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beautifulgiants · 1 year ago

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We Are Entering Into the Josh Hartnett-aissance

BY LIAM GAUGHAN

PUBLISHED JUL 28, 2023

Are we seeing Josh Hartnett's comeback?

Unfortunately, it doesn’t seem like a movie star’s face can sell a movie on its own anymore — unless you happen to be Tom Cruise. While this is tough news for the stars of this generation (apologies to all four Chrises), it’s even more disappointing for the actors that were iconic in the early 20th century that no longer have the same draw over audiences. Young, charismatic leading men who once starred in action films, romantic comedies, and major blockbusters are now left to fend for minor roles in either independent projects or television shows; it’s been a while since we heard from Ryan Philippe, Ashton Kutcher, Jim Sturgess, or Hayden Christensen in a major, lasting way.

However, Josh Hartnett has had a surprising comeback in the past year thanks to his roles in the sixth season of Black Mirror and Christopher Nolan’s historical masterpiece Oppenheimer. These roles suggest that the “Joshaissance” is about to take Hollywood by storm, and it’s about time that Hartnett’s talents are finally being rewarded and praised.

Josh Hartnett’s Career Had an Ambitious Beginning

While Hartnett’s name is often thrown around as yet another forgotten heartthrob of yesteryear, his career was one that started out in a very ambitious place. Hartnett managed to crawl his way out of the Halloween franchise after his debut role in 1998’s Halloween H20: 20 Years Later, preventing himself from being stuck with the series for the disastrous Halloween: Resurrection. His next horror film wasn’t in a major franchise, but with a rising auteur in Robert Rodriguez via The Faculty. The role showed the versatility that Hartnett had at his disposal; not only could he play a compelling teenage protagonist in a fun horror film with a tone akin to Scream, but he could deal with some of the weirder decisions that Rodriguez made in order for the film to feel so unique compared to other teen monster movies.

Before Hartnett started becoming a mainstream romantic comedy icon, he worked with several more significant directors. Another role that showed the range of his abilities was Sofia Coppola’s The Virgin Suicides; it’s a film that revolves around how young men perceive beauty and innocence, and how misguided their beliefs on love and romance really are. However, Coppola allows Hartnett’s character Trip Fontaine to be one that the audience can feel sorry for, as his feelings for the girls are genuine, and the sense of danger that he adds to their lives feels exciting, and not toxic. It’s a multifaceted role that once again required Hartnett to fit within the parameters of Coppola’s commentary and play the role of a traditionally charismatic leading man.

Michael Bay’s Pearl Harbor isn’t a film that anyone is particularly proud of, but Hartnett’s decision to join the film is completely understandable; what actor of his age would turn down the opportunity to star in a major World War II epic (only a few years after Saving Private Ryan) from the director of The Rock and Bad Boys? Hartnett certainly sells the melodrama better than Ben Affleck and manages to add a touch of emotion to a largely soulless action spectacle. Adding charisma to a project that lacked it before is something that Hartnett began to make a habit of; in the next decade of his career, he made rather generic romantic comedies like Blow Dry, Mozart and the Whale, 40 Days and 40 Nights, and Town & Country more entertaining thanks to his personality.

Even when appearing in mainstream films, Hartnett clearly had the ambition to work on more ambitious projects. He tried his hand at something far more unsettling than The Faculty with the gruesome vampire film 30 Days of Night and worked with Rodriguez again for an intimidating role in Sin City. Even some of his failed prospects suggested good intentions on Hartnett’s part; he got to work on a Brian De Palma movie (even if it was The Black Dahlia), co-starred with Harrison Ford (even if it was the disastrous Hollywood Homicide), and tried more than once to work with Nolan.

Netflix’s science fiction anthology series Black Mirror has an affinity for casting A-listers, even if they’re stardom may have faded in recent memory. While Season 6 was a mixed bag that contained some of the show’s most biting commentary and its worst clichés, the standout episode by far was the 1960s space romance “Beyond the Sea.” It served as a surprising comeback for Hartnett, who showed a true villainous, toxic side to himself that has never been seen in any of his previous work. Hartnett isn’t a mustache-twirling supervillain; he appears as David, a lonely astronaut whose family is killed by a cult leader (Rory Culkin) and longs for someone to care for him in their absence. It’s when David starts crossing the line of consent in his quest to heal that Hartnett transforms him from being sympathetic to scary.

Hartnett finally got his chance to work with Nolan in Oppenheimer, a film that co-stars many once promising young leading men whose careers have hit a standstill, including Josh Peck, Alden Ehrenreich, Scott Grimes, Dane DeHaan, Alex Wolff, and Jack Quaid. Hartnett showed maturity himself with his performance as Ernest Lawrence; while he’s friendly with Oppenheimer (Cillian Murphy) and even supports some of his more experimental propositions, he’s also deeply skeptical about any political movements that arise in the laboratory. Hartnett shows these convictions as unrelated to Lawrence’s personal stance; he simply wants to avoid distractions and keep the experiments objective. It’s an understated, subtle role; while Oppenheimer’s Best Supporting Actor campaign during the Academy Award season will likely revolve around both Robert Downey Jr. and Matt Damon, Hartnett is no less worthy.

2023 was a year when Hartnett recognized his talents and chose to challenge himself once more; he even managed to lampoon his own stardom with a self-referential role in Guy Ritchie’s action comedy Operation Fortune: Ruse de Guerre as the goofy action star Danny Francesco. Hartnett’s absence from mainstream projects was just a brief setback; he’s now reached the most interesting point of his career, and it’ll be exciting to see where the “Joshaisssance” goes next.

#beautiful giant #josh hartnett #oppenheimer #beyond the sea #black mirror #the black dahlia #the faculty #30 days of night #the virgin suicides #pearl harbor #operation fortune: ruse de guerre #Hollywood Homicide #sin city #robert rodriguez #Liam gaughan #deadline

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world-cinema-research · 6 months ago

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Forrest Gump and Pleasantville Week 9 Essay

(TWO FILM ESSAY).

By Jensen Boles

Above is the original movie poster for Forrest Gump.

For this week's essay, I will be talking about the film known as Forrest Gump which is one of the most famous films directed by Robert Zemeckis and stars the likes of Tom Hanks, Sally Fields, Gary Sinse and Robin Wright to name a few. The plot is about a man named Forrest Gump who has a low IQ score of only 75, but that doesn’t stop him from thriving in the world as he finds himself involved throughout various events in history like the stand in the schoolhouse door incident as well as the Vietnam War. Forrest also has an impartial understanding of the world. I will also be discussing the critical reception, the film's content, as well as whether the film is conventional or unconventional. I will also be comparing it to my other film known as Pleasantville.

Above is the original movie poster for Pleasantville.

I will also be talking about my other film for the week, Pleasantville which is directed by Gary Ross and stars the likes of Tobey Maguire, Reese Witherspoon, William H. Macy, Joan Allen and many more. The film's plot consists of two teenage siblings from the 90's who get transported to a 1950's sitcom entitled "Pleasantville" in which the influence of the two siblings changes the sitcom's world completely. I will also be discussing this film's content, critical reception, and if the film is conventional or not while comparing it to Forrest Gump.

When it comes to the critical reception of Forrest Gump, the film was highly praised by both fans and critics and has also won 6 Academy Awards. Derek Malcom from The Guardian even says "This is not your average Hollywood blockbuster and is certainly the most ambitious project Robert Zemeckis - second only to Spielberg as a consistent money-spinner - has essayed. But it has touched something deep down there in the American psyche and looks like it will carry on cruising happily enough in the world at large." What Derek is discussing here is that the film is also influential as it's the director's most ambitious project he's made so far. Forrest Gump was released to theaters on July 6th, 1994 and had a budget of $55,000,000, while making $679,835,137 worldwide.

Pleasantville on the other hand was also praised by critics and fans alike. Roger Ebert once stated ""Pleasantville," which is one of the year's best and most original films, sneaks up on us. It begins by kidding those old black-and-white sitcoms like "Father Knows Best," it continues by pretending to be a sitcom itself, and it ends as a social commentary of surprising power." According to Roger Ebert, this quote from his review claims that the film is unique when it comes to the film's style. The film was released to theaters on October 23rd, 1998, with a budget of $60,000,000 and made $49,805,462 worldwide, making it lower than what Forrest Gump made worldwide.

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Above is the original trailer for Forrest Gump.

As I mentioned above, the film is also known for its content with the title character, Forrest Gump and how he goes through different historical events such as The Stand in the Schoolhouse Door incident, The Vietnam War, as well as The Watergate Scandal. Forrest also meets some famous people such as Elvis Presley, John F. Kennedy and John Lennon. Not to mention the title character is known for having a low IQ score of 75 but maintains his flexible personality throughout the different events he goes through.

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Above is the behind the scenes and making of the film Pleasantville as part of the VHS version.

Pleasantville is also known for its content, mainly with the special effects and how the Black and White and Color filters contrast with each other. As I mentioned above, the film centers around two teenage siblings in the late 90's who get transported to a 1950's sitcom known as "Pleasantville" and the teen's influence of the late 90's also changes the world of the 1950's sitcom. There are also references to past historical events such as Kristallnacht (aka Night of Broken Glass) and the Civil Rights Movement.

Overall, both films have their similarities when it comes to the content and how they reference past historical events. There are also similarities for both films when it comes to how the film was received well by both fans and critics.

Above is a still frame of the main character, Forrest Gump (Tom Hanks) on the park bench. One of the most iconic shots of the film.

Forrest Gump seems like a conventional film when it comes to the plot of the main character and how he goes through the different historical events as well as the different famous historical figures he meets throughout the film. More conventional aspect's of the film would be Tom Hanks in the main role as the title character, who was a popular actor at the time, and the fact that Robert Zemeckis directed the film who was known for directing such classics like the Back to the Future Trilogy, Who Framed Roger Rabbit, Cast Away and the Polar Express to name a few. However an unconventional aspect of the film would be the scene when Forrest Gump decides to go for a little run but ends up running all across the country for over 3 years.

Above is a still frame from Pleasntville depicting David (Tobey Maguire) who's in B&W and his girlfriend Margaret (Marley Shelton) who's in color. This frame shows off the special effects of the film.

When it comes to the conventional aspects of Pleasantville, a few that I could name would be the references to historical events like the Civil Rights Movement and Kristallnacht. Not to mention the film's style of being like a 1950's sitcom as well as the plot involving the two main characters in the 1950's sitcom style seem like conventional aspects. The special effects that are present also seem to be conventional which include the black and white and color contrasting with one another. Another conventional aspect of the film would be the actors that are present including Tobey Maguire, Reese Witherspoon, Paul Walker, Joan Allen as well as big names like William H. Macy and Don Knotts. An unconventional aspect of the film would be how the main characters get transported to the 1950's sitcom by a magical remote.

#Youtube

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jurijurijurious · 11 months ago

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Tagged by @period-dramallama - thank you!

1. How many works do you have on AO3?:

Seven. Not enough.

(Guys there's no number 2 in this thing, where did it go??)

3. What fandoms do you write for?

At present, ReBoot and sometimes I drop back into Elizabeth (1998). I was much more of a fanfic slut in my youth, multiple fandoms on the go. (I've done Power Rangers, Doctor Who, Star Wars, Disney's Hercules...)

4. What are your top 5 fics by kudos?

Dodge and Burn (ReBoot)

Road to Ruin (ReBoot)

Mea Culpa (Elizabeth 1998)

Inconcessus fructus (Elizabeth 1998)

Dodge and Burn: Chapter 11.5 - Optional Add-on (ReBoot)

5. Do you respond to comments? Why or why not?

Yes. It's something I've always done. I think it stems from the early days of Fanfic.net and Live Journal where many people were more generous with their time and left lots of comments and engaged in discourse, whereas now I get very little feedback. I enjoy thanking people or answering questions, it makes the work put into a fic feel worthwhile that it's created some kind of engagement. I think society now is more geared to comsuming but not reflecting which is a shame.

6. What’s the fic you wrote with the angstiest ending?

I'm hoping "Dodge and Burn" will fill that gap. I'm not sure Mea Culpa or Incon' were angsty? They had angst but I think the ending tied up ok.

7. What’s the fic you wrote with the happiest ending?

What's a happy ending? I don't think I've written a happy ending for years. Maybe back in my Doctor Who days.

8. Do you get hate on fics?

Not any more. I wrote a Star Wars fic a good 20 years ago which to be fair was terrible and featured lots of unnecessarily cruel tropes but it got a lot of love at the time, until quite some years after, someone randomly began reviewing every chapter and bombing it. I don't know why they kept wasting their time on something they really didn't like, I guess people enjoy dumping on others. I just turned off the notifications, it was wirtten too long ago for me to care. I've grown since then. I don't get hate any more really, my fics are super niche rarepairs in minority fandoms, I don't get many readers. You're either into it or you've never heard of it.

9. Do you write smut? If so, what kind?

Yes. It's pretty tame overall, I try to focus on emotion rather than action. I seem to enjoy writing some sub/dom elements - not proper BDSM but there's certainly power play in my smut. It's a battlefield more than a bedroom.

10. Do you write crossovers? What’s the craziest one you’ve written?

I've touched on crossovers but they're such hard work and really only appeal to me rather than a wider audience as I fix on really weird-ass combinations. I've never finished a crossover fic. I started a Lion King/Discworld one many years ago. Recently I had fun with Elizabeth (1998)/Attack on Titan. I wrote some snippets and am determined it could work if I put my mind to it but yeah, way too niche.

11. Have you ever had a fic stolen?

I doubt it. I have this low key - not fear, perhaps curiosity - that things I wrote years ago might have been repackaged and recirculated and I'd have no idea because I've lost touch with so any fandoms.

12. Have you ever had a fic translated?

No.

13. Have you ever co-written a fic before?

No. I'm too much of a control freak to want to share a fic.

14. What’s your all-time favourite ship?

I can't choose one. I love, love, love Elizabeth/Walsingham (Walsibeth) from the Elizabeth movie as it just means so much to me, and it's been with me a long time. And I feel like it's almost exclusively mine, I've read very few other fics of that pairing before I started writing it in the mid 2000s.

Megabyte and Dot from ReBoot are my current obsession and again that pairing is something I've liked for a long time. They're so much fun to write, at constant battle with each other. I think I'm better at writing them now that I'm older as I can tap into life experience and not just ride on my youthful hormones.

15. What’s a WIP you want to finish, but doubt you ever will?

I rarely finish anything tbh. I will say Dodge and Burn, i desperately want to finish it but my legacy does not bode well for it.

16. What are your writing strengths?

Sexual tension I think? Maybe.

17. What are your writing weaknesses?

I have been overly descriptive in the past and spoon fed the reader with the character's thoughts and motivations. I'm trying to peel back from that and show rather than tell. There will definitely be other weaknesses. I feel like I focus too much on dialogue but I love writing dialogue. I hate writing battles or heavy action scenes, I need to focus on building my skills in that area.

18. Thoughts on writing dialogue in another language for a fic?

I'm not a linguist so I wouldn't dare.

19. First fandom you wrote for?

If we're talking pre-internet childhood, maybe Power Rangers?

20. Favourite fic you’ve ever written?

I do love Dodge and Burn which I'm currently working on, it's a lot of fun, but I remain proud of Inconcessus fructus that I wrote in the mid-2000s, I actually think it's one of my best pieces of writing and I fear I peaked back then.

Tagging @buginateacup @thisbluespirit @thatfilthyanimal if you fancy.

#fanfic ask #fanfic #writing #megadot #elizabeth 1998 #walsibeth #reboot fanfic #reboot: dodge and burn #megabyte x dot

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maximumwobblerbanditdonut · 8 months ago

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PETER MULLAN IS RED JACOB MACKENZIE

Peter Mullan is a Scottish actor and filmmaker, he was born in Peterhead, a town in Aberdeenshire, Scotland 🏴󠁧󠁢󠁳󠁣󠁴󠁿 UK. He was interested in directing films at the age of 19 and he made several shorts. He decided to dedicate himself to acting and made his debut in the theatre in 1988 before moving to cinema and television.

His feature film work over the last several decades stretches across every genre, including roles in Riff-Raff (1991), Braveheart (1995), Trainspotting (1996), Miss Julie (1999), Young Adam (2003), Children of Men (2006), The Red Riding Trilogy (2009), War Horse (2011) The Vanishing, the Harry Potter film series (2010–11) and The Vanishing (2018).

Although his part in Braveheart was a small recurring role as one of the Scottish army foot soldiers, Mullan was to go on to enjoy a breakthrough shortly after Gibson’s classic film hit cinemas.

He followed Braveheart with his part as the drug dealer Mother Superior in Trainspotting, then found himself being fêted by Martin Scorsese when he won the best actor award at Cannes for Ken Loach’s film, ‘My Name Is Joe’ (1998), filmed in Argyll and Glasgow.

Trainspotting 1996 ‧ Crime/Thriller

Mullan has a vast body of work but is probably best known for his portrayal of Joe in the 1988 Ken Loach film ‘My Name is Joe’. For this work, he won the highly prized Best Actor Award at the Cannes Film Festival.

Mullan in My Name is Joe, directed by Ken Loach. Photograph: Allstar Picture Library

A few years later, in 2011, the Sundance Film Festival awarded Mullan a World Dramatic Special Jury Prize for Breakout Performances for his role as Joseph in Paddy Considine’s Thriller/Drama ‧ ‘Tyrannosaur’ (2011) with Olivia Colman.

Since then, Mullan has gone on to work with directors like Steven Spielberg (War Horse 2011 ‧ War/Adventure ) alongside Jeremy Irvine and with Alfonso Cuarón popped up as a totalitarian crank in Alfonso Cuarón’s Children of Men, goading the dispossessed into parading their “refugee face”. On Mullan suggestion, Cuarón swapped his character’s weapon of choice for something less obvious, but more threatening, and has become one of the most respected modern film and TV actors.

War Horse 2011 ‧ War/Adventure ‧ Film of the Year 2012

He has also made his name as a director, with acclaimed movies such as Neds, Orphans and The Magdalene Sisters.

His other film credits include ‘Hercules’ 2014 ‧ Action/Fantasy alongside Dwayne Johnson as General Sitalces, Commander of the Thracian army. Lord Cotys's second-in-command right-hand man portrayed by the late John Hurt.

Sunset Song, 2015 ‧ Romance/Drama Terence Davies’s adaptation of Lewis Grassic Gibbons’s novel, stars Agyness Deyn as Chris, a Scottish farm worker who sees family trauma merge into global catastrophe as the First World War devastates her village.

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Starring Peter Mullan, as Chris’s abusive dad. was filmed at various locations across Scotland in Aberdeenshire, including Fettercairn and the Glenmuick, Glen Tanar, Invercauld and Ballogie estates. Sunset Song is certainly a masterpiece of Scottish/ British literature and was voted Scotland's favourite book.

Scots Quair is actually three books, Sunset Song, Cloud Howe and Grey Granite, that tell the story of Chris Guthrie, a young woman in the North East of Scotland, moving from the hard, rural life of her adolescence to adulthood and marriage. A Scots Quair is one of the most important works of Scottish literature.

Tommy's Honour 2016 ‧ Sport/Romance is based on the powerfully moving true story (and novel of the same name by Kevin Cook) of the challenging relationship between “Old” Tom and “Young” Tommy Morris, the dynamic father-son team who ushered in the modern game of golf.

Tommy's Honour 2016

Peter Mullan stared as Tom with Jack Lowden playing his son. The film was filmed in the Edinburgh city region including Peebles and Musselburgh golf course.

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He also played Yaxley in ‘Harry Potter and the Deathly Hallows’, parts 1 and 2. In TV, he’s played characters in ‘Westworld’, ‘Top Of The Lake’ and Netflix’s ‘Ozark’ as Jacob Snell. [Netflix]

In 2020 He was great in #Ozark portraying local crime lord Jacob Snell, The crime boss of Osage Beach until he died in season two of the Netflix hit.

Ozark 2017 ‧ Drama ‧ 4 seasons

The Lord of the Rings: The Rings of Power (TV Series 2022– ) - Peter Mullan played Durin III king of the dwarves and builder of the great halls of Moria.

Moria is introduced in Tolkien's novel The Hobbit and is a major scene of action in The Lord of the Rings. In the fictional world of J. R. R. Tolkien, Moria, also named Khazad-dûm, is an ancient subterranean complex in Middle-earth.

On the big and small screen, from sci-fi to action and comedy, there are plenty of Scots actors who have made a huge impact on the world of acting. Just take a look at the right place where you will find them in Scotland 🏴󠁧󠁢󠁳󠁣󠁴󠁿

#PeterMullan #Scotland #actor #filmmaker #Peterhead #RedJacobMackenzie #BOMB #Braveheart #Trainspotting #MartinScorsese #bestactor #CannesFilmFestival #KenLoach #MyNameIsJoe #Tyrannosaur #OliviaColman SundanceFilmFestival #ChildrenofMen #WorldDramaticSpecialJuryPriz #Hercules #DwayneJohnson #GeneralSitalces #book #SunsetSong #Scottishliterature #TerenceDavies #LewisGrassicGibbons #Tommy'sHonour #novel #Kevin Cook #TommyMorris #Musselburghgolf #Netflix #Ozark #JacobSnell #DurinIIIking #Moria #RingsofPower #Tolkien'snovel

Posted 5th April 2024

#Youtube

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denimbex1986 · 1 year ago

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'Unfortunately, it doesn’t seem like a movie star’s face can sell a movie on its own anymore — unless you happen to be Tom Cruise. While this is tough news for the stars of this generation (apologies to all four Chrises), it’s even more disappointing for the actors that were iconic in the early 20th century that no longer have the same draw over audiences. Young, charismatic leading men who once starred in action films, romantic comedies, and major blockbusters are now left to fend for minor roles in either independent projects or television shows; it’s been a while since we heard from Ryan Philippe, Ashton Kutcher, Jim Sturgess, or Hayden Christensen in a major, lasting way.

Josh Hartnett’s Career Had an Ambitious Beginning

Josh Hartnett Has Been Making a Comeback This Year

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yestolerancepro · 4 months ago

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Just the Job revisiting the Employment Game A Tolerance project extra blog

Introduction

Hello this month of August marks 25 years since me and a group of friends worked on a disability awareness film simply called Tolerance. This article is the first in a special series of blogs to celebrate that milestone.

As part of the 25 birthday celebrations I think its only fair that we revisit The Employment game

So why have I included The Employment game in Tolerance Project history ? Well firstly it shares a number of ideas and themes with the former (1) It treats a serious subject with a degree a humour which should make you smile and think at the same time. (2) it uses TV and film themes as part of its soundtrack.

The Employment Game uses the now classic theme from the Rhubarb and Custard cartoon series, The Tolerance Film took this idea further and in the course of its short 25min run time you can hear themes from Star Wars, the Good the Bad the Ugly, Officer and a Gentlemen and a few others.

Lastly they both feature a person trying their hardest to get there dream job and succeeding in the end.

It is also part of the Tolerance film history that when the idea of the Tolerance film was first talked about, as co-ordinator of the group, I felt it was important to have some idea about what goes into film making, in order that when we did the real thing some months later, So I wouldn’t be completely lost on location or in a studio set. So I enrolled myself on a Film and TV-making course at Beaumont Street studios and as part of the course, we had to produce a short film – the Employment Game was born.

The Employment Game was made in about in about 1998 The film runs for just under 10 mins and was directed by me with a script written by myself Rob Martin and Steve Walker it was shot inside Beaumont Street studios with very little set no budget and was shot and completed in just 2 days.

Why was The Employment Game created ?

The Employment Game was created as a result of my frustration at struggling to find a permanent job something which still annoys me to this day, especially as not much has changed sadly. Because people see my wheelchair first and me second, I kept being offered training courses, instead of chances of work, and consequently, I have a CV as long as long as your arm.

This is something which Robert himself complains about bitterly in the finished Tolerance film. Like Robert in the Tolerance film the character in the Employment Game has to deal with a man who is not very sympathetic to his wanting paid employment, and will give him every excuse why he will not employ him in his firm.

The man in question in the Employment Game is played by Rob Martin who plays a Mr Grosenberg like character, who in the Employment Game is minus the squeaky voice. I would bump into Rob again when making the Tolerance film when he was hired to provide the Behind The Scenes photographs for the production

So What are my memories of The Employment Game?

For the most part they are good and happy ones I am glad it turned it so well it was certainly a good training exercise for when I made the Tolerance film some time later. It was a lot of fun to make watching it again recently you can see that that Myself and Rob Martin are having a laugh doing it . It was very hard keeping a straight face at times I can see myself cracking up.

One of the things I remember about the Employment game is that I was planning to do something else With a Scifi theme Quite rightly the teacher of my class steered me towards doing something easier So I came up with the Employment Game idea instead.

Before filming even got started myself and Rob with the other members of the class nicked a camera and did a short pilot of of my ideas.

Watching the film again I note there are 3 script writers myself Rob Martin and Steve Walker. The reason for this was simple, I originally wrote the script myself but about 2 days before filming the script that I worked hard on went walkies So the three of us had to sit down and do an emergency rewrite.

I don’t think there was much of a script to speak of in fact I think most of it is ad libbed a lot of Rob Martins lines certainly are his comments about the Spice girls and you wouldn’t get the jobs anyway sound is if they come off the top of his head there was also a nice out take from me about the Spice girls that hit the cutting room floor I won’t go into details but The Employment Game was certainly the happier of my 2 filming experiences.

The Themes of The Employment Game/ Borrowing a theme from a Children’s classic

After 2 days of filming the Employment Game was then edited by me at Beaumont street studios the only hitch we had was deciding what music to use for the opening and closing titles as with the Tolerance film my CD collection came to the rescue.

After a short search I decided it was down to 2 pieces of music the Gallery theme used on the programme Vision On, a show aimed at the deaf community that was presented by Pat Keysell and Tony Hart which ran on the BBC for 12 series between 6th March 1964 to 11 May 1976.

To learn more about Vision On which just so happens to be celebrating its 60th birthday this year click here Vision On at 60 – celebrating a creative powerhouse that inspired a generation | Radio Times

The music was part of my Childhood as it was also used on the Tony Hart series Take Hart 1977-1983 if you don’t know what I am talking about. You can find the music on You Tube by looking for it under its proper title called Left Bank two written by Wayne Hill and recorded by the Noveltones for De Wolfe music or click here.The Noveltones - Left Bank Two - Vision On Gallery Theme (youtube.com)

After listening to it featured on rough mix of the film I decided it didn’t work. because it was too long and it didn’t suit the comedic tone of the film. so I decided to go with my second choice the theme from Roobarb and Custard.

You can watch the opening titles by clicking here (4) Roobarb - Intro Theme Tune Animated Titles - YouTube

For those who have not seen the show it was an animated series created by Grange Calveley and originally shown on BBC1 just before the evening news. Each cartoon, written by Calveley and directed by Bob Godfrey, was about five minutes long. Thirty episodes were made, and the show was first shown on 21 October 1974. The theme is that of the friendly rivalry between Roobarb, a green dog with an overactive imagination, and Custard, the mischievous laconic pink cat from next door.

The narration of the series was provided by the actor Richard Briers

Photo Captions

Beaumont street studios where the Employment game was shot it closed its doors for the last time 2010

Me in the job Centre set one of the writers Steve walker is sat next to me in the blue shirt

Rob Martin as the not very helpful Job centre employee

A 20 year old me I play a version of myself in the film not much of a stretch really

Me and my Electric Chair providing the title sequence

Vision on with Pat Keysell and Tony Hart

Roobarb and Custard

Richard Briers.

Special Thanks to Ian Medley for rescuing the film from VHS

To help the Tolerance Project you can read about us or give us a small donation by clicking on the following link

or follow us on Twitter @tolerancepro

#The Employment Game #ian medley #Ben Brown #Rob Martin #Steve Walker #Beaumont Street Studios #richard briers #roobarb and custard #Vision On #Tony Hart #Pat Keysell #Classic Children's Television #Short film

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paulagnewart · 11 months ago

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Sonic the Oz-Hog Act 1/12: Never Forget Your Firsts!

Sonic Super Special issue 3 AU Publication Date: 14th January 1998 Price: $3.95

It's January 1998. The Rural Fires Act had come into effect just in time, for the nation's traditional summer of sports were only superseded by its traditional summer of bushfires. Both east and west coasts had taken a hammering through a combination of record breaking heatwaves and arsonists, leading to at least four preventable deaths. Residents praying for rain got more than they bargained for within days when fires gave way to weeks of floods and cyclones.

Any kids looking to escape the ravaging weather would be disappointed; 1998 was the first summer in nearly 20 years of waking up to a host-less morning show. After one complaint from moral guardians too many, beloved wisecracking puppet Agro was booted from his own program, with Channel Seven instead offering repeats of Gargoyles, The Jetsons and All Dogs Go to Heaven. The lack of Agro meant Channel Ten's rival program Cheez TV had little to worry about, and it showed with their own January lineup of Transformers Generation Two, Spider-Man and The Tick repeats.

Having vowed to never introduce a 10% tax on all goods and services under their watch, John Howard’s conservative Government prepared to backflip on their election promise. A move destined to make teen wallets even lighter when buying CD singles of that month's chart-topping song, Aqua's Doctor Jones. Personally the already high price of CDs was of little concern back then, instead more worried about accidentally sleeping in Saturday mornings and miss another installment of The Dinky-Di's quest to stop Earth's number-one eco enemy Mephisto. Sadly if ratings were any indication, I was the only one waking up early enough to watch anyway.

Names including “Beetleborgs”, “Extreme Dinosaurs”, “Venus DeMilo” and “Pokemon” were unheard of, though would certainly go on to pester parents by year's end. SEGA World Sydney, Australia's largest indoor theme park and last refuge for everyone's favourite rodent, was crawling towards its first anniversary. Two new final volumes of Adventures of Sonic the Hedgehog, a series which hadn't aired on TV in years by that point, trundled onto VHS with all the invigoration of an afterthought. In short the high-speed hedgehog's classic heyday was coming to an end.

Yet things weren't all doom and gloom. For fans still yearning that new hedgey action, Archie Sonic continued to thrive among the mass of imported titles jostling for pole position on newsagent shelves. Quantities were plentiful and demand remained strong, even through a whole dollar price increase by year's end.

As the title boasts, life is built on firsts. Those unforgettable turning points destined to remain etched within our minds. Be them first kiss, first job, first concert or even first Star Wars action figure. When we grow old, the urge swells to reflect or even revisit those small, beautiful starting points. It's a feeling Archie certainly shared, with their appropriately first comic to reach Aussie shores that year: Sonic Firsts.

For a publisher who spent decades following the Mad Magazine bread-and-butter approach of constantly publishing past material, it’s surprising Archie took so long adding their best-selling title to the reprint rotisserie. Within its fancy 48 pages, Sonic Firsts offered a quartet of classic adventures invaluable to new readers while attempting to smooth out what eventually became continuity snares. Michael Gallagher and Scott Shaw! kicked things off with the eponymous Don't Cry For Me, Mobius, a fine starting point for the comic if ever there was one. Rabbot Deployment saw Shaw! superseded by Dave Manak and the introduction of Bunnie, who was granted something of a backstory when such things for anyone outside Sonic and Sally was rare. The pair returned for their flatulence flaunting The Lizard of Odd, an otherwise standard tale if not for Super Sonic's debut. Mike Kanterovich and Ken Penders brought it home with This Island Hedgehog, a straightforward misadventure which nobody could've guessed at the time just how important (or bloated, take your pick) a certain Rad Red's life story would become.

For some newsagents the switch to Sonic Super Special's permanently numbered quarterly format proved difficult to grasp. This issue was often solicited by retailers as Brave New World, raising more than a few eyebrows on parents who already forked out for that edition. It was unusual but ultimately humourous in hindsight when years later, the first eight issues of Sonic Universe were billed as Sonic X. But more on that another time.

The Special was a success for Archie. It showed there was a market for reprints among Sonic fans, even if it took several more years to truly milk its potential. Fans could fork out the standard price for their 48 page floppy, or if feeling a little more extravagant, shell out double the price for a comic book shop exclusive 'perfect-bound' edition. Touted by Archie as "Sonic's first ever Trade Paperback", the simultaneously released special boasted heavier cover stock and a minimally-formatted introduction by former editor/writer Paul Castiglia. If that wasn't enough, both versions were later reissued (either 1:1 perfect reprints or just unmoving warehouse stock, you be the judge.) to comic shops among a slew of 'back catalogue' miniseries and specials around late 2004. Marvellous.

In all, Sonic Firsts was a nifty if unintended celebration just in time and right on the mark for Archie Sonic’s 5th anniversary. The future was bright and the only way was up. Juuuuuust pay no heed to one of the Special's writers banging on about reprint royalties when this issue was announced. They certainly did. :P

Next Time: Take a flier to the comic's future as everyone's favourite embattled Echidna faces a deeply personal dilemma. A true clash for the ages which left both fans and editor reeling from its outcome. Will things ever be the same again? Will this description quit with the cheesy song references? Unlikely.

< Previous \ Index / Next >

#Sonic the Hedgehog #Archie Sonic #Sonic the Hedgehog Comics #Archie Comics #Comic Books #Michael Gallagher #Scott Shaw!#Dave Manak #Mike Kanterovich #Ken Penders #Paul Castiglia #Australia #1998 #Musings

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obligatorilypretentious · 3 years ago

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queer classic book recs!!

Image description under the cut! Please tell me if I did something wrong and I will gladly change it!

The other recs will be in the reblog!

[Each slide excluding the title screen includes 3 photos relating to the book, largely alternative covers of each in a small grid format.]

Slide One: In the center is a box with interior text reading "13 lgbtq classics and 1 “modern” classic. Recs in the comments welcome!" The top left corner includes an image of a calligraphy quill. Underneath this is text that reads "Disclaimer! The beginning of this list is.. Very White, but don't worry it gets more diverse as the books get more recent!!" In the top right corner is a text box reading "Look up trigger warnings or I’ll steal your gender! … or give it back!!" under this is a picture of an open book displayed in the foreground and another stack of books in the background.

Slide Two: Carmilla by J. Sheridan Le Fanu.

1872

Lesbian/wlw but written by a man

vampires!

“Following a near-fatal carriage collision, the beautiful young Carmilla is taken in by the narrator Laura and her father.”

While this book plays into the stereotype of the “monteress, seductive lesbian,” it is one of the oldest and most famous classical texts depicting a lesbian relationship. Toxic AF.

Slide Three: The Picture of Dorian Gray by Oscar Wilde

1890

not explicitly queer (subtext)

but gay (mlm) tho

“Enthralled by his own exquisite portrait, Dorian Gray exchanges his soul for eternal youth and beauty. Influenced by his friend Lord Henry Wotton, he is drawn into a corrupt double life, indulging his desires in secret while remaining a gentleman in the eyes of polite society. Only his portrait bears the traces of his decadence.”

This book contains Anti-semitism, Racism, Sexism and is honestly a product of its time. Oscar Wilde is certainly a character.

Slide Four: Orlando by Virginia Woolf

1928

sapphic/gender exploration

“The novel opens as Orlando, a young nobleman in Elizabeth's England, awaits a visit from the Queen and traces his experience with first love as England under James I lies locked in the embrace of the Great Frost.”

Main Character is racist and anti-Semitic. While her writing is incredibly important and impactful as a queer figure, she will always be white before she is queer.

Slide Five: The Well of Loneliness by Radclyffe Hall

1928

lesbian/wlw

originally banned

“Stephen is an ideal child of aristocratic parents—a fencer, a horse rider, and a keen scholar. Stephen grows to be a war hero, a bestselling writer, and a loyal, protective lover. But Stephen is a woman, and her lovers are women. As her ambitions drive her, and society confines her, Stephen is forced into desperate actions.”

This book contains racism, use of the N-word, sexism, homophobia & lots of outdated ideas in general.

Slide Six: Giovanni's Room by James Baldwin

1956

gay/mlm

“In a 1950s Paris swarming with expatriates and characterized by dangerous liaisons and hidden violence, an American finds himself unable to repress his impulses, despite his determination to live the conventional life he envisions for himself. After meeting and proposing to a young woman, he falls into a lengthy affair with an Italian bartender and is confounded and tortured by his sexual identity as he oscillates between the two.”

OMG! A classic on this list in which I can't find any evidence of racism or antisemitism! /srs. Imagine that- it's almost like POC classical authors are important to teach about! /hj

Slide Seven: Maurice by E.M. Forster

1971

gay/mlm

fluffy, but homophobia exists in the story as well.

“Maurice is heartbroken over unrequited love, which opened his heart and mind to his own sexual identity. In order to be true to himself, he goes against the grain of society’s often unspoken rules of class, wealth, and politics.”

This book contains the use of the g slur. Please tell me if I missed something!

Slide Eight: HERmione by H.D.

1981

queer/sapphic woman author

poetry

so mf sad bro I mean look at that blurb

“An interior self-portrait of the poet H.D. (1886-1961) is what can best be described as a 'find', a posthumous treasure. ‘I am Hermione Gart, a failure' -she cried in her dementia, 'I am Her, Her, Her.”

To my knowledge, this book isn't problematic- please tell me if it is though!!

Slide Nine: Zami: A New Spelling of My Name by Audre Lorde

1982

lesbian/wlw

A staple of lesbian lit from before the peak of an activist’s career. Great read.

“From the author's vivid childhood memories in Harlem to her coming of age in the late 1950s, the nature of Audre Lorde's work is cyclical. It especially relates the linkage of women who have shaped her.”

Once again to my knowledge, this book isn't problematic

Slide Ten: The Color Purple by Alice Walker

1982

features queer women

has a movie adaptation!

“Separated as girls, sisters Celie and Nettie sustain their loyalty to and hope in each other across time, distance, and silence. Through a series of letters spanning twenty years, first from Celie to God, then the sisters to each other despite the unknown, the novel draws readers into its rich and memorable portrayals of Celie, Nettie, Shug Avery, and Sofia and their experience.”

Once again to my knowledge, this book isn't problematic

Slide Eleven: Oranges Are Not the Only Fruit by Jeanette Winterson

1985

lesbian/wlw

“This is the story of Jeanette, adopted and brought up by her mother as one of God's elect. Zealous and passionate, she seems destined for life as a missionary, but then she falls for one of her converts. At sixteen, Jeanette decides to leave the church, her home, and her family, for the young woman she loves. Innovative, punchy, and tender.”

Once again to my knowledge, this book isn't problematic- but warning, there are quite heavy themes!

Slide Twelve: Dykes to Watch Out For by Alison Bechdel

1986

lesbian/wlw

a classic comedy comic + a really good insight & look into lesbian culture

“Grin, giggle, and guffaw your way through this celebrated cartoonist's graphic commentary of contemporary lesbian life.”

Once again to my knowledge, this book isn't problematic*

*contains d-slur used by lesbians in a non-offensive way

Slide Thirteen: Stone Butch Blues by Leslie Feinberg

1993

lesbian/gender identity around lesbianism

“Woman or man? This internationally acclaimed novel looks at the world through the eyes of Jess Goldberg, a masculine girl growing up in the "Ozzie and Harriet" McCarthy era and coming out as a young butch lesbian in the pre-Stonewall gay drag bars of a blue-collar town. Stone Butch Blues traces a propulsive journey, powerfully evoking history and politics while portraying an extraordinary protagonist full of longing, vulnerability, and working-class grit.”

Once again to my knowledge, this book isn't problematic

Slide Fourteen: Tipping the Velvet by Sarah Waters

1998

lesbian/wlw

historical romance

“Nan King, an oyster girl, is captivated by the music hall phenomenon Kitty Butler, a male impersonator extraordinaire treading the boards in Canterbury. Through a friend at the box office, Nan manages to visit all her shows and finally meet her heroine. Soon after, she becomes Kitty's dresser, and the two head for the bright lights of Leicester Square where they begin a glittering career as music-hall stars in an all-singing and dancing double act. At the same time, behind closed doors, they admit their attraction to each other and their affair begins.”

Once again to my knowledge, this book isn't problematic

Slide Fifteen: Under the Udala Trees By Chinelo Okparanta

2015

lesbian/wlw

modern classic imo, look into the coexistence of native Nigerian culture & queerness

“Ijeoma comes of age as her nation does; born before independence, she is eleven when civil war breaks out in the young republic of Nigeria. Sent away to safety, she meets another displaced child, and they, star-crossed, fall in love. They are from different ethnic communities. They are also both girls. When their love is discovered, Ijeoma learns that she will have to hide this part of herself. But there is a cost to living inside a lie.”

Once again to my knowledge, this book isn't problematic

#queer books #lgbtq books #classic books #classic literature #lgbt books #book recommendation #classics #books #literature #poetry #lgbtq #queer #diverse books #diverse reads

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truelivingblogs · 3 years ago

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I do work that I feel I have something to contribute to.

Childhood

"Winners Look for an Opportunity in Every Difficulty". The quote reflects the persona of ravishing and stunning starlet Scarlett Johansson. Scarlett was born in the gracious city of New York, also known as The Big Apple on 22nd November 1984. Her father, Karsten Johansson was an architect and originally hailed from Copenhagen. The success of this remarkable Hollywood actress is a clear testimony of hard work and preparation for the big league over years.Scarlett Johansson acquired artistic traits genetically from her grandfather who was an eminent Screen writer and director. In the initial years of her childhood Scarlett Johansson had to go through heavy financial crunches. She completed her elementary education from Greenwich Village. After that she enrolled herself for Theatrical training and attained a bachelor’s degree from Professional Children’s School in Manhattan.

Early Career

Scarlett made her entry in the films as a child artist. Her mother was an ardent movie lover. She used to take her for the auditions, especially for the endorsements. As a child, Scarlett had to face many failures and certainly a time came when she was completely devastated. She started afresh and made her child debut from the comic flick North released in 1994. She portrayed the role of John Ritter’s daughter in that film. During this period she did some miniscule roles in films.

Career

Scarlett’s performance was tremendously appreciated in the film Manny and Lo for which she was nominated for Best Female Lead in the Independent Spirit Award. Though it was an honor for her to be nominated for this award, still her real acting skills were not churned out yet.The Horse Whisperer, a film released in 1998 gave Johansson instant recognition. The movie received outstanding reviews from the critics as well. Her name came in the nominations for the Chicago Film Critics Association for the Most Promising Actress.Some of Scarlett Johansson movies were not commercial pot boilers but her performance in those films was found out to be praise worthy. She also made an appearance in the video “Candy” in 1999. In 2001 Johansson did a film “Ghost”. The movie was a fiasco at the box office but her role was widely appreciated by the audience.In 2010, she played Black Widow in Iron Man 2. She again played Black Widow in the Marvel film The Avengers in 2012. The film broke several records and became the third highest-grossing film worldwide. Johansson gained worldwide recognition for her performance. In 2013, she voiced an operating system in the film Her. Next, she starred in another Marvel movie, Captain America: The Winter Soldier. In 2015 and 2016, Johansson again appeared as Black Widow in the Marvel films Avengers 2 and Captain America: Civil War. Both movies grossed over $1.1 billion at the box office. She appeared in Netflix’s Marriage Story and got nominated for a Best Actress Oscar. She also starred in Jojo Rabbit and received her second Oscar nomination for Supporting Actress. In 2021, she starred in her own solo film, Black Widow.

Lesson we can learn

Scarlett Johansson entered the film industry at a very young. Her perseverance and dedication helped her reach new heights. Today, she is the highest-grossing actress of all time. We should never give up on our dreams. Hard work is the key to success. It teaches us determination and persistence. Always try to learn from your mistakes and keep moving forward. Finally, make the most of every opportunity.

#spreadlove #spreadpositivity #black widow #marvel

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themousefromfantasyland · 4 years ago

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Santa Claus and the Nature of Belief

I doubt anyone will read this thing, but here's my not-so-little essay: God is as real as Santa, and Santa is as real as God, and I don't say this in a negative way.

Every holiday season I end up reflecting about Santa and the nature of belief as a whole.

We tell our kids to believe in Santa, and generally we try to protect that belief for as long as we can. A frequent theme in Christmas movies is the kid or adult that don't believe in Santa Claus, but by the end of the movie their faith is restored and magic can be sensed everywhere.

And I wonder, what was all that truly about.

Yes, Virginia. There's a Santa Claus

This is the most reprinted newspaper editorial in the English language, and one of the most important pieces of Holiday lore in North America.

Virginia O'Hanlon was the daughter of a coroner's assistant, Dr. Philip O'Hanlon. In 1897, at eight years old, she asked her father if Santa Claus existed. Her father recommended that she send her question to "The Sun", a very important newspaper from New York City, which ran from 1833 until 1950. This was her original letter.

For the surprise of everyone involved The Sun responded the question of the little girl. As far as I can see there was no utterior motive. The paper ran the editorial in the seventh place on the page, below even one on the "chainless bicycle". But it was noticed by the readers. It became almost a legend.

What is important about the story is that the author of the editorial was Francis Pharcellus Church. This man was a war correspondent during the American Civil War. He saw pain, death, misery and despair.

"The Rest of the Story", a radio program that presented little-known or forgotten facts of History, described Church as a hardened cynic and an atheist who had little patience for superstitious beliefs. Initially, he didn't wanted to write the editorial. He even refused to allow his name to be attached to it.

His other writings typically espoused hardened cynicism, skepticism toward religion and superstition. Yet, his most memorable work celebrates faith.

Was he forced to write this thing? Why someone so contrary to blind faith and superstitious beliefs would try so hard to protect and legitimate the beliefs of a young girl? We will never know the answer.

Santa as a metaphor for God.

Mr. Kringle is not concerned for himself, if he was he wouldn't be here. He is in this regrettable position because he is willing to sacrifice himself for children. To create in their minds a world far better than the one we've made for them. If this is, as Mr. Collins suggests, a masquerade then Mr. Kringle is eager to forfeit his freedom to preserve that masquerade. To subject himself to prosecution to protect the children's right to believe. If this court finds that Mr. Kringle is not who he says he is, that there is no Santa, I ask the court to judge which is worse: A lie that draws a smile or a truth that draws a tear.

Miracle on 34th Street

To believe in something even when it doesn't make sense or when you don't have proof. This is a frequent theme in Santa movies. Many use Santa as a commentary on the nature of faith and use him as metaphor to the Christian god. No one took it so far as the 1998 remake of Miracle on 34th street.

The final proof on court that Kris Kringle may not be crazy is that since the US Department of Treasury can put "In God We Trust" on US currency with no hard evidence, then the people of New York can believe in Santa Claus in the same way.

The "Hogfather" and Terry Pratchett

I wrote this essay because I recently read the "Hogfather" by Terry Pratchett, and he basically wrote the best argument for faith and belief that I've ever seen.

First, there's this dialogue exchange:

"There are many who say this... person does not exist," he said.

He must exist. How else could you so readily recognize his picture. And many are in correspondence with him.

Well, yes, of course, in a sense he exists..."

In a sense everything exists

But this one takes the cake. This dialogue is between Susan Sto Helit and her grandfather Death, the best character in the book mind you. This is after they save the Hogfather, the Discworld version of Santa.

Susan: Thank you. Now...tell me...

Death: WHAT WOULD HAVE HAPPENED IF YOU HADN'T SAVE HIM?

Susan: Yes! The sun would have risen just the same, yes?

Death: NO

Susan: Oh, come on. You can't expect me to believe that. It's an astronomical fact."

Death: THE SUN WOULD NOT HAVE RISEN

Susan: It's been a long night, Grandfather. I'm tired and I need a bath! I don't need silliness!

Death: THE SUN WOULD NOT HAVE RISEN

Susan: Really? Then what would have happened, pray?

Death: A MERE BALL OF FLAMING GAS WOULD HAVE ILLUMINATED THE WORLD.

Susan: All right, I'm not stupid. You're saying humans need...fantasies to make life bearable.

Death: REALLY? AS IF IT WAS SOME KIND OF PINK PILL? NO. HUMANS NEED FANTASY TO BE HUMAN. TO BE THE PLACE WHERE THE FALLING ANGEL MEETS THE RISING APE.

Susan: Tooth fairies? Hogfathers? Little—

Death: YES. AS PRACTICE. YOU HAVE TO START OUT LEARNING TO BELIEVE THE LITTLE LIES.

Susan: So we can believe the big ones?

Death: YES. JUSTICE. MERCY. DUTY. THAT SORT OF THING.

Susan: They're not the same at all!

Death: YOU THINK SO? THEN TAKE THE UNIVERSE AND GRIND IT DOWN TO THE FINEST POWDER AND SIEVE IT THROUGH THE FINEST SIEVE AND THEN SHOW ME ONE ATOM OF JUSTICE, ONE MOLECULE OF MERCY. AND YET YOU ACT AS IF THERE IS SOME...SOME RIGHTNESS IN THE UNIVERSE BY WHICH IT MAY BE JUDGED.

Susan: Yes. But people have got to believe that, or what's the point—

Death: MY POINT EXACTLY.

And it continues...

Death: THERE IS A PLACE WHERE TWO GALAXIES HAVE BEEN COLLIDING FOR A MILLION YEARS. DON'T TRY TO TELL ME THAT'S RIGHT.

Susan: Yes, but people don't think about that. Somewhere there was a bad...

Death: CORRECT. STARS EXPLODE, WORLDS COLLIDE, THERE'S HARDLY ANYWHERE IN THE UNIVERSE WHERE HUMANS CAN LIVE WITHOUT BEING FROZEN OR FRIED, AND YET YOU BELIEVE A BED. IT IS THE MOST TALENT."

Susan: Talent?

Death: OH, YES. A VERY SPECIAL KIND OF STUPIDITY. YOU THINK THE UNIVERSE IS INSIDE YOUR HEADS.

Susan: You make us sound mad. A nice warm bed...

Death: NO. YOU NEED TO BELIEVE IN THINGS THAT AREN'T TRUE. HOW ELSE CAN THEY BECOME?

Belief makes us human

It doesn't matter which religion is the true one because no one is. At the same time, all of them are.

Religion is about humans in the past finding patterns in the chaotic world, and trying to survive through it. By believing there's a order in the world, they were able to bring order to their communities and to their personal lives.

Belief is part of our nature. It's our way of understanding the world, of making sense of it all.

These characters and stories in a sense are very much real. They are metaphors for the forces we struggle with in our daily lives, the eternal hardship that is to be human

They don't have to be absolutely real to mean something. Think about your favorite character. They aren't real, but what they represent, best, what they represent to you, this is very real.

Listen, I not advocating for complete abandonment of logic and reality. Today we have a very serious problem with people who completely disregard facts and cults. They consume fake news, they believe in stupid pseudo-science and by refusing critical thinking they put others into danger.

And then there are the Christian fundamentalists, that by all talk about "Religious Freedoms", they really meat forcing their belief system in others and control what people can or cannot believe.

Facts and logic are very important. Always believe in the Science. And, I can stress this enough, Critical Thinking is ESSENTIAL to escape con artists and charismatic cult leaders.

But you can force people to live by only what it can be proved. We aren't robots. There will always be a hole that rationality alone won't be able fill. A deep existential hole that If left unchecked will destroy you bit by bit.

I'm not saying "You need to convert" or "You need religion". But there's clearly something way deep and transcendental in these rituals and stories.

I don't really believe in God and the supernatural. I say that as a gay men who had a lot issues with my overly religious parents. But the gods and these rituals and stories clearly mean something, and I think we shouldn't dismiss the living experiences of these people as just mere superstitions, be then christians, muslins, jews, Wiccans, neopagans, hindus, etc.

Belief certainly brought something to their lives, and certainly they know something we don't.

If your faith makes you happy, if it helps you bring order to your life, if helps you appreciate the world better, if it doesn't force you to discriminate, your faith is completely and integrally valid, and you don't have to prove it to anyone

#christmas #holiday season #terry pratchett #Hogfather #Yes Virginia There is a Santa Claus #faith #santa #santa claus

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aion-rsa · 4 years ago

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20 Underrated Wrestling Games

https://ift.tt/3mx7pH3

Whether you don’t know the difference between a mark and a bump or you can name the main event of every WrestleMania, you’re probably aware of at least some of the absolute best wrestling games of all-time. Titles like SmackDown: Here Comes the Pain, WWF No Mercy, and WCW/NWO Revenge have transcended the popularity of professional wrestling itself and have become a part of many gamers’ fondest memories.

Yet, there are some forgotten wrestling games that are still worth remembering. While it’s true that there are well-defined tops and bottoms in the wrestling game hierarchy, there are also a few titles somewhere near the middle that have been unfairly lumped together even though some of them deserve a spot near the top of the card with the undisputed legends of the wrestling game scene.

So join us as we look at 20 of the most underrated wrestling games of all-time:

20. Super Fire Pro Wrestling Special

1994 | Human Entertainment | Super Famicom

Super Fire Pro Wrestling Special’s status as one of the earliest wrestling games with a substantial story mode is noteworthy enough. However, what really makes this one special is the fact that one of the game’s scenarios writers was Suda51: the legendary game director known for some of the weirdest games ever made.

True to form, this game is weirder than you could ever imagine. I can’t think of another wrestling game that ends with the protagonist killing themselves after realizing that their championship win is hollow due to the pain and losses they suffered along the way, and while I’m grateful no other game has tried something like that, this title’s dark and bizarre story should at least make it more talked about than it typically is.

19. Natsume Championship Wrestling

1994 | Natsume | SNES

This is hardly the best wrestling game on this list (clearly), but it does represent a fascinating turning point for wrestling video games that is sometimes overlooked.

This game combined two eras of wrestling games by featuring the more simplistic arcade style of many early console wrestling titles with a few concepts (such as an advanced fatigue system) that would go on to help shape the more complex wrestling games that would define the years to come. If you like that classic style of wrestling game, this is one of the best ways to revisit it.

18. Wrestling Revolution 3D

2014 | MDickie | Android, iOS, Microsoft Windows, Mac, Ouya

Let’s be clear: this is a very bad game. It’d go so far as to call it objectively bad in many ways. However, it’s the fact that the game is so bad that makes it so much fun.

Considered by many to be maybe the only example of a “So bad, it’s good” wrestling game, Wrestling Revolution is slow, awkward, broken, and clearly made with love. At a time when so many of the recent yearly WWE games end up being glitchy messes anyway, there’s something to be said for a game that embraces its glitchiness and usually leads to a lot of laughs.

17. WWE ‘13

2012 | Yuke’s | PlayStation 3, Wii, Xbox 360

As suggested above, there’s a point where it’s hard for all but the most hardcore WWE game fans to distinguish recent WWE titles from one another. Maybe that’s why WWE ‘13 is sometimes forgotten when we’re talking about the best relatively modern wrestling games.

This game’s best feature has to be its “Attitude Era” story modes which let you relive some of the best moments from WWE’s most beloved period. More importantly, this game benefited from pretty good animations and a hit detection system that made it feel good to play years before the clutter of this series’ engine would drag these titles down.

16. WCW vs. The World

Given that PlayStation gamers spent years lamenting that N64 owners got to play WCW/NWO Revenge and WWF No Mercy (two of the best wrestling games ever), I’m shocked that we don’t hear more people praise WCW vs. The World.

Essentially the predecessor to those brilliant N64 games made by AKI, WCW vs. The World is by far the closest PlayStation gamers came to getting a wrestling game on the level of the best N64 titles. It’s pretty rough compared to those titles, but I can’t help but think of the years I spent missing out on this true gem.

15. WWF War Zone

1998 | Sculptured Software, Acclaim | PlayStation, Nintendo 64, Game Boy

Granted, it’s not nearly as good as the best wrestling games of its era, but at a time when WWE (then WWF) was enjoying an incredible popularity resurgence, WWF War Zone allowed fans to live out a truly special era of wrestling.

War Zone’s roster is a time capsule of that era that includes a fascinating blend of big-name stars and notable novelty acts. Its gameplay could have been much smoother, but the game’s presentation and graphics made it feel special. It’s still one of the better PS1 wrestling games of its era and is sure to invoke a strong sense of nostalgia.

14. Legends of Wrestling II

2002 | Sculptured Software, Acclaim | PlayStation 2, Xbox, GameCube, Game Boy Advance

Legends of Wrestling II’s appeal was (and always will be) its roster. This game’s roster of legendary wrestlers includes some names that still haven’t been included in modern WWE titles. The list of superstars in this game includes Hulk Hogan, Andre the Giant, Mil Mascaras, Bam Bam Bigelow, and many more legends.

The game’s appeal goes beyond its roster, though. The game’s territory-based story mode, which lovingly recreates the structure of ‘80s wrestling, is one of the most inventive ever featured in a wrestling game. It even lets you recreate the famous feud between Jerry Lawler and Andy Kaufman.

13. TNA Impact!

2008 | Midway Games | PlayStation 3, Xbox 360, PlayStation 2, PlayStation Portable, Wii, Nintendo DS

TNA Impact was not a great game. Its roster was thin, its gameplay needed a few more months in development, and it just didn’t have nearly enough modes and features to compete with WWE titles. However, the one thing TNA Impact did have was the benefits of the TNA name.

It turns out that counts for quite a lot. Developed during the arguable peak of TNA’s talent level, Impact allowed you to play as everyone, from Christopher Daniels and Samoa Joe to AJ Styles and Abyss. On top of that, the game benefited from its impressive presentation and a surprisingly deep story mode. It was far from perfect, but it was and is a must-have for any TNA fans.

12. MicroLeague Wrestling

1987 | MicroLeague | Commodore 64, Amiga, DOS, Atari ST, AmigaOS

MicroLeague Wrestling is arguably the most obscure, odd, and fascinating game on this list. Released for Commodore 64, Amiga, DOS, and Atari ST, MicroLeague was actually a professional wrestling strategy game that allowed you to decide matches and careers through a series of turn-based commands.

It may feel hopelessly outdated today, but MicroLeague Wrestling was a surprisingly advanced concept at a time when wrestling games were dirt simple. It would be fascinating to revisit this concept through some kind of modern wrestling management game.

11. The Main Event

1988| Konami | Arcade

You’d think that a wrestling game released by Konami in 1988 would be better known, but The Main Event has somehow managed to mostly escape the scrutinizing lens of history. That might have something to do with its unlicensed roster that was only vaguely (and hilariously) based on actual wrestlers.

Still, The Main Event should have been a stepping stone for bigger Konami arcade wrestling games to come. It featured deep wrestling gameplay (for the time) that served as a preview of some more notable wrestling games to come.

10. WCW Wrestling

1989| Nihon Bussan | NES

The NES wasn’t exactly known as a haven for great wrestling games, but WCW Wrestling still deserves to be remembered above most of its console contemporaries. Somehow, though, memories of it remain relegated to the few that played it and are not always as fond as they should be.

WCW Wrestling not only offered WCW fans the chance to play as some of their favorite wrestlers of the era, but it included features such as an expanded ringside area and customizable move sets that were ahead of their time. This game certainly remains one of the most playable of its generation.

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9. WCW Mayhem

1999| EA | PlayStation, Nintendo 64, Game Boy

It’s generally agreed that the N64 got better overall wrestling games than the PS1, but it’s simply a fact that the N64’s WCW games were better than those featured on the PlayStation. However, WCW Mayhem did offer PS1 gamers a taste of something pretty good (especially if they missed out on WCW vs. The World).

Granted, Mayhem was a poor man’s version of the WCW N64 wrestling games (its canceled sequel was going to be developed by the same team that made those N64 games), but it was unfairly overlooked by many PS1 gamers who were burned by too many bad wrestling games over the years. Of course, the game’s N64 version was less impressive in comparison to its direct competition.

8. Power Move Pro Wrestling

1996| Yuke’s | PlayStation

Power Move Pro Wrestling was originally based on the NJPW promotion, but it seems that fears over the international popularity of that promotion (at the time) caused the NJPW stars to be replaced with generic wrestlers with NJPW move sets. That decision stands as this game’s most glaring weakness.

Otherwise, this is a solid wrestling title for its era. Power Move Pro Wrestling was released on the cusp of an incredible generation of wrestling titles, but even though it lacks some of the refinement and features of those games, it does boast some admirable 3D gameplay that was head and shoulders above many other wrestling games at the time.

7. WWE Raw 2

2003| Anchor Inc. | Xbox

The WWE Raw games for Xbox were generally not as strong as their GameCube and PS2 counterparts, but they have been unfairly swept under the rug by fans that feel that they had very little to offer.

WWE Raw 2 actually boasted a few features that would soon become standard. The most notable of those features is the game’s “Create an Entrance,” which not only let you create custom Titantron videos but even let you import your own music. Raw 2 also featured an interesting RPG-lite story mode that complemented its more arcadey elements.

6. Fire Pro Gaiden: Blazing Tornado

1994| Human Entertainment | Arcade, Sega Saturn

Fire Pro Gaiden: Blazing Tornado was a 1994 Arcade/Sega Saturn game that combined elements of Saturday Night Slam Masters, Street Fighter, and more “traditional” pro wrestling games. It was a strange hybrid that was sadly overlooked by too many gamers.

Blazing Tornado is more of a fighting game than a wrestling game, but the ways that it incorporates grappling and other pro wrestling elements make it one of the more notable games of its kind. Its visuals are also enjoyable in a cartoonish kind of way.

5. WWE WrestleMania XIX

2003| Yuke’s | GameCube, Wii

While WrestleMania X8 and XIX would eventually be spun into the overall superior Day of Reckoning titles, WrestleMania XIX deserves to be remembered both as the forerunner of that series and for its wonderfully absurd story mode.

WrestleMania XIX’s story mode saw you seek revenge on Vince McMahon by fighting regular employees and other wrestlers across construction sites, barges, malls, and other random locations. The goal is to cause enough havoc to ruin WrestleMania. It’s a glorious piece of “who came up with this?” game design.

4. Wrestle Kingdom 2

2007 | Yuke’s | PlayStation 2

Wrestle Kingdom 2’s release date is notable not only because it’s the newest game on this particular list but also because it was released at a time when major wrestling games were veering more into “simulation” territory, a time when wrestling games stopped catering to more casual players.

Well, Wrestle Kingdom 2 happens to be “arcadey” and accessible in all of the right places without sacrificing depth. Its gameplay is deep enough for genre masters, but can also be picked up fairly quickly. The fact that it so happens to feature some brilliant tournament modes along with an impressive collection of Japanese stars is just the bow that tops this gift to wrestling.

3. WWE Smackdown! vs Raw 2006

2005| Yuke’s | PlayStation 2, PSP

“Underrated” might be a bit of a stretch in this instance considering that those who love this game place it alongside the greatest wrestling games ever made, but the fact remains that not enough gamers know that this is an absolutely brilliant wrestling title.

In fact, some believe this to be the perfect middle ground between SmackDown: Here Comes the Pain’s lovably ridiculous gameplay and the more grounded games that would follow in this series. SvR 2006 includes an unbelievable number of match types, a very welcome general manager mode, and pick up and play gameplay that some at the time compared to the timeless WWF No Mercy. It deserves to be remembered as a classic.

2. King of Colosseum II

2004| Spike | PlayStation

While there are quite a few Japan-only wrestling games that would qualify as underrated in the West, many consider King of Colosseum II to be the crown jewel of that particular crowd. With its massive roster, deep grappling system, and incredible create-a-wrestler mode, this game is often thought of as the closest we’ve come to a 3D successor to the Fire Pro Wrestling series (it was made by the same team responsible for many of the early games in that series). It’s a shame that it was never exported to the West.

1. Ultimate Muscle: Legends vs. New Generation

2002| AKI Corporation | GameCube

Many people know that AKI Corporation, developers of those classic N64 wrestling games like WWF No Mercy, went on to develop the first two excellent Def Jam titles. What fewer people remember is that AKI also developed this absolute gem of a wrestling game.

Essentially an anime wrestling game, Ultimate Muscle: Legends vs. New Generation sees good and evil wrestlers battle across the universe. Bolstered by AKI’s all-time classic grappling gameplay, Ultimate Muscle proves to be a wonderfully over-the-top wrestling game that’s just as fun to watch as it is to play. Imagine if DragonBall FighterZ and WWF No Mercy had a video game child. This is what you’d get, and it’s better than you can imagine.

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doomonfilm · 4 years ago

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Ranking : Spike Lee (1957 - present)

There have been countless directors whose careers have spanned my lifetime, but out of these countless masses, the one whom I can find the most in common ground with (as well as endless inspiration from) is Spike Lee. A New Yorker through and through, Lee went from a series of films that seamlessly blended hip-hop and old school Hollywood aesthetics, to personal films, to his take on the blockbuster, and currently, to the point where his canon has earned him artistic freedom and expression that many of his peers have not been able to achieve. He is the perfect bridge between the director-driven mindset of the 1970s and the cultural boundary-pushing films of the 1990s-forward. Not everything that he directed was a hit or a masterpiece, but this man has more iconic films under his belt that some directors have films to their name. That being said, it’s time to stir the pot and make an attempt at the monumental task that is ranking the films of Spike Lee.

I will only be including theatrically released feature films of Spike Lee that I have seen. His documentary work will be excluded, as well as his films I have missed or have yet to see. Here is a list of these films : Da 5 Bloods, Chi-Raq, Da Sweet Blood of Jesus, Joe’s Bed-Stuy Barbershop: We Cut Heads, 4 Little Girls, The Original Kings of Comedy, When the Levees Broke, A Huey P. Newton Story.

20. Oldboy (2013) Every film that you make can’t be a winner. In the case of Lee’s attempt at remaking Oldboy, there were already two major strikes against it : a superior version of the film already existed, and that version was the middle film of a trilogy. I doubt that even a team of the most talented directors could have made a superior version of Oldboy that surpassed the original, but after 30 years of making films, it’s admirable that Lee would even attempt something so bold and seemingly insurmountable.

19. Red Hook Summer (2012) When your film catalog covers three decades, there’s bound to be some overlap, be it stylistically or narratively. I’ve only seen Red Hook Summer once, but it was impossible for me to look at it subjectively, as it seemed to be a modern day mirror to another one of Lee’s explorations of New York adolescence. While this story is not a direct copy of a Spike Lee film that I will go into more detail on later, it does feel like the update equivalent that focuses on himself rather than the childhood of his sister. While an entertaining film from what I can remember, it sits behind a list of previous impressive achievements.

18. She Hate Me (2004) Humor has been an element present in a number of Spike Lee films, but for my money’s worth, this film is the closest thing to an outright comedy that he ever made. Like a number of films on the back half of his career, he is touching upon important topics (sexuality and toxic masculinity, in this case), but these are topics that he has hit with more nuance and creativity in earlier films. This film did help transition Anthony Mackie into a leading man role, and he certainly took that opportunity and ran with it, so She Hate Me could be heralded for that alone. That being said, it was a great idea that slightly missed the mark, therefore placing it on the backend of the memorable films list for Lee.

17. Miracle at St. Anna (2008) This film had the potential to be a breakout resurgence for Spike Lee. He was coming hot off the heels of Inside Man, a perfect blend of Lee’s style and modern Hollywood fare, so having a period-piece war film seemed like a slam dunk. His cast was strong, while also being filled of relatively unknown young actors on the verge of becoming stars in their own right, but for whatever reason, this film failed to make a connection with the masses. While I do remember mostly enjoying my watch, I also remember feeling a bit underwhelmed by the ending, which in turn left me lacking a reason to revisit it. Maybe it’s a hidden gem that I haven’t seen enough times yet, but at this moment in time, its home is near the bottom of Lee’s impressive list of films.

16. Get on the Bus (1996) Many people’s eyes were opened to racial injustices during the COVID-19 pandemic, as several African-American men and women found themselves on the wrong end of violent acts from the police and other citizens in the midst of a ‘shelter-in-place’ era. Not only have these injustices been going on for my entire lifetime, but they’ve been a generational trauma for many African-Americans in the United States. When the Million Man March was announced in 1996, it was not surprising that Spike Lee took it as an opportunity to both document the march and build a narrative around it in which he could showcase a collection of actors he’d either featured in past films or would work with in future films. To my knowledge, this is one of maybe two or three films about the event, and it was certainly the film released in the closest proximity to it. For an independent, quick shoot, it definitely stands up, but in comparison to Lee’s other works that benefited from full crews and production schedules, it finds itself paling in comparison.

15. BlacKkKlansman (2018) Despite the fact that this is the film that finally got Lee some sort of recognition at the Oscars, BlacKkKlansman was not quite the true return to form that many fans of Spike Lee expected. The film had moments of humor, compelling moments that directly focused on racial injustice and systematic oppression, and it pulled no punches while doing so. Like a handful of Lee’s other films, however, this one falls when compared to his other films that deal with similar subject matter. Adam Driver continued to show fans his expansive range, and Jasper Paakonen deserved INFINITELY more recognition than he got, but ultimately, this film checks all the ‘good’ boxes where it was expected to check the ‘great’ ones.

14. 25th Hour (2002) As the year 2000 approached, Lee seemed to attempt and make a shift from films that specifically spoke on aspects of the African-American experience in favor of occasional films that reached a wider audience. While Summer of Sam would be considered the first foray into that realm, the true mark of this elevated sense of creative duty came in the form of 25th Hour. With the actors in tow, in tandem with the cinematography and skilled directing ability displayed in the film, one would expect a powerhouse movie, but ultimately, the expectations exceeded the narrative of this film. This one is entertaining, don’t get me wrong, but I personally did not find a connection with the story, meaning that the film was, at best, fun to watch.

13. Summer of Sam (1999) I’ve been a true-crime junkie since my early teenage years, and even the most casual of true-crime fans is more than likely familiar with David Berkowitz, also known to many as the Son of Sam. While Red Hook Summer did come out after Summer of Sam, it’d be hard to deny the fact that Summer of Sam is the last of Lee’s love letters to New York City. This was the film where Spike Lee stepped out of his comfort zone of the African-American experience, choosing instead to focus on more colloquial aspects of the American experience, and for my money’s worth, it was the start of an important shift for him. Despite being light on the Son of Sam action, the actors this film does focus on (and the story it chooses to tell) is a fresh look at a familiar era, and a crowning achievement that signaled new things for Spike Lee.

12. He Got Game (1998) If you made a Venn diagram of people familiar with Spike Lee, the two biggest circles would be film fans and people who have seen at least one New York Knicks game since the 1990s. Therefore, the only thing that was really and truly surprising about He Got Game was the fact that it took Spike Lee 15 years and 11 films to make a film about basketball. On the outset, that’s exactly what it is : a film about basketball. Viewed with a wider lens, however, this story is a love letter to one of the most popular American inventions, and a story about how it can serve as a common-ground bridge for those from wholly different walks of life. The juxtaposition of Aaron Copland and Public Enemy made the soundtrack provocative, and Ray Allen stood out in his lead role, holding his own against the living legend that is Denzel Washington, who is always good for a stellar performance in a Spike Lee joint. Don’t mistake this film’s place on the list for my feelings about it... this is a stellar film, in my opinion, and one of my favorites to revisit.

11. Crooklyn (1994) After making what many would argue to be the most important film of his career (which we will eventually get to), it’s no surprise that Spike Lee circled his creative wagons and made the focus of his next film inward. Crooklyn covers what seem like many personal bases for Spike Lee : he portrays the New York of the past vividly and beautifully, while spinning a true-to-life tale based on his personal experience, but opting to focus on his sister Joie Lee and his father Bill Lee. Of Lee’s many, many films, this was the one that I felt the most compelled to see at the time of release, it is one of the two I have the most vivid memories and recollections of, and it has a number of stylistic choices that keep me wonderfully perplexed to this day. Despite not cracking the top ten Spike Lee films, this one ranks high on the list of Spike Lee films that hit the bullseye of my heart.

10. Jungle Fever (1991) Interracial romance is one of those things that seemingly will always be a sensitive subject. I’ve heard many people say that Jungle Fever has a dated look on the subject, but I’d argue that the film was very forward thinking, especially in showing that an interracial romance is not the answer to the cultural and societal problems that life presents us. The movie also touches deeply on drug addiction without crossing over into the realm of being preachy or talking down to the viewer. It didn’t hurt that Stevie Wonder also managed to create a soundtrack’s worth of new material that instantly brought the seemingly controversial film directly into the public eye. Maybe it is dated... maybe it is uncomfortable... but what it is, undoubtedly, is an early masterpiece that fell near the end of one of the most stellar introductory runs that any filmmaker has presented us.

9. Clockers (1995) Ever wonder what would happen if a Martin Scorsese film found its way into the hands of Spike Lee? Well, wonder no longer, because Clockers is out there waiting for you to discover it. The amount that this movie gets slept on is an outright tragedy and travesty. The soundtrack is KILLER, the color-timing puts the viewer in an immediate ‘cold-world’ environment, the order of operations presented in this film is brutal and unforgiving, and yet, it manages to be one of the most heartfelt films in the Spike Lee canon. EVERYONE presented in this movie brought their A-game to the table, from the Spike Lee regulars like Isaiah Washington, John Turturro and Harvey Keitel, to the glorified cameos and supporting roles, like Thomas Jefferson Byrd, Sticky Fingaz and Fredro of Onyx, and relative newcomer but promising leading man Makhi Phifer. This film is intense, but it is more than worth your time and attention.

8. Bamboozled (2000) Bamboozled was shocking when it was released, to say the least. The true revelation, however, has been the way that relevance has seemingly caught up to the film... fake wokeness, modern day minstrel shows, low budget/high yield television and behind the scenes scandals have all come to light many years after this film had its initial run. While this film did not transition Savion Glover into the world of superstardom and crossover success, it certainly crystalized his immense talent and charisma in a way that his recordings of stage shows had previously been unable to capture. The imagery of America’s strange fascination with the dehumanization of African-Americans for generation after generation is rich, and every performance is compelling. This was definitely Spike Lee’s first masterpiece of the new millennium, and at the risk of being bittersweet, probably one of his last truly stunning achievements.

7. Girl 6 (1996) Every ranking list has to have the controversial placement, so here’s mine... Girl 6 started as a lingering interest for me. The internet was just about to change the world, but we were still locked into landlines at the time, with cellular being a luxury, so the world of phone sex still had relevance. Upon seeing the film, however, I quickly realized that the phone sex exploration was playing counter to a Hollywood hopeful narrative that was brave enough to explore new ground (per the changing times) while being mindful enough to pay homage to the countless stories of Hollywood hopefuls that came before it. Many of the shifting cinematography looks that made Clockers so gritty were used to make Girl 6 feel dangerously euphoric. The list of cameos and brief supporting roles were not only a who’s who of cultural movers and shakers at the time, but it ran about as long as my arm. I recently revisited the film and expected it to be a bit more on the side of kitsch, but surprisingly, the times had not been as hard on the film as I anticipated. The film shifts quite well between light and dark, and even the ending that initially slightly annoyed me has found a strange sort of charm in my older, more life-experienced years. Add to this the hilarious running joke of Isaiah Washington being a kleptomaniac in nearly every scene he appears in, and there’s a realization that there are sublayers going on right in front of our eyes. This collaboration with Suzan-Lori Parks gives me hope that maybe one day, we’ll get a Spike Lee film adaptation of Topdog/Underdog, but we will see.

6. Inside Man (2006) If you had to pick the most ‘Hollywood’ of the Spike Lee films, my money would be on this film ending up as the chosen one. By this rationale, it makes the film that much more impressive, as it also stands out as one of the most compelling, well-directed and well-acted Spike Lee films. At the time of its release, it was not only a return to form, but it seemed to signal an evolution. Spike Lee was able to use his signature, iconic shots that he was known for, like his camera-turned-to-dolly float, or the push-pull zooms, but he was also able to incorporate familiar Hollywood tropes, including the twist ending, and give them a breath of fresh air via an newly infused sense of style. Lee also stayed true to himself by educating as well as entertaining, bringing to light how atrocities from the past have more than historical connections to modern day benefactors. While I do think there are a handful of better ‘pure’ Spike Lee films, if I had to pick one movie for a curious party that my be skeptical, this would easily be my pick.

5. She's Gotta Have It (1986) Oh, the joy of having your first film be a breakout success, but not to the point of pigeon-holing your career. She’s Gotta Have It was an important introductory step to the masses for Spike Lee : it showed his dedication to putting African-American performers into familiar narratives, it showed an appreciation for the voice of women on film that many first-time directors would likely not want to be the initial association to their style, it introduced the world to Mars Blackmon (who became a cultural icon), and it presented sense of style that switched on the viewer the moment before they could label it pretentious. Having characters address the camera made it feel like a play or a novel, but when the film shifted into movie mode, the camera moved with the energy and grace of a performance artist or dancer, which in turn fed into the character development and narrative it presented. As a bonus, the property found new life nearly 40 years later as a Netflix original series, introducing new generations to a modern day classic statement of feminism, and how it does not excuse bad behavior.

4. Mo' Better Blues (1990) Those familiar with Spike Lee’s family know that he was raised by jazz bassist Bill Lee, who scored some of Spike’s early films. By this rationale, it comes as no surprise that Lee could make such a rich, nuanced and heartfelt film about jazz music that serves as an allegory for the hurdles that beset those driven purely by passion. The conversations about race, musical integrity and commercialism also work on both direct and symbolic levels, giving Mo’ Better Blues some of the highest repeat viewing value of any film in the Spike Lee canon. The film also marked the first collaboration of Spike Lee and Denzel Washington, a combination that yielded artistic, career, creative, commercial and critical success, led to a multitude of classic performances, and ultimately led to a generational collaborative changing of the guard in the form of John David Washington. The only negative I can give this film is that it did not lead to future films that explored genres of music like hip-hop and soul. While She’s Gotta Have It did focus heavily on relationships and intimacy, it could be argued that Mo’ Better Blues was Spike Lee’s first adult contemporary film, and his first look at modern romance in the more ‘traditional’ sense.

3. School Daze (1988) The African-American college experience, specifically that of HBCUs (Historically Black College and Universitys), is one that has often been neglected in the annals of film history. As a graduate of Clark Atlanta University, it makes total sense that Spike Lee’s second commercial film would focus on that specifically overlooked culture, as it became a fitting vehicle for establishing Lee’s sense of duty and responsibility for education, sharing the African-American experience to the masses, and exposing systematic injustices and hypocrisies that kep the disadvantaged in a disadvantaged position. The real genius of this film, however, comes in the juxtaposition of presentations it jumps between... for the majority of the film, it is an unflinching look at the coming of age process that teenagers must traverse on their way to adulthood, including the hurdles of romance, forming your identity and expanding your view of the world around you. At key moments, however, the film switches into musical numbers, song performances and school dances that not only expand on the inner feelings, emotions and desires of characters, but heighten the reality of the story to a dizzying pace. In all the ways that She’s Gotta Have It put the world on notice that a unique voice was present in the industry, School Daze signaled the continuation of a run that would last another handful of films, and it firmly established Spike Lee as a generational talent.

2. Do the Right Thing (1989) I would guess that over the course of a career, a director secretly hopes that at least one of their works comes close to making an impact culturally. In the case of Spike Lee, however, we have a man who released two cultural-shifting films, and did so in a span of less than 5 years. They say the third time is a charm, and that’s exactly what Do the Right Thing was for Spike Lee. The vivid colors, stylistic earmarks, historical and cultural sense of urgency and focus on telling minority stories all expanded greatly with this film, which acted as both a parable of how past injustices can come back to haunt you, and a harbinger of how the reactions to these continued injustices would only amplify if not addressed. The fact that Spike Lee not only directed this film, but played the lead actor as well, is a monumental achievement, especially considering how few flaws the film has, if any. Several established actors played some of their most iconic roles in this film, and a breadth of newer, younger faces exploded onto the scene, almost all of whom either continued to work with Lee or found themselves evolving their careers in the wake of Do the Right Thing. The film is also directly responsible for perhaps the most iconic hip-hop song of all time, Public Enemy’s classic protest anthem Fight The Power. Any fan of film would be foolish to skip the Spike Lee catalog, but regardless of whether you’re interested in his work or not, this film is one of two he made that should flatly be considered required viewing across the board. The other one, being...

1. Malcolm X (1992) For everything that Do the Right Thing did for Spike Lee and those involved in the production, the monumentally powerful biopic Malcolm X did all of that while also managing to humanize, canonize and create and icon out of a man that America tried its best to demonize. The masterful hand that Lee used to direct this film shows, as this film is the most ‘every frame a painting’ in his canon. Everything from the period costuming to the locations to the dance numbers to the cinematography absolutely leaps off of the screen. The editing is kinetic, the performances are full of life and depth, and the narrative does just enough going forwards and backwards to make proper connections without beating it over the head of the viewer. The respect shown to Malcolm X is massive, so much so that almost seemingly overnight, Malcolm X went from being a feared and often heavily criticized sign of aggressive blackness to a commercial commodity and household name, with the famous X suddenly adorning t-shirts, baseball caps and necklaces of all American youth, not just minorities. The impact of this film was so immediate that many schools held field trips for viewings, which further cemented the immediate and historical value of the film. Often, the connotation of saying someone ‘peaked’ for a film so early in their career would be negative, but the heights to which Malcolm X achieved on all fronts meant that even if the rest of Lee’s career was a steady decline (which it certainly wasn’t), he more than likely still would have ended up in a pantheon far above that of the average director.

With projects reportedly in the early stages of development, it doesn’t look like Spike Lee has any plans on stopping anytime soon. I certainly owe it to myself to see the handful of his films and documentaries that I’ve not seen yet... who knows, perhaps I may even go back one day and add the documentaries into the list, or find a surprise gem in one of his more recent movies I’ve yet to see.

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hitwizards · 4 years ago

Photo

❝ i would rather die of passion than boredom ❞

huh, who’s DARREN BARNET? no, you’re mistaken, that’s actually TEDDY LUPIN. he is a THIRTY ONE year old HALFBLOOD wizard who is a HIT WIZARD. he is known for being ABSENTMINDED, GULLIBLE, IMPATIENT, IMPRUDENT, and IMPETUOUS but also STEADFAST, AFFABLE, NURTURING, UNINHIBITED, and JAUNTY, so that must be why he always reminds me of the song WHAT I GOT BY SUBLIME and ASH TRAY FULL OF DISCARDED CIGARETTE BUDS, COLORFUL HAWAIIAN SHIRTS AND LEATHER JACKETS, MAGICAL TATTOOS THAT SHIFT AND CHANGE, TOUSLED HAIR THAT CHANGES COLOR DAILY, BOISTEROUS LAUGHTER, BRUISED KNUCKLES, MISMATCHED SOCKS, WIDE RECKLESS GRINS, and SCARS WITH UNTOLD STORIES. i hear he is aligned with THE ORDER OF THE PHOENIX, so be sure to keep an eye on him.

unless you are part of potterhq pls don’t reblog/interact

GENERAL

FULL NAME: Edward Remus Lupin NICKNAME(S): Teddy, Ted AGE/DATE OF BIRTH: 31, 04/14/1998 OCCUPATION: Hitwizard GENDER: Cis Man PRONOUNS: He/Him/His HOMETOWN: Yorkshire, England CURRENT RESIDENCE: Edinbrugh, Scotland ALMA MATTER: Hogwarts, Hufflepuff House BLOOD STATUS: Halfblood

BIOGRAPHY

i’ll write something formal soon. but have some of my scattered af thoughts so far:

PARENTAL DEATH TW. first thing’s first - since this is a lil canon divergent there comes the question: are remus and tonks alive? yes and no. nymphadora tonks is still alive and well, even still working as an auror and living their best life (unless someone takes tonks up and changes it, get spicy if you want). remus on the other hand is not. after a life filled with adversity and trials, but very much love, remus john lupin passed away at the age of 43 - shockingly early for a wizard, though werewolf life expectancy was a lot shorter back then. teddy was only 5 years old. he doesn’t remember a lot about his father. he remembers his scratchy old sweaters, his jackets with elbow patches on them, and his scarred up face that didn’t seem so scary whenever he smiled widely at him. everything else that teddy knows about remus is from family and friends and his mother, who like to tell him everything he wants to know. it’s almost like he knew him for more than a handful of years.

DEATH TW. yes, harry was teddy’s godfather - and considering remus didn’t make it for long, he was kind of like a father figure to him. but teddy wasn’t exactly raised by harry. tonks was still around, so he had a parent, but he also had his grandmother andromeda and grandfather ted (after whom he’s named) to help with raising him. and he was basically adopted into the “wotter” fold, so he has more relatives and parental figures than a boy could ask for. but outside of his immediate family, he was rather close to his godfather harry - and hasn’t really coped with the fact that he’s gone. feeling a brotherly love for the potter children, teddy chose to be brave in the face of loss in order to be a reliable shoulder for them to lean on, someone strong for them. deep down he’s utterly broken up about it, and is probably going to break down eventually. that’s two dads he’s lost in his short life. someone give him juice and a hug.

before this most recent tragedy, teddy was a pretty chipper guy. he’d always been an optimist and a happy go lucky kid. his youth was spent running around the burrow with his extended family/friends and on adventures with his mum. tonks wanted him to be a happy kid, especially after remus was gone, and so the two spent a lot of time just going around and having fun. they’re thick as thieves, and when it had come time to go to hogwarts the only qualms he had was in leaving his mother. he had been attached to her hip, but he found himself comfortable in due time. following in tonks’s footsteps he ended up a hufflepuff, though he could have been a gryffindor. he could be boisterous and rowdy when he wanted to be, but above all else he was a kind and just boy, caring and loyal to a fault. he’s always been a wee bit of a nurturer, though that may have to do with being raised around the large wotter clan, of which he is eldest so he took a lot of pride in watching after the little ones. but that responsibility didn’t keep him from being a fun and mischief loving boy.

as soon as he left hogwarts, he entered into the auror training program with hopes to work beside his mother. he actually graduated from that and would have continued that path but eventually he found himself more interested in the hit wizard division and took up a post there. he’s been working as a hit wizard since, going on some pretty wild missions to track down dark wizards. he loves the job, even with its risks and hazards, and deep down he hopes that his father would be proud of his line of work.

per the expectation of many, teddy dated his childhood and family friend victoire weasley. as far as first romances/young love goes, it was pretty great. they’d known each other their whole lives, which meant that there wasn’t as much awkwardness or discomfort in being himself around her, none of that “getting to know you” stage. they already knew each other, what was there to be embarrassed about? the pair had dated a decent amount of time... that was until the decision for victoire’s healing training came up. when talk of training in france came along, teddy was faced with a somewhat difficult decision: support her growth even if it meant going far away for a bit or try and convince her to stay. he’s never been a selfish guy, so the answer had come pretty quickly. and france wasn’t that far - not when apparition and portkeys were a thing. surely they could make it work... except they didn’t. communication was not their speciality it turned out, so when teddy eagerly encouraged her to go train abroad their relationship crumbled. to this day he doesn’t really understand why. outwardly he acts pretty cool and indifferent, almost as if it doesn’t phase him, and enough time has passed where he’s basically accepted it as over, but deep down he questions what the hell happened there and what things would have been like now if he hadn’t been so passive about his desire to make it work out. he tries not to dwell on that, though - things happen and he kinda goes with the flow when they do.

when it comes to conflict and war, there was really only one side for teddy to take. of course he went with the order - what else was he going to do? his parents were in the order. his family was in the order. when it came down to it, he knew that he had to join their ranks and fight for their cause. it wasn’t even a question, and he doesn’t regret the choice to take up arms. as a hitwizard it’s his job to apprehend dark wizards and stop them from harming the community, so he was pretty much already doing as much. he won’t hesitate to do what’s expected and to fight. this is the kind of thing his father fought for, and that his godfather would stand up and fight for. teddy feels that, per their memory, it’s his duty to do so - especially as more of his friends and family join the fight as well. he feels a deep obligation to be there to protect them and fight beside them. the last thing he wants is to lose anyone else, and he would willingly throw himself in front of them if it meant saving their lives. and if it came down to it, he’s ready to put his life on the line for the entire cause. anything to see a better tomorrow.

idk my thoughts are so scattered like i’ll be editing the shit outta this over the next few days so tune in.

MISC

SEXUAL ORIENTATION: Bisexual ROMANTIC ORIENTATION: Biromantic LANGUAGES: English, Gobbledegook FAMILY: Nymphadora Tonks (mother), Remus John Lupin (father) †, Andromeda Tonks (maternal grandmother), Ted Tonks (maternal grandfather), Lyall Lupin (paternal grandfather) †, Hope Lupin (maternal grandmother) †, Harry Potter (godfather) †, many many others PETS: a toller named Lenox FACE CLAIM: Darren Barnet ASTROLOGICAL SIGN: Aries MBTI: TBD PINTEREST: (x)

WANTED CONNECTIONS

hogwarts gang ok

work friends? where the hitwizards at??

idk come at me with whatever.

bonus:

tattoo details:

"je t’aime” written in handwriting that is mostly certainly not teddy’s. he won’t elaborate on this one. it is slowly fading away as the years go by.

lilies which is a clear representation of lily luna potter, whom he considers to be like a sibling. the lilies wilt and bloom with the seasons. he definitely has tattoos for each of the wotters which he has adopted as siblings/cousins, i’m just too damn lazy to come up with them / idk they’re probably in places not visible in this drawing afheiahpfiea

a lightning bolt which is new, it shimmers and shines and represents the man who was like a father for him. a snitch to represent his quidditch days. the snitch flies along his arm.

a wolf which roams his arm and howls whenever its the full moon. there is a hand which is always giving a peace sign, but when teddy is angry a neon yellow outline reveals a hand flashing the middle finger.

marauder’s footprints which sometimes walk along his arm. beneath each set of footprints are initials: JP for James Potter, SB for Sirius Black and RJL for Remus John Lupin.

the andromeda constellation with stars that shimmer and shine during the night time. a match, possibly the only truly aesthetic one. idk i saw it and liked it ahfeiahfpe

some random teddy sketches

#potterintro

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cinemavariety · 4 years ago

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The Director’s Series: Paul Thomas Anderson

The director series will consist of me concentrating on the filmography of all my favorite directors. I will rank each of their films according to my personal taste. I hope this project will provide everyone with quality recommendations and insight into films that they might not have known about. Today’s director in spotlight is Paul Thomas Anderson

#8 - Hard Eight (1998) Runtime: 1 hr 42 min Aspect Ratio: 2.39 : 1 Film Format: 35mm

John has lost all his money. He sits outside a diner in the desert when Sydney happens along, buys him coffee, then takes him to Reno and shows him how to get a free room without losing much money. Under Sydney's fatherly tutelage, John becomes a successful small-time professional gambler, and all is well, until he falls for Clementine, a cocktail waitress and sometimes hooker.

Verdict: One of the most impressive feature film debuts ever blessed to American cinema. Paul Thomas Anderson was only 25 years old when he broke into the scene and directed this (almost three years younger than me now, how depressing). While it is consistently thrilling and entertaining, Hard Eight oftentimes wears its influences on its sleeve too much. You can see how much inspiration Paul got from Tarantino with this film and it’s one of the 90s best independent movies. The star studded cast doesn’t hurt either.

#7 - Phantom Thread (2017) Runtime: 2 hr 10 min Aspect Ratio: 1.85 : 1 Film Format: 35mm

Renowned British dressmaker Reynolds Woodcock comes across Alma, a young, strong-willed woman, who soon becomes a fixture in his life as his muse and lover. Verdict: It’s safe to say that Phantom Thread is PTA’s most lavish and decadent film. It feels like a piece of ancient Hollywood golden-era cinema brought back to life. Johnny Greenwood’s orchestral score is the best sound work he’s ever done, it sweeps you off your feet when it goes along with Anderson’s signature arresting imagery. I’m in the minority who places this near the bottom of Anderson’s filmography, simply because Daniel Day Lewis’s character is so insufferable that it was hard for me to empathize in many ways. It still manages to be one of the most beautiful pieces of modern cinema.

#6 - Inherent Vice (2014) Runtime: 2 hr 28 min Aspect Ratio: 1.85 : 1 Film Format: 35mm

In Los Angeles at the turn of the 1970s, drug-fueled detective Larry “Doc” Sportello investigates the disappearance of an ex-girlfriend.

Verdict: Inherent Vice is Paul Thomas Anderson’s most underrated gem. I’ll admit, when I first saw this film, I didn’t really dig it that much and immediately cast it aside as his weakest effort. However, after some maturity, a few more viewings, and also not 100% adoring Phantom Thread, I have developed an immense appreciation for this nonsensical Thomas Pynchon adaptation. Pynchon as a writer is known as being basically unadaptable, but PTA revels in the absurdity of the film’s labyrinth of a plot. It also brings PTA back to his former glory days of ensemble casts and stoner drug fueled mayhem.

#5 - Punch-Drunk Love (2002) Runtime: 1 hr 35 min Aspect Ratio: 2.39 : 1 Film Format: 35mm

A psychologically troubled novelty supplier is nudged towards a romance with an English woman, all the while being extorted by a phone-sex line run by a crooked mattress salesman, and purchasing stunning amounts of pudding.

Verdict: Punch-Drunk Love plays out like a symphony of color, texture, and absolutely off-putting social interactions. I understand that Adam Sandler had his comeback last year with Uncut Gems, but this film is actually without a doubt the best performance he’s ever pulled off. And I credit that largely in part to the brilliance of Paul who was working behind him. It’s what I would say one of the most unconventional romantic comedies of all time. It’s nerve wracking, a little sad, super awkward - but also somehow manages to be endearing as well. The percussion heavy score brings manic energy to the whole film. Punch-Drunk Love is also a powerful statement on loneliness, unchecked mental illness, and the power of human connection.

#4 - Boogie Nights (1997) Runtime: 2 hr 35 min Aspect Ratio: 2.39 : 1 & 1.66 : 1 Film Format: 35mm

Adult film director Jack Horner is always on the lookout for new talent and it's only by chance that he meets Eddie Adams who is working as a busboy in a restaurant. Eddie is young, good looking and plenty of libido to spare. Using the screen name Dirk Diggler, he quickly rises to the top of his industry winning awards year after year. Drugs and ego however come between Dirk and those around him and he soon finds that fame is fleeting.

Verdict: How this film possibly came from a director who is my age now is almost hard to believe. Boogie Nights is one of the quintessential 90s films. It has one of PTA’s best ensemble casts. Anderson’s sophomore effort was a result of the auteur finding his footing and his directorial voice that went on to enthrall audiences over several decades. PTA’s early visual motifs were lengthy and expertly choreographed tracking shots. Please refer to the scenes in the disco as well as the pool party scene pictured above for some of the best camera operation every committed to celluloid. Boogie Nights could possibly be hailed as PTA’s most consistently entertaining and audience friendly works. It’s a great story of the rise and fall of stardom.

#3 - There Will Be Blood (2007) Runtime: 2 hr 38 min Aspect Ratio: 2.39 : 1 Film Format: 35mm

A story of family, religion, hatred, oil and madness, focusing on a turn-of-the-century prospector in the early days of the business.

Verdict: Most critics and audiences would agree that There Will Be Blood is the director’s most impressive masterpiece (but who’s counting?). On a storytelling and technical level, I do have to agree that this is probably Paul Thomas Anderson’s best achievement, even if it isn’t exactly my personal favorite. This is the film where PTA really matured with his directorial vision. He abandoned a lot of his earlier flashy work with large casts and a constantly moving camera for something more grounded and more of a character study. There Will be Blood is the story of America in many ways. It’s the story of Capitalism. And how this system leads to so much bloodshed, greed, and hatred as man and man compete to have the most and be the best. This movie will surely stand the test of time and is a shining example of how groundbreaking modern American cinema can be.

#2 - Magnolia (1999) Runtime: 3 hr 8 min Aspect Ratio: 2.39 : 1 Film Format: 35mm

An epic mosaic of interrelated characters in search of love, forgiveness, and meaning in the San Fernando Valley.

Verdict: Paul Thomas Anderson’s third film found the director taking everything he had learned on his previous two, and expanding on that knowledge and developing more layers to his characters who have never felt so fully realized. Magnolia is the director’s magnum opus. It is epic in its length - clocking in at a little over three hours, making it his longest film by far. It is ambitious in its storytelling approach. Many films utilize the style of a variety of seemingly unrelated characters who connect to each other, oftentimes in a synchronistic fashion as they go about the trials and tribulations of their lives. However Magnolia is one of the few that did it first, did it the best, and set the bar for all of the subpar imitations that would soon follow. It’s also profoundly beautiful in the statements that PTA was trying to make. Paul, just barely 30 years old at the time when this was released, most definitely had an emotional and intellectual maturity that is rarely seen within a director of that age range. Magnolia is about redemption, loss, forgiveness, love, and trying to keep your head above water as frogs rain down on your head.

#1 - The Master (2012) Runtime: 2 hr 18 min Aspect Ratio: 1.85 : 1 Film Format: 35mm & 70mm

Freddie, a volatile, heavy-drinking veteran who suffers from post-traumatic stress disorder, finds some semblance of a family when he stumbles onto the ship of Lancaster Dodd, the charismatic leader of a new “religion” he forms after World War II.

Verdict: I’ve always been drawn to films about cults. Something about social behavior and social roles within a cult organization is a really interesting study on a sociological, psychological and anthropological level. The Master takes the cult formula and turns it on its head in many ways, never once foraying into the territory of exploitation or tropes. It instead takes a wholly original approach to the story. I mean, it is Paul Thomas Anderson that we’re talking about here. Joaquin Phoenix delivers his most unhinged, and certainly his most impressive, performance of his career as a mentally damaged alcoholic war veteran with pretty severe PTSD. The Master is also in many ways the story of the founding father of Scientology - L. Ron Hubbard. However, let’s just say it is a Scientology movie “in disguise” as no real historical names are ever spoke, the word “Scientology” is never uttered once, and even the director himself refuses to admit that’s what it is about (I mean who can blame him? He once had to work with Tom Cruise). It is one of the most fascinating character studies I’ve ever seen. Not to mention, it is PTA’s most beautifully shot film in my opinion and Johnny Greenwood’s musical contributions to the score elevate this film to ultimate masterpiece status. By the end, I felt like I had just undergone a transcendent experience of sorts. I hope one day PTA can make a film that “wows” me ever more than this one does.

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