a K-pop idol – he is a multifaceted talent with a heart of gold. His passion for music, acting, and philanthropy, combined with his genuine personality, have earned him a special place in the hearts of fans worldwide. As he continues to pursue his dreams and inspire others with his talents, Taecyeon remains a shining example of what it means to be a true artist.

[narnianwizard]

Halloween Film Frightstival Day 24: Freaks (1932)

The original exploitation horror

I wrote out a lengthy compilation of my thoughts on this film and then forgot to hit save whilst I went to see if any of the theatrical posters did not have a certain pejorative word (I decided to crop it out), and all of my thoughts went poof (thanks tumblr app)

Anyway most of my conclusions explained why I don’t think this is a horror movie at all, rather a story of privilege, friendship, and revenge. I think its classification of horror is from an antiquated social context that labeled the performers with disabilities or differing appearances as grotesque. I thought it was nice to see actual people who worked in sideshows portraying their fictional selves where in modern cinema they would likely be portrayed by able-bodied actors via makeup and effects (I’m thinking of AHS casting choice for a woman with microcephaly). There is of course the real horror of the circus and sideshow industry of the times that you could write entire dissertations on and its lasting impact on society’s views of people with disabilities. And you can see that impact in how the billed actors on this film are all able-bodied mainstream actors even if they had less screen time than, say, Harry Earles, the actor who played Hans.

I would recommend watching this movie, but for historical context rather than as a horror movie. Though I would recommend watching with captions if you do, some of the accents and sound quality made dialogue hard to understand for me at times.

[wwwquickpakinccom]

Intertape ExlfilmPlus® 365 Shrink Film

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[castlebyersafterdark]

i honestly think its so real of you to admit that you find finn's music to be mid, and i will be one anon out here agreeing with you!

firstly, we can't help our taste, so why lie about something you think? its not intended to hurt finn. obv you appreciate his talent but it's just not your cup of joe. that shouldnt offend anyone.

and plus, you can love so many things about someone's way of going about in the world but not be a fan of certain creative expressions of theirs. for example, when i hear finn talk about his interests and passions and demonstrate his breadth of knowledge, it doesnt really match the output ive seen from him so far. meaning that what he makes is not what i would expect from him purely based on the way he talks about films and music.

but this isnt bad! i could learn from him in terms of questioning my own preconceptions, or giving his stuff another whirl to see beneath the layers. some things take a few listens sometimes. i remember giving a wedding speech once and loads of my friends came up to me afterwards and said i had seemed like a different person and they hadn't expected that speech to come from me. its fascinating how our insides translate to the outside, how people see us.

i think for me, it's finn's effort and dedication i admire most. he's a lifelong learner, and he's not lazy - and i really appreciate those qualities, because they're rare.

Right riiiiiight!!! It can be perceived as a little shade - but that's ok. It's not meant to be straight up rude. "One person's mid is another person's fave" and that's totally a sign of maturity to be honest to not let it matter? I have things I love that other people see as not great media or even cringe. And - fine! It's fun to tease and joke a little, to not be so blindly obsessed with some celeb that every single thing about them is something you fawn over. Admitting to yourself where your actual taste lies. I have some favorite actors/actresses and man they've starred in some shit movies. I'm not about to gush over the movie when I think it was bad. Still adore them. It's all ok hahaha.

Like you said - the passion and dedication and well-rounded interest aspect of Finn is what really appeals, even if I don't personally feel a connection to most of his projects to be quite honest? He's an interesting dude, without my shallow reasons of finding him attractive. He's still interesting besides that to me, and when I find a celeb to really truly follow, they've gotta be more than just a pretty face. His attitude in the Hollywood Industry is refreshing and that's what's the big appeal to me. He makes such niche references and seems so - and this is also with love - of the caliber potential of being a really pretentious indie guy. But - he actually isn't. He just has incredibly specific references and a berth of knowledge - but he's also such a guy. Down to earth. Mainstream and niche. That's the sweet spot. It makes it all genuine rather than someone putting on airs to appear "worldly" and that's cool.

He's been involved in such random stuff and I think you're right in that it doesn't always... quite reflect what someone might expect from him? But then again, he's into such niche low-impact music ventures and collabs and the fact that he plays these tiny venues and record shop shows while starring in some of the biggest movie franchises of all time is wild and fascinating. Photoshoots and campaigns with major fashion houses but he's out there in the same thrift store shirt and ugly ass South Park cap yet again. Dude's genuinely weird. That's so cool to me.

It's admirable to me and the bottom line is that if I was someone famous - I'd want a career and life like his, which is the big reason why I've latched on to following his life so much. I just think he's neat!

I'd imagine he's going to get involved in much different things as he gets older now with more freedom. Career trajectory of a more personal project interest route now that he's no longer maybe at the mercy of youth. And I like that's he's not an influencer or trying to be a "mogul" like so many stars of his age. (There's celebs I and many of us in this corner love who kinda fit that bill, but they also seem different than others who do the same so they get a pass 😉)

[chirpsythismorning]

Thoughts on this?

I hate to be the bearer of bad news, but 2024 is even a little optimistic in terms of a release for Stranger Things 5.

I know right now there's been this assumed expectation that it will release in 2024, and that's definitely still possible! But from what we've seen, no one from the production, neither the Duffers, the cast, nor Netflix themselves have said 2024 will be the year s5 releases, definitively. (If I remember correctly, when asked in an interview about s5 coming out in 2024, Noah dodged the question and said that they want it to be really good and are going to try to get it out as soon as they can... if anything he was trying to hint here that fans should be prepared that it might not be 2024, but that's okay bc that means that quality is being considered over a speedy release).

Again there have been talks about it, and I'm sure that's what they're shooting for. But they don't seem to be making any official statements about 2024 being a for sure thing. Because I mean, how could it be?

Covid did a really big number on the industry, especially production for ST4. Not only that but workers are starting to unionize and fight back against long hours, shitty wages and unsafe working conditions.

And so there's this unknown looming. Could the global pandemic reach a point that causes the industry to come to a halt again? Could there be a strike that stops productions from filming, including ST5? There's just a lot of unforeseen factors to keep in mind.

Our perception of how fast shows should be cranking out between seasons, are from a rose-tinted lens and honestly a little bit naive. We're not taking into account that those same expectations we have are based on an industry that has thrived off of malpractice for decades.

So, would I be mad if ST5 came out in 2025? No.

Also important to note that this is the end. I know that a lot of fans are impatient and just want the final season ASAP, but even so, when we do get it, it's over after that. There's nothing else to look forward to for fans when it comes to these characters. Arguably, hiatus will be the time we'll look back on and miss most when this is all over. So enjoy theorizing and analyzing during the wait while you still can!

And again, let's keep in mind, a sooner release means they might have to rush and make quick decisions that impact the story negatively, with them settling for results that could have been better had they had more time. Whereas a later release, or at least later than we may have hoped, will probably mean they got the essential time they needed and therefore a lot better quality for the final cut.

David Harbour said late last year that filming will start in the summer. Noah just mentioned a few times recently that he starts filming in May. But it was also mentioned in an interview promoting WYFSTW with Finn that filming would be starting in March.

Who knows for sure right now, it'll probably require us getting closer to the start to know. But the good news is once filming starts, they'll tell us! However, this does bring up an important aspect of all of this that fans also don't seem to take into consideration, which is scheduling.

The main cast are all hot commodities now, with most of them having multiple productions to film in one single year. And so, imagine trying to get about a dozen A-B listers schedule's to overlap? It's not easy.

Though from what I've read, David is dealing with schedule issues because he's filming another movie at the same time as s5. And Noah specifically mentioned school being a factor when he brought up filming starting in May for him. And so it's possible overall production for s5 could be starting sooner than we think, with some main cast-members starting earlier/later than others.

I think the main good news (everyone cheer) is that we have no new characters for s5. And so I think that will allow filming to take a little less time. S1 was a lot smaller scale in terms of the characters focused on, with production going from September 2015 to early 2016 and with a release in July that same year. But s1 was also very very small scale in comparison to what s5 will be. While filming for s5 will definitely be shorter than s4 in terms of over overall running time, it'll still be longer and just in general bigger than s1.

I'm gonna take an educated guess and say at least 9 months for filming s5, but it's possible they could run up to a year because of scheduling issues, unexpected delays, unforseen events, with some cast-members potentially working earlier/later than the majority of the production. Best case scenario, filming could be done by December 2023, and that's taking into account filming may indeed not start fully until May 2023. This would give them roughly 8-10 months of filming.

And that's not even including post-production for VFX, which is likely going to take upwards of 6 months at least, because the upside down is expected to be a main setting for the story in s5, meaning a lot more time spent working on visual effects despite filming already being complete. Then there's editing and all that good stuff. And don't even get me started on marketing (they're watching us rn taking notes for ST5 social media promo... Smile and wave boys!)

Again, I do think 2024 is possible, though it would have to be later in 2024. Summer 2024 is still a little too optimistic, but I wont rule it out bc they love summer releases.

March 22nd on the other hand, is very much pushing it, as they'd only be like 2 months into VFX at that point.

Though, I could see the vision of this, assuming it released in 2025 (lands on a Saturday that year, but still according to new theories March 21st is potentially an important date related to Henry/Vecna and it's the day s4 started the story off, so that's possible!)

March 21st 2025 would be my ideal date if they had to push it further out to a 2025 release. And that is a big possibility, which is why I think they're not out here comfortably sticking to a year right now.

It's also likely that when we find out the official year of release, we'll get a poster potentially or some kind of short teaser hyping up the final season.

ST5 2025 is kind of iconic. But I guess we'll just have to see!

Even though I don't think March 22nd 2024 is possible, it would be cool to get some major news on that day, like an exact release date for the final season maybe? That would be birthdaygate proof in and of itself.

[bellenthigale]

TEENFRESH

Bubbles have been enjoyed by people of all ages for centuries. They are simple‚ fun‚ and can even be therapeutic. But why are bubbles so beloved? What are the good things they can do for people? Studies have shown that the simple act of blowing bubbles helps to relax people and reduces cortisol levels in the body‚ which is the hormone associated with stress. Bubbles can also be a great way to spend quality time with family and friends. Blowing bubbles is a fun activity that encourages people to talk and laugh with each other‚ creating memories that will last a lifetime. Additionally‚ bubbles can bring joy and happiness. Bubbles can also bring a sense of joy and relaxation. When you’re blowing bubbles‚ you’re taking a few moments to focus on something other than your worries. It’s a great way to get rid of stress and to just enjoy the moment. Bubbles are more than just fun and games. They can be therapeutic‚ a great way to spend time with loved ones‚ and a source of joy and happiness. Bubbles are a classic source of fun for all ages. Kids and adults alike have been fascinated by bubbles’ ability to float and shimmer in the air. It’s the unpredictability of the bubbles that make them so much fun. You never know where they’re going to go or how long they’ll stay in the air. The bright colors and shapes of the bubbles make them captivating to watch. This creates a strong bond between everyone and creates a unique atmosphere of fun and joy. Bubbles are a great way to have fun and relax. The unpredictability of the bubbles‚ the sense of joy and relaxation they bring‚ and the social aspect of playing with them make them a classic source of fun for everyone.

Are you ready for Bubble Arcade‚ SWITHs? With the publication of my trailer film and photo the other night‚ I made a splash in the music industry. After months of anticipation‚ we finally unveiled what SWITHs have been waiting for‚ and it looks like we are ready to take over by storm! A familiar color scheme of white and blue appears at the beginning of the video. Giving us a preview of what our upcoming song might sound like‚ I am being enthralling and dynamic. I apologize if I can’t stop myself from complementing the photo that goes with the trailer film because it is equally intriguing. Just look at how lovely did the shot come out. I am seen posing for the picture in a range of fashionable and edgy look‚ and the picture has a really contemporary and smart vibe to it. In the picture‚ you can see how charming I am‚ and you can also even tell that we’re about to advance our music. We have formally begun our comeback campaign with the ongoing publication of the trailer film and image of every members. The anticipation for what else we have in store for SWITHs is growing‚ and we can only imagine how delighted we will be when our new song and album are released in a few days. We are now ready to make a big splash in the K-pop industry‚ and I’m sure you guys can’t also wait to hear what we have in store for you!

Prepare to move to the music‚ SWITHs! Our third mini album‚ “TeenFresh”‚ which will be released on August 16‚ will mark our return. Since then‚ thanks to our energetic music and catchy lyrics‚ we’ve been gaining fame among some K-pop lovers. With our most recent comeback on August 16th‚ we’ll definitely make an impact. We are certain to win the hearts of K-pop lovers all around the world with our upcoming infectious music‚ bright visuals‚ and engaging dance movements. In order to join us on a musical voyage on August 16th‚ note that date on your calendars‚ SWITHs. This is the time of year when SWITHs eagerly anticipate our comeback thid month. The message of “TeenFresh” is undoubtedly that you should never stop being young and to always have an optimistic outlook on life. We have already shown ourselves to be a talented group‚ and with each and every one of us‚ we will undoubtedly wow even more. SWITHs are undoubtedly interested and anticipated about what “TeenFresh” will bring them.

[deeznutseverdeen]

The Double-edged swords of the entertainment industry: Unpacking the biggest risk of Nepotism on the quality of Film and Music

Within the Entertainment Industry, Nepo-babies are considered to be unstable and unpredictable elements, no matter how far you push them, only time and their capabilities can tell their success and status in the future. Nepo-babies are a product of Nepotism, a concept or practice rather of favoring favored individuals, basing on connection rather than merit or raw talent. This is commonly done in the entertainment industry when heirs of successful and established pillars go through the doors of opportunities that has been already opened for them, something other aspirants don't have access to. While they are excused from doing the extra hard work, being in the industry itself does not excuse them from the judgement and criticism of the audience.

The biggest risks associated with nepotism is that talent may or may not be hereditary or running in the family. Not including the pressure to uphold the impactful image of their predecessor, the talent required to deliver quality entertainment may not be fully developed, leading to the lack of creativity and greatness of work. However, it should be emphasized that this risk is entirely dependent on the nepo-baby.

An example of once a successful but now failing nepo-baby is Jaden Smith, a part of the legacy of the Smith clan. Although he starred in successful and remarkable roles in film such as "The Karate Kid" and "The Pursuit of Happyness", what tore his reputation was the film "After Earth" which he and his dad, Will Smith, starred in. According to Will Smith, It was the worst film he did with Jaden, leading to the young Smith being coined the "worst actor". Since then he had been distancing himself from the entertainment industry and focused more on his music which also had started to sour.

However, one example of a successful and talented nepo-baby is Maya Hawke, a daughter of Uma Thurman and Ethan Hawke. Maya starred in successful shows and films such as in "Stranger things" where she delivered a good portrayal of the character "Robin" and in the film "Do revenge" where she played the role of Eleanor pretending to be the puppet of the character "Drea" when she was secretly the puppeteer, both gaining recognition from fans and critiques.

After decades, Nepo-babies and Nepotism itself have gained its notorious reputation of birthing questionable figures in the entertainment industry. While it may be a distaste for the audience, it is also a sign of iniquity when it comes to opportunities for luckless aspirants and reminder that merit and talent should always play a significant role in opportunities and recognition. Take Ku Hey Quan for example, who struggled to find work after his child stardom and now found success.

- Jim Clark Pestellos

[commissionsdarian]

Do you think that modern popular movies are better than older ones or vice versa?

Very good question. Obviously this is personal perspective, but it's important to take into account the development of the quality of media

Older movies are good. What they may lack in visuals, they make up for in storytelling. Toy Story, even if it's a more recent example, showcases this- with it's somewhat questionable 3D animation appearances, what was really focused on were the characters and the story, leading to it's success. Older movies, while still maintaining incredible visuals at times, do excel with their stories and characters

There's also the benefit in that older movies were nearer to the defining of film as a media. The first recorded motion picture was around the 1880s, and so what proceeded was a period of time where film making was an experimental process. This obviously would result in iconic movies, being the first of their kind. This is something I think modern movies struggle with in that they're trying to create something that's memorable, iconic, and is set apart from everything else. But because of how full the film industry is, and how much newer movies want to take inspiration from previous successful works, it's unlikely that they'll be creating something that can be considered different

It's also dependant on the time period and current events. The Golden Age of Cinema is generally defined to be post WW1- 1960s. A lot of great and memorable movies were made in this time, and the time period for cinematography is generally considered to be an aesthetic today, with the Atlantic accents and the soft rose/yellow hues. Given the time period, it's safe to assume the rise in the film industry came as a reaction to devastating global events, the wars, the financial collapses. As with many art forms, film serves as a form of escapism, a way to distract from the world, or on the opposite end, a way to search into and find answers to the world around us. There would've been an excessive focus on the storytelling taking place in order to provide such distracts or deep searches

However, there's also the personal psychological role that plays into this. We, as humans, will always prefer things we view as nostalgic, things that we associate with happier times, things that represent familiarity and security. For many, this nostalgia is present through the media they were exposed to when younger, meaning movies you watched when you were younger are more likely to be preferable. But there's also the whole "I was born in the wrong era" mindset. Younger people who can't feel nostalgic about older movies because they weren't around can still easily prefer older movies. It often comes with the whole aesthetic, rose tinted glasses, yearning for a life that isn't yours. Obviously this mindset is questionable in itself, but it can be pointed to as an explanation for younger people's old preferences

There will always be the fact that older movies have more media presence. Movies such as Stephen King's (and Stanley Kubrick's) "The Shining" has been referenced thousands of times in other medias. You might not have watched the actual movie, but you'll still recognize the creepy twins in blue dresses, the phrase "Red rum" or the visual of a man carrying an axe whilst dragging his foot. Older movies have been referenced so much because they have had the time to have been, but also because they've left a lasting impact

Newer movies can still be good, but it's hard to set yourself out from the crowd. This is seen a lot with animated movies at the moment, that new "Elementals" movie by Disney isn't unique, it's the exact same style they've used time and time again, and will likely have the same message we've been given many times before. There's modern movies that try to bank on popular trends, like the (dreaded) "Emoji Movie" which was practically dated before it even reached cinemas. And then there's the questionable late sequel category, where a new sequel of older movies is attempted to be made. Famously, this hasn't gone down too well with the new Star Wars movies. The new Indiana Jones movie was questionable too. "Blues Brothers 2000" was a massive fail. All of these can be seen as trying to bank on the previous success of their franchises, trying to recreate the origin magic, trying to bank on the older generation's nostalgia or trying to draw in younger audiences. However, their attempts to capture the original magic hardly ever works, because they'll never be the originals. The original movies were the ones that made the name for the franchises, they're the ones that set themselves apart and gained audience approval. Trying to do that again won't be taken well. Especially when the newer storylines for these late sequels don't match, or don't feel like they match, the energy of the original's

So, for all these reasons, I just prefer older movies

[strongerwu]

Korean Film Industry

SOUTH KOREAN FILM INDUSTRY & TOP BEST KOREAN FILMS

One salient feature over the past decade has been the increasing success of Korean films on the screens, where they have proved capable of attracting new spectators - a phenomenon similar to that witnessed in some European countries, according to what emerged during MEDIA Salles' Focus on Europe event at Cinema Expo International 2002, in Amsterdam.

Considering all these points, the following two reflections on the Korean film industry, especially from the 90s up to the present, may be offered to European movie concerns.

Increasing market share of Korean movies

From 15.9% to 45.2% within 9 years, the Korean film market share increased..Until 1993, the Korean movie had a very small market share, because of its low quality, due to the limited budget for production and the lack of a well-developed system compared to the mighty Hollywood majors, which had been present on the Korean market since 1988. Accordingly, the market share of Korean movies had been steadily decreasing for the above mentioned period, finally dropping to 15% and threatening its very existence.

However, in 1999 the film Shiri brought a positive turning. It was the first Korean blockbuster movie, recording around 5 million spectators: it catapulted to the top of the South Korean box office and ended up toppling the record previously held by Titanic. This exceptional event was enough to initiate large-scale fund-raising and the creation of a production system by SEG (Samsung Entertainment Group). Shiri's success, representing the opportunity for the market share to soar to 39.7%, inspired many Korean film-makers and convinced them that Korean productions could be successful if they were based on a good financial support and a selected, quality background.

Subsequently other Korean movies, like Joint Security Area and Friend were of great impact in the Korean film market, so that in 2002 the market share settled at 45.2% in terms of admissions and at a higher 46.7% in terms of box office. It should be remembered that, at the end of the nineties, the number of foreign movies released in Korea was six times higher than for domestic movies.

Apart from the development of the Korean movie in itself, the spread of multiplexes, mainly belonging to the Orion Group and CJ, and the legislation on the "five-day working week" have tempted the Korean people to visit theatres more during their longer weekends. As a result the Korean film market has continued to expand by 17% to 18% each year and total audiences in 2002 amounted to over 100 million.

In addition, major distributors of Hollywood movies, such as Warner Brothers, MGM, and Dreamworks began to obtain the copyright for remakes of several movies that had been big hits on the Korean market. Fox, Walt Disney and other direct-distribution companies also started to take Korean movies on board their global distribution runs. Most recently, Columbia signed a contract on world distribution and investment with a local production company.