#tv: 8 out of 10 cats does countdown

[whatsupmykentuckyfriedfuckers]

We did movies so now we're doing TV shows:

I have a very strong feeling which ones will be the top voted

[russell-crowe]

[cloudberrylane]

bob used to work as a probation officer

[saemisic]

WHAT’S AFTER LIKE ?

𝓞𝙏𝙃𝙀𝙍𝙒𝙄𝙎𝙀 … ‘ new years with the enha boys ‘

��𝘪𝘨𝘩𝘵𝘴, 𝒸𝘢𝘮𝘦𝘳𝘢 & 𝒶𝘤𝘵𝘪𝘰𝘯 ⦂ bf! ot7 x gf! reader ── 𝔀arnings. est relationship, pet names, mentions of the jeju plane crash( my condolences to those who’s families were affected, my heart goes out to each victims family) , NOT proofread , almost getting burned? && fluff fluff and more fluff ❔

ㅤ♡ྀི / sae's thoughts: hai guys, HAPPY 2025 GUYS OMG, i cant believe we survived 2024 ?! anyways this is way longer than i ever intended but i hope you like, its my first time writing ot7 >:).

𝐋𝐄𝐄 𝐇𝐄𝐄𝐒𝐄𝐔𝐍𝐆.

The sweet aroma of spicy ramen filled your senses on the cool rooftop. The restaurant you guys went to with friends was lit up with exciting buzzing. The TV in the middle showing the Seoul center where a large crowd had gathered & a countdown, 1 minute left.

Laughter filled your ears as you turned back to your group of friends, heeseung among them.

"15...14...13...12..." people cheered loudly crowds gathering around the TV. You could spot heeseung nearby talking with one of his friends, smiling and laughing. As you tried to push your way through to him, you smelt alcohol, soju , bulgogi and more. Finally, reaching him right as you heard "10...9...8...7..." chants getting louder. Heeseung turned smiling at you as the crowd grew louder voices become harder and harder to distinguish.

"...6...5...4...3" was all you heard before his hot breathe kissed your neck , "right in time" you heard as the sparklers lit up the night. Suddenly you felt yourself being pulled into heeseung's warm body right as the firework went off. You felt his warm soft lips against yours as the loud crowds cheered and the night sky lit up. The kiss lingered, with a smile on both of your faces he sweetly mumbled "happy new year doll, i can't wait whats in store of us"

𝐏𝐚𝐫𝐤 𝐉𝐨𝐧𝐠𝐬𝐞𝐨𝐧𝐠.

The soft music playing in the background of the restaurant you guys were sitting in. The gently clink of utensils against the fine China plates was all so high class. Yet it all didn't matter when the love of your life was sitting in front of you, scarfing down some pasta.

"Jay, slow down! this is fine dining, high class!" you scolded giggling.

He could only shake his head in response mouth full of pasta "hpmh babe you dont understand this is actually the best Italian cuisine in Seoul" he tried. You could the pops in the sky signaling that the start of celebration. Looking out the large window & seeing pink, yellow, green fireworks lighting up the city skyline. Down on the street people were crowding the tight alleyways with soju scent prevalent. When you turned back you were meet with his cat eyes mere inches away from your face.

Blushing pink, you quickly turned you head right to look at the diners. Before you had his hand gently pull your face back towards him.

" You know, having you by my side this year was the best thing?" he said softly staring at you. " before letting go and sitting back a smirk gracing his features. " don't do that, not in public" you muttered face bright red. Only humming in response as you two looked out enjoying the new beginnings.

𝐒𝐢𝐦 𝐉𝐚𝐞𝐲𝐮𝐧.

The cold grass tickled your legs as you layed gently on the blanket set out. On top the hill, a perfect place to watch the fireworks and enjoy some dinner. Along with you and Jake was Layla, running around the grass with her ball. You placed out all the food right as the fireworks began. The city shimmered with lights as you felt jake sit next to you close to conserve heat.

"this is perfect babe" he said the wind blowing softly.

Layla came bounding back panting with her ball in her mouth, slobbered up. "Gosh layla, look at you , is this how you want to end the year?" you laughed taking the ball from the puppy and throwing out into the field. "She really loves that ball huh" you commented as you passed the plate of food. ""yea she does" jake laughs, his expression softening as another pink firework lit up both your faces.

Plopping down on the blanket, the two of you just lay there in each others arms enjoying the magical night.

𝐏𝐚𝐫𝐤 𝐒𝐮𝐧𝐠𝐡𝐨𝐨𝐧.

The sparklers in your hand turned all kind of colors when lit by the lighter. The pink, green, red all colors to represent a new year. Sunghoon wasn't too far away a soft smile as he watched you and Yeji play around with the sparklers. The pinks, greens and yellows all lit up the dark alleyway.

"Be careful, Y/N! don't burn yourself!" sunghoon called worry not on his face as he stared at the sparklers.

"i will hoonie, come have one" you offered turning towards the man. You also looked at Yeji, she was a little quite naturally, being introverted ran in the family. "Mhmm im good thanks" sunghoon replied back coming towards you, his larger frame enveloping you.

"wait ! omg yeji , sunghoon we should totally take some photos" you squealed pulling out your digital camera. Gathering close you snapped a couple of group selfies before handing the camera to Sunghoon. "Okay hoon, make sure the angle is good" you demanded. One photo you managed was you and hoon making and heart and after the photos were definitely insta worthy.

𝐊𝐢𝐦 𝐒𝐮𝐧𝐨𝐨.

The TV lit up the cozy dark living room as you and Sunoo sat on the couch. All cozied up watching the new years celebrations. It was a quite new years for S. Korea after the devastating plane crash that took too many life’s. It was nice to see all the celebration around the world . Japan and Australia had some amazing firework shows, seeing the NYC ball drop was also a highlight of the night.

“ Wow, it really is amazing to see how these other countries celebrated the coming of 2025 isn’t it?” sunoo asked his arm around your shoulder.

“Yea, the fireworks have always been my favorite “ to replied a bit of hesitance showed. “I mean considering everything that 2024 brought I’m glad we still have each other” you said as you snuggled closer.

Quite nights like this were always the best, just the two of you enjoying the moment in the present. 2024 has been a hard year for everyone but you had each other so it was going to be okay.

𝐘𝐚𝐧𝐠 𝐉𝐮𝐧𝐠𝐰𝐨𝐧.

Maeumi was running around going absolutely crazy. That was the way he was , as you guys were getting the food to the table. Jungwon and you had come to Jungwons grandma’s house to celebrate the new years, you and his family were there.

The food smelt absolutely mouth watering , you couldn’t wait to sit and eat . “ you drooling babe” jungwon as voice came into focus as you stared at the grilled meat. Pink tinted cheeks as you whipped your hear the other way, “stop no I wasn’t “ you said flustered busying your self with anything else.

“ you’re too cute , it’s okay we are about to eat anyways” he laughed.

Maeumi came in all hyper and with his toy hanging from his mouth. It was destroyed beyond recognition but he didn’t seem to care. Sharing a look you both laughed at the hyper dog going crazy with his toys and with all the activities around him.

𝐍𝐢𝐬𝐡𝐢𝐦𝐮𝐫𝐚 𝐑𝐢𝐤𝐢.

The large winter blankets was covering the both of you as you watched the celebrations. Ni-Ki had finally gotten the day off to spend with family but because his family was in Japan , he chose to spend it with you. The soft TV in the background as you go two held each other.

It’s been a rough year and you two had managed to survive the worst of it, showing that you were meant to be. “Ouh look babe, that firework is huge!” Ni-Ki exclaimed as he focused on the TV. “Wow, it’s so colorful too” you commented back seeing the fireworks show.

“Do you miss your family, would you rather spend time with them?” You suddenly blurted eyes distant. “What ?” The boy could only stare . A silence fell on the room before niki said “ I am with my family Y/N, you are a part of it” he said now sitting up.

“Okay then” you said focusing back on the screen before you tackled down in a fit of tickles. You shrieked “riki what the hell” you laughed as you tried fighting him off giggling as you were at his full mercy. your neighbors definitely didn’t enjoy two sqealing teenagers but oh well…

[moontyger]

Lucy Beaumont is furious. A new report shows that just 8% of TV and radio workers are from working-class backgrounds – the lowest figure in a decade. Beaumont – who grew up in a low-income, single-parent family in Hull, and is now an award-winning TV comedian, creator and writer – feels forced to speak out: “My mum became a writer with no qualifications, really struggled and couldn’t carry on in the industry. I was an actor, and then it was the recession and regional theatre went under.”

“Nothing has changed. It makes me want to leave. I’m sick of it. I can’t tell you the amount of scripts I’ve tried to help people get away and the actors I’ve tried to champion. I’m really upset, you know, it’s crippled me for years. I honestly want to jack it all in, because I like helping working-class talent – and I can’t.”

The report by Creative Industries Policy and Evidence Centreshared by Channel 4 (one of the broadcasters found in 2019 to have staff twice as likely to be privately educated) used research from the mentoring charity Arts Emergency. It also showed that the number of middle- and upper-class people in TV has been at its highest (60%) during the past 10 years. Across the arts, 90% are white, nearly 70% in managerial positions are men and 1% of those managers are Black.

...

Elsewhere, Adeel Amini, a TV producer (Who Wants to Be a Millionaire?, 8 out of 10 Cats Does Countdown) entered the industry from Bradford in the 2000s: “I was bullied for my accent, as far back as university, and had to adapt to my environment to be taken seriously.” In 2015, there was no support when he experienced mental health issues – he couldn’t get time off work for therapy. He now runs The TV Mindset, offering support for freelancers, and the Coalition for Change, a pan-industry group to improve working practices in the UK TV sector.

“People are now leaving in droves, there’s a massive crisis going on – 68% of the workforce are unemployed at the moment,” he says. “The people being hit the most are the ones with the most to lose.” TV freelancers are “working long hours with no extra pay, just to try to get those credits and jobs. Then there’s not enough work. They’re the first ones to leave because they’re like, ‘This industry doesn’t want us’.

“I know executive producers who have worked for 15 years, who are now getting second jobs and just thinking: ‘What is the point? I’m being chewed up and spat out.’ There’s no reward; in other industries, the longer you work, the higher up you get. Here, that’s not the case.”

Why, exactly, is the industry in the worst state in a decade? Well, the pandemic and cost-of-living crisis have had lingering major effects, along with Tory cuts to the arts over the past 14 years. There have been 12 culture secretaries during that time. Last year, the BBC’s creative diversity head, Joanna Abeyie, left because “these roles can become untenable when autonomy, influence and decision making is minimal to absent”. This year, the BBC’s director of diversity and inclusion, Chinny Okolidoh, also stepped down and will not be replaced. The organisation has restructured, introducing a new role – chief talent and inclusion officer – but until that position is recruited, its responsibilities will be taken on by another senior staff member, in addition to their current duties.

It’s clear what Amini means when he says that real change can only happen in such a fragmented industry with government intervention. Or, when “all broadcasters and streamers – everyone – put their egos aside and realise they need to work together and look at it holistically”. In fact, everyone interviewed said how hollow the overt efforts to address class diversity are. Broadcasters made promises during and after the pandemic, says Griffiths, “but it’s just all gone out of the window now … There’s no incentive for commercial companies to really do anything about it beyond [dealing with] a bit of bad rep.”

[panelshowsource]

If you had to pick a top three favorite episodes of any panel shows EVER, which would you choose? One of mine would have to be Terry Wogan guest hosting old NMTB, which I am dying to watch again in my lifetime. Your old-NMTB-posting reminded me just how amazing and formative those old episodes were for me. Anyway, it got me thinking… I would love to hear yours!

as long as i'm allowed to answer this totally subjectively...! because the objectively most iconic panel show episodes are probably quite different to the ones i gravitate to especially for rewatching — and especially in this difficult recent climate 🫥

this choice is almost bizarre knowing me, a huge huge huge sean lock fan, but this episode of cats does countdown — without sean! and not even golden era, probably, whatever that is in my mind — is so ridiculous and chaotic and stupid that i've watched it about 1000 times. there's something very specific about the dynamic between jimmy, jon, roisin, and joe without sean; those four have been in quite a few episodes without sean and they're like actual children without an adult in the room: jon is goofier and completely lets go of the game, jimmy throws even more to roisin (we do not talk enough about what a fucking kick jimmy gets out of her), roisin and joe's insane sibling dynamic becomes next level. anyways—this episode, which includes rly funny mascots, glory hole, the fucking hoop game and joe eating an onion and jon eating peppers???, THE UNICORN, its sheer childishness just cracks me up every time :') (if we're gonna mention the golden age, 2.02 is very iconic — from rhod killin it and always arguing with jimmy to claude to nick x susie hahaha but i have sooooo many catsdown episodes i love love love)

i really love the episode of 8 out of 10 cats following jimmy's tax scandal. it's not one of my favourite panel shows in general, but the circumstances of the news and the discussion epitomised what the show was meant to be: panel show meets reality tv meets a comedy central roast. watching that live, as the news was running it so heavily that even the prime minister mentioned it, as the press and twitter were reacting to it... wild times. it holds up incredibly well — it's hilarious watching them rip him to shreds, because he deserves every word and they're having a ball doing it to him, and i really appreciate jon grounding the conversation in just how tax avoidance hurts their country and some of its hardest workers — a really interesting, engaging mix of comedy and anger and wit and disappointment and political commentary that is not only funny but strikingly relevant no matter how much time passes. like so, so many people who were so, so disappointed in jimmy, this was the foundation of his carrying the responsibility, shame, reflection, and growth that people wanted to see — and that he truly needed to. since then he's talked a lot about not only righting the wrong (in paying back what he owed in avoidance) but just how the system is so broken — and taking the least complicated, most honest road forward since.

now i want to pick 1000 different things this is why i don't make lists or rank things!!!!! while my instinct is to pick a big fat quiz, i'm actually gonna go top-level nostalgia and say this episode of buzzcocks when stephen fry was a guest. what can i say — simon, stephen, it was two intellectual, mildly bitchy homosexuals on a stacked panel including josie long, dominic cooper, and yet another skinny white rock man for simon to pretend he's not trying to flirt with. stephen saying "there is a history, in pop music, of recto-veginal insertion" and denouncing god, like, in the first 5 minutes? stephen doing the intros round?? did i mention history boys-era dominic cooper??? such a throwback!!! (not to cheat but this ep with josh groban & martin freeman is my runner up)

i want to apologise to big fat quiz, taskmaster, wilty... THE WHOLE HISTORY OF PANEL SHOWS... I WISH I COULD CHOOSE YOU ALL

[frankendykes-monster]

Countdown to Halloween 2023, Ranked

43. Swamp Thing (1982)

42. Curse of Bigfoot (1975)

41. The Haunting (1999)

40. Orca (1977)

39. Teenagers Battle The Thing (1958)

38. The Beast (1975)

37. Don't Go in The House (1979)

36. Countess Dracula (1971)

35. Hillbillys in a Haunted House (1967)

34. Beware! The Blob (1972)

33. Alien Space Avenger (1989)

32. Baby Blood (1990)

31. Shriek of The Mutilated (1974)

30. The Mutations (1974)

29. Phase IV (1974)

28. Curse of The Faceless Man (1958)

27. The Sadist (1963)

26. Jennifer (1978)

25. The Wasp Woman (1959)

24. Noroi: The Curse (2005)

23. Girls Nite Out (1982)

22. The Monster of Piedras Blancas (1959)

21. The Cat and The Canary (1927)

20. Tell Your Children (Reefer Madness, 1936)

19. The Company of Wolves (1984)

18. It's Alive (1974)

17. The Wolf House (2018)

16. Michael Jackson's Halloween (2017)

15. The Girl Who Knew Too Much (1963)

14. The Omega Man (1971)

13. Gamera: Rebirth (2023)

12. Student Bodies (1981)

11. Night Caller From Outer Space (1965)

10. Inhumanoids (episodes 1 - 5, 1986)

9. Blind Woman's Curse (1970)

8. Maniac (1980)

7. The Child (1977)

6. Zombie 3 (1988)

5. Return of The Living Dead (1985)

4. Spider Baby (1967)

3. Basket Case (1982)

2. Messiah of Evil (1973)

Godzilla (1954)

Woof. Okay. This has been a mostly disappointing viewing experience.

Critical difference between this year's countdown and the past two is that now that I have stable employment, there is far less time to be watching horror films. I normally begin the countdown in September but we started in July of this year and still barely managed to crack 40, with my original goal being a full 100 this year. Timing. As such a lot of my plans and possible viewings were cut short and compared to last year specifically we fell back on a lot of "seen it already" at least for the top of the list.

This year's batch of viewings were largely blah, but a step up from the shitshow I put myself through last year (watching nearly every Texas Chainsaw sequel does things to a person). As such it'll be difficult to conjure up words for a decent chunk of these mostly because yes, these movies exist, I watched them, I would not recommend that you yourself watch them. That is all. If I write briefly on a given film that's not necessarily an indictment of its quality as there a decent number of these that I saw and enjoyed it's just their impact might be a bit fleeting. You will know which ones I actively disliked. I mostly just want to write about the top five or so but I will play fair.

Our grand loser this year is Swamp Thing, the DC Comics adaptation by Wes Craven. I watched this pretty much entirely because I finally got the Alan Moore Swamp Thing run in paperback this year after quite some time of having it on my to-buy list. Longtime Rachael/Ray/Ratchet fans may recall me reading it in early 2019 alongside [REDACTED]. Still one of the best Moore comics, and a second volume of Swamp Thing wouldn't have been possible without the success of this film. For context I did read the early Swampies by Len Wein and Bernie Wrightson and my general reaction to those was a'ight but there was definitely material for a serviceable film adaptation there. This is not that serviceable film adaptation. I'm not hung up on details like how Abigail has no connection to Arcane now despite being his niece in the comics, but this film is just kind of painful in how relatively unambitious it is which is saying something for Swamp Thing sword fighting another human mutation at the end of this. It's just silly and stupid and not scary or awe inspiring or anything, the Swamp Thing suit sucks, the action sucks, any sense of pathos is not there or gone, it stretches for 30 minutes too long like it's a padded TV pilot, the only highlight is being able to see Adrienne Barbeau's breasts. Fuck this it's a miserable experience to sit through. My mistake for watching a Wes Craven film that doesn't have "Scream" in the title.

Our next shitter is the two-for-one abomination that is Teenagers Battle The Thing (1958) and Curse of Bigfoot (1975); these are the same movie except Curse of Bigfoot has a 25 minute opening scene framing device that is bizarre given that "The Thing" of the original film is a Native American mummy of some sort unearthed by a group of white high school students. It's the rare personal pet project movie made for fun by some locals but the only highlights are the occasional kill scene, Curse of Bigfoot ranks lower just for making me sit through it longer. Blah.

Speedrunning through a bunch of these because theyre all varying degrees of bad and I don't want to spend any longer writing about these than you probably do reading about them: The Haunting is awful and I don't even super care for the original film so adding shitty CGI monsters and a moral lesson of "it's about family!" doesn't help. Orca is a shitty Jaws cash-in that's like a reverse Moby Dick where the sea animal hunts down the human, nice finale where the orca and shitty poacher guy are fighting it out in the Arctic but otherwise avoid. Don't Go in The House is a mysoginistic torture porn movie that really doesn't sell the "seemingly normal guy is a closet nutcase" thing even though movies made before and after have done it well (see Maniac several paragraphs below). The Beast is advertised as this really scandalous porno film but most of it is French aristocrats sitting around in stuffy rooms arguing about real estate. I think I only watched Countess Dracula for its inclusion in the "if this is her vibe I would fucking cum" meme and it's barely worth bringing up at all. Hillbillys in a Haunted House has an absolutely lovely Tennessee country soundtrack that I wish I could listen to without having to watch the actual movie which is devoid of both scares and laughs. Beware! The Blob gives off the feeling of sitting at a funeral for a family member that was just distant enough for you to be aware of them but not actually be upset but it's still a funeral so it's not like you're smiling, stick with the 1988 Blob film. Alien Space Avenger has some decent gore effects but that's all I can recall from it. Shriek of The Mutilated has one of the best titles for an otherwise uninspired yeti movie that has a needless third act twist about it being a cover for a cult and blah blah blah fuck you. Baby Blood has an alien mutant whatever crawl up a woman's vagina into her womb and she has to eat people to feed it and yeah I'm actually struggling to remember what happens here. The Mutations has a scene where a guy cuts into a tree and it bleeds, I think he's played by Donald Pleasance. Yeah, it's like Freaks except it plays to the freak show straight so you get to laugh at all the outcasts of society, no thank you.

Some odds and ends that I'd say are decent-to-pretty-good: Phase IV has some footage of ants and synth music. All you need is some footage of ants and synth music. Curse of The Faceless Man employs a rarely seen archetype of the living statue monster, it's cute. The Sadist is another starring vehicle for Arch Hall Jr., who was also the star of last Halloween's Eegah! (1962), though this film is a bold trendsetter for the 1960's with Hall being a unhinged killer holding people for ransom until they can fix his car and he can make a getaway. The film lives and dies by Hall's performance and it's mostly the latter until we get to an absolutely superb final act with him hunting down his remaining victims, it makes the whole film worth seeing. Jennifer is an oddball that plays out mostly like a character drama ("It wasn't my fault Daddy it was that stupid hillbilly bitch Jennifer") that suddenly remembers that it's supposed to be a cash-in of Carrie (1976) in the last 20 minutes and cue our titular character being able to summon and control snakes to send after her tormentors. Girls Nite Out is a plodding meandering slasher that's oddly hypnotizing considering so much of it takes place in pitch-black night and the killer is wearing a bear mascot costume with serrated knives hidden under the glove, not sure what fully to make of it. The Monster of Piedras Blancas is made up of leftover parts from the Gillman, Mole People, and Metaluna Mutant, but still manages to star in a decent enough film that gives a sense of what a series of monster attacks would do to a small seaside community. The Cat and The Canary is "cute" for lack of a better term being a horror comedy before the former genre had fully crystalized. Reefer Madness is horror adjacent more than anything but a hilariously good time about how the use of "marihuana" will drive today's youth into becoming crazed fiends and get involved in organized crime.

We can do this.

The Company of Wolves has an excellent story book like setting an atmosphere that you can't get in films nowadays and it's a shame that it's mostly remembered for its transformation sequences. it's Alive is the best Larry Cohen film by default of not sucking but it's still not "great", genius however for playing the concept of mutant newborn killer baby completely seriously without any sense of humor to the proceedings. The Girl Who Knew Too Much is almost a parody of giallo films which is interesting given those hadn't fully sprang up in 1963; absolute highlight is the main character being interviewed in bed by doctors and reporters and the like that yes she did see a murder and no she doesn't drink. I've always been fascinated and haunted by I Am Legend and while The Omega Man doesn't really capture the novel to a superb degree it's so beautifully shot that it lands high in the rankings for that alone. Night Caller From Outer Space is hilarious to me because of how it shifts halfway through from a Hammer-esque mystery about a meteorite with radioactive properties to a film about an alien that lures women in through a modeling advertisement. Blind Woman's Curse I've mentally confused with Irezumi for a while now (haha all 1960's Japanese genre films where woman have large animal tattoos on their backs are the saaame), and it's one I mostly watched for being directed by Teruo Ishii, but there's enough bloody yakuza fights and cats licking up blood for me to stick around; not the strongest Meiko Kaiji vehicle compared to Female Prisoner Scorpion or Lady Snowblood. Maniac I find mostly interesting as a precursor to American Psycho (2000) but also it's probably the only serious film to successfully pull off it's ending trope (which I will not spoil here). The Child is an absolutely lovely 1970's only-a-dozen-people-made-this-and-not-much-more-watched-it horror that oozes atmosphere, I could watch stuff like this all day. Aaand Zombie 3 is far and away the best film that Lucio Fulci has been involved with that I've ever seen. I love random scenes and set pieces of ghouls just massacring people that are shit out out of luck.

Okay, now for the ones I actually want to write about.

The Wasp Woman is one that sticks in my head way more than any other random monster movie that Roger Corman directed in the latw 1950's. I've said on here and Letterboxd that it could have served as a standard pop-feminist piece about how the cosmetology industry is built on misogyny and invariably a monster is accidentally created because of that, but this most recent viewing has made me sort of "get it" because that might be what the film is going for considering Susan Cabot's performance leads me to believe that she is aware that she is becoming a homicidal wasp monster but views it as a tragic means to an end where she still has the ability to have a new advertising campaign with her as the star. Tragic. This is why you don't wear make up.

Both Noroi: The Curse and The Wolf House are ones I didn't care for whatsoever but I put them in places on the ranking that I thought were fair given that people should probably watch them regardless of my personal thoughts. Noroi's format didn't really lend itself to the escalation of tension and reveal of information that the plot demanded and I found myself thinking it meanders quite a bit. The Wolf House was an odd one where everything that was happening onscreen bounced off of me mostly because I felt intimately aware that I was watching a movie, that someone had made something and that I was now being shown it. Blah. People like these so don't let me stop you.

Our animated offerings this year...

Michael Jackson's Halloween more than anything feels like an unlicensed creation that later had an English fan dub commissioned, not something that actually aired on CBS twice. Any laughs that I found in this thing were the unintentional type as we open up with Bubbles talking and being Jackson's chauffeur; you know exactly what you're getting into. Very little of the plot is explained but I'm assuming Jackson (who has no lines given this was made posthumously) orchestrates a dark fantasy adventure to hook two...teenagers? People in their late 20's? And convince them to follow their dreams of performing instead of working a deadend dayjob. I'm not sure who the actual audience for this was given it feels like so much of it was made for children but I will say anything that has this much of Michael Jackson's music in it can't be all bad, though I'm not sure why they didn't largely stick with tracks from the album Thriller (in the contention for best album ever, I don't care).

Gamera: Rebirth is one I feel like I'm on the outside on compared to most other tokusatsu fans because I didn't really *love* to a serious degree even though, yes, Gamera is finally back. The first three episodes are mostly just kind of a slog for me with the backhalf not doing enough to retroactively make me think highly of it, though giving off End of Evangelion vibes may make me consider that a second viewing must be in order down the line. Rebirth's strongest attribute is that it feels like it takes into consideration and influence from every prior era of Gamera, no stone is left unturned, and it's a marked contrast from how every recent Godzilla property only captures a single facet of their respective character. But that also creates unique issues like how a lot of criticism of ongoing US military presence in Japan is undercut so there can be a white kid in the main cast (because white children were always present in half of the Showa series) or having the ancient civilization that genetically engineered the kaiju now being malicious and actively sacrificing children as a means of reshaping the world gives me vaguely anti-semitic tones, I don't know, Gamera is still here, I guess.

"I was just a little twerp who liked Scooby-Doo and Smurfs, now I was viewing Cthulhu mutants ruin the Earth."

Everyday that we have Inhumanoids is a gift. Inhumanoids is another Hasbro/Sunbow production like G. I. Joe, Transformers, or Jem and The Holograms, and it is truly tragic that it never got anywhere near that level of attention compared to its siblings. The fact that a 1980's action figure tie-in cartoon is named for its antagonists is only the start; the series follows a small paramilitary outfit of scientists named Earth Core that are tasked with more or less saving the world alongside the Mutores, elemental beings, when the Inhumanoids, eldritch abominations, are unleashed. The degree of world-building beyond your typical "good guys vs. bad guys" affair is astounding with villainous humans and virtuous monsters abounding, but Inhumanoids is mostly magical and remembered for saying fuck all to any type of broadcast standards. Seeing giant monsters destroy cities, undead armies, and spelunking deep into the Earth (where nightmares begin...) are just standard fair here, as are witnessing the actual Inhumanoids such as Metlar (basically the devil) or D'Compose (giant undead entity that can zombify people by touching them and uses his ribcage like a jail cell) in action. The first five episodes here are the pilot movie of sorts for the series which only lasted thirteen overall, and they get more grissly from here on out, but maybe it's best that Inhumanoids is the short lived cartoon and no the cartoon that went soft as early as its second season. I will never not love this show, to this day it's one of my favorite animated series from any decade, much less the 1980's.

Back to our regularly scheduled live-action programming...

Student Bodies is a fascinating film for a myriad of reasons the first of which is that there were somehow enough slasher films by 1981 for there to be a comedy poking fun at all the already established genre-cliches. It's essentially Scary Movie (2000) a full 20 years ahead of the curve only actually funny in spite of the subject matter frequently being as juvenile and prejudiced; but it also reminds me quite a bit of Scream (1996) with stuff like two killers working together. All I know is I was in for a decent time when the film opens with three identical shots of a house just with different framing text: "HALLOWEEN," "FRIDAY THE 13TH," "JAMIE LEE CURTIS' BIRTHDAY" and then the killer, The Breather, calls the opening kill girl doing nothing but breathing heavily, she hangs up, he calls back with "I SAID [heavy breathing]."

Return of The Living Dead is one of those films that should have destroyed the any artifically-imposed boundaries between "high" and "low" art. Every aspect of this film is brilliantly made, it just so happens to be made for stuff like Scooby-Doo music overlaid on top of thunderstorms over graveyards where one female character is stripping to the concept of dying. Media involving ghouls is incredibly oversaturated, and this was still the case in the 1980's where a film like this had to redefine the rules to make it so killing ghouls was basically a non-option. It only recently struck me on this viewing that that's the whole purpose of removing virtually all weaknesses they have, to keep the characters as the nail instead of the hammer. Compared to the Romero films, there's never a point where anyone is in control of the situation, it just escalates further and further until there is literally no way out. Taking that into consideration, there's no way this film couldn't have been a comedy that frames people getting swarmed and eaten by ghouls as hilarious.

The soundtrack and the faux-punk sensibilities lend this a daft feeling of "you shouldn't be watching this" in spite of it not being one of the MOST gory horror films of the 1980's. I still don't get how this never broke into the mainstream. I mean somehow people know that ghouls (in this film) speak and only eat brains but I can't go down to Target and get a Tarman action figure like I can one of Michael Myers. As such Return of The Living Dead remains a criminally overlooked film regardless of its subject matter. It's made me laugh and cringe and feel disgusted and revolt at the concept at dying but mostly it's made me feel a delicious sense of joy at seeing corpses rise out of the ground to the tune of "Do you wanna party? IT'S PARTY TIIIME!" Some of you need to sit in the corner and think about your life choices for making stupid shit like Re-Animator (1985) or fucking Shaun of The Dead (2004) more popular than this, fuck you.

The act of watching Spider Baby is like discovering the missing link. For as much as 1960 gave us an explosion of horror (Eyes Without a Face, The Ship of Monsters, Psycho, Jigoku, Black Sunday, etc.) and Night of The Living Dead (1968) reins as the perennial transition point of the genre, Spider Baby is the road by which we go from The Cat and The Canary and The Old Dark House to the likes of The Texas Chainsaw Massacre and Eraserhead, it's magical finding an essential piece of a genre you love so much. Both the former and latter points of comparison are apt as a family of now only children [and their butler] suffering from Poe-esque hereditary illness have their condemned house set upon by distant relatives and everything slowly unravels.

Lon Chaney Jr. is an actor who for the longest time I felt never got a proper chance to shine wherein the last 25 years or so of his career was spent playing as side character actor in independent films. Spider Baby is his crowning achievement. Seeing him smile through almost tears on several occasions as he has to play bridge between worlds of sanity and madness and lie to everyone that he has some sense of control over the situation is brilliant in ways I always knew he was capable of but had never seen before this point. Bravo.

I will never not love Basket Case with everything I've got. This is the epitome of 1980's horror and my clear pick for best of the decade. It has everything from being a grungy putrid grindhouse spectacle to being an intimate character drama to everything presented through a wry ironic lense where you can't tell if any "bad" performances are all done on purpose. Between this, Brain Damage (1988), and Frankenhooker (1990), there is literally absolutely no reason why Frank Henenlotter shouldn't be more popular than Stuart Gordon, Brian Yuzna, and Lloyd Kaufman *combined*. It's tragic that the world of cinema being enclosed and captured by studios again in the late 1980's prevented us from getting more from him, but realistically could we ask anymore than what we already got from Basket Case? I could watch this every day and never grow tired of it. I will never stop making more and more people watch this.

If Basket Case is the apex of 1980's horror, then Messiah of Evil is the same for 1970's horror. This is one of the most efficient horror films ever made in how not a single frame is wasted, the opening scene is literally a guy running from unseen force, seeking refuge, getting his throat slit, cue title card with synth music that then leads us to a sunburnt hallway as our narrator descends into acceptance of complete lack of control of the situation. Every night shot in this film must be 50 - 75% completely black with whatever headlight or store front there is just making the scenery look like a dollhouse that our characters are trapped inside. There's so many shots of people running away or walking down streets that make them look tiny as the camera is so far.

Every scene is an exercise in building up dread. There's no point where the film relents, something awful is not only coming, it's already here and there's nothing anyone can do. What I love particularly is that the mystery being laid out doesn't offer any answers because there's another mystery on top of what our characters find out only too late. Layers upon layers of dread that even the titular Messiah of Evil isn't the center of. The world is a cruel fucking place where this film languishes in obscurity whilst shit like The Exorcist enjoys mainstream attention. A lot of my taste amounts to "why isn't this thing I like more popular" and cases like Messiah of Evil vindicate me.

"Godzilla is the son of the atomic bomb. He is a nightmare created out of the darkness of the human soul. He is the sacred beast of the apocalypse." - Tomoyuki Tanaka

Generally a yearly trend is that a #1 pick for Halloween is self-evident to me and this year it was Basket Case for all of 30 seconds until I picked Godzilla back up.

There's something to be said how Godzilla isn't quite a horror monster? Terrifying but not necessarily creepy, but what power do things that go bump in the night have against the destruction of everything you know? Everytime I watch Godzilla is like the very first time, when flashing lights out at sea destroy fishing ships I have no idea what happened, or at least any much of a clue as anyone in film does when we're told that the entire ocean exploded.

Godzilla is a reptile, but lacks scales and its entire body is coated in keloid scars. In 1954 Godzilla must have been the largest monster every committed to film, trains are derailed from running against its ankle and bell and radio towers are throttled for being a sensory inconvenience. Godzilla's first on-screen appearance on Odo Island is obscured by a hurricane but the impression is clear; you can't fight Godzilla in the same way you can't fight a natural disaster. When Tokyo is reduced to complete ruin amidst a sea of flames, it's an onslaught of destruction never before seen in a film of this genre. Survivors being afflicted with radiation poisoning shows that Godzilla will claim victims long after being driven back to sea.

There's a sheer apocalyptic dread to all of this sensed by all the characters. Love tries to exist on the edge of annihilation. There's nothing that can be done but persevere and maybe hope tomorrow will be better. A scene that always strikes me is when Serizawa is adamant about not using the Oxygen Destroyer until forcibly confronted with the results of one night of Godzilla making landfall in Japan. The absolute pain felt by everyone in the finale starts here, things couldn't play out any differently as the "scientist of the century" can't join in and celebrate his victory.

Godzilla is a rare perfect film. I will never tire of it.

[colourofthekites]

Hope you feel better soon😘

On sick days, do you like watch a certain movie or tv show?

Honestly, I just put on YouTube videos but I recall marathons episodes of 8 out of 10 Cats Does Countdown when I was bed bound with Covid

[marshmallow--3]

How cute would it be tho if you're going through a break-up and your bestie Steven is there for you

He has his nails painted with you in a salon, you people-watch outside and enjoy some ice cream (his vegan), maybe you go window shopping for a new outfit, or oh gosh the best would be to go to a museum and have Steven be your own personal tour guide ❤️

And to end the day, just love imagining sitting on the sofa with your legs crossed over his lap, watching some British comedy on TV like 8 Out Of 10 Cats Does Countdown or Taskmaster or Would I Lie To You?

He'd be an amazing best friend

Bonus: Ofc the most important role is to keep Jake from fronting bc that sweet face would be wasted in prison 😂

[motsimages]

@nechronox tagged me in a favourite series thing and although I'm not much of a series person, here's some tv I like:

8 out of 10 cats does Countdown

Whose line is it anyways

Kaamelott

Star Trek TOS and DS9

Game Changer

КВН (KVN, it's Russian, it's not kbh)

Channel Zero

Celia (a Spanish series I really liked when I was a kid, haven't watched it since but I thought I'd honor child me)

Mad Men

Peacemaker

[maniuscript2]

Unravelling Mysteries: Classic Crime Thrillers on EPIC ON

In the vast sea of entertainment choices, EPIC ON stands out as one of the best OTT platforms for Hindi movies. If you're a fan of heart-pounding suspense and gripping narratives, you're in for a treat. EPIC ON not only offers a diverse range of content, including movies, TV series, podcasts, live TV, and games but also hosts a treasure trove of classic crime thrillers that will keep you on the edge of your seat.

Crime thrillers are a cinematic rollercoaster that grips audiences with suspense, intrigue, and unexpected twists. These heart-pounding narratives often revolve around intricate mysteries, daring heists, or the relentless pursuit of justice. As viewers, we become detectives ourselves, piecing together clues and navigating the labyrinth of deception alongside the characters. The genre thrives on the tension between cat and mouse, leaving us on the edge of our seats as the plot unfolds. It's a genre that taps into our fascination with the darker facets of human nature, offering a gripping escape into the realms of mystery and crime.

Today, let's dive into the captivating realm of classic Hindi crime thrillers that will keep you on the edge of your seat.

8 X 10 Tasveer: A Puzzle of Memories

Imagine a world where photographs hold the key to solving crimes. "8 X 10 Tasveer" takes you on a mind-bending journey with Akshay Kumar as he unravels the mysteries hidden within each snapshot. The film is a masterclass in suspense, making EPIC ON the go-to destination for cinephiles seeking the best OTT platform for movies that keep you guessing until the very end.

Aankhen: The Perfect Heist Unfolds

When it comes to classic crime thrillers, "Aankhen" stands tall. The film boasts an ensemble cast led by Amitabh Bachchan, who orchestrates the perfect heist with visually impaired protagonists. With its clever plot twists and gripping narrative, "Aankhen" solidifies EPIC ON's reputation as one of the best OTT platforms for Hindi movies offering diverse compelling stories.

Khakee: A Riveting Tale of Crime and Justice

"Khakee" takes us into the heart of the police force, where a team of officers led by Amitabh Bachchan is tasked with transporting a dangerous criminal. As the plot thickens, so does the suspense, making it a must-watch on EPIC ON – your ultimate destination for the best OTT platforms for movies seamlessly blending crime and justice in a nail-biting narrative.

Dus: Countdown to Chaos

"Dus" elevates the classic crime thriller genre with its high-octane action and espionage. As the clock ticks down, the film keeps you on the edge of your seat with its unpredictable twists and turns. EPIC ON, known for being one of the best OTT platforms for Hindi movies, ensures you don't miss out on the adrenaline-pumping experience of "Dus."

EPIC ON consistently delivers a cinematic experience that caters to the tastes of Hindi movie enthusiasts. As one of the best OTT platforms for Hindi movies, it offers a diverse selection of classic crime thrillers that are sure to captivate your attention. Whether you're a fan of psychological mysteries, heist dramas, or action-packed thrillers, EPIC ON has something for every crime genre aficionado.

In conclusion, if you're on the lookout for top-notch crime thrillers, EPIC ON should be your go-to destination. With its user-friendly interface and an extensive library of classic movies, this EPIC ON has rightfully earned its place among the best OTT platforms for movies. Dive into the world of suspense, mystery, and intrigue, and let EPIC ON redefine your crime thriller viewing experience.

[russell-crowe]

8 out of 10 cats does countdown: S15E04

bonus joe reaction:

[fqonly]

Rules: List 10 comfort shows and then tag 10 people

Some days since the tag @fangdoubing, took me that long to come up with 10, I tend to re-read more than rewatch! (I also had to add movies, I'm bad at TV)

In no particular order:

Angel (the spinoff Buffy series) - largely because it was one of my mum's favourites and it has strong nostalgia factor.

Bleach - no real explanation, I had a great time avoiding exam revision with this once upon a time.

8 out of 10 cats - especially the countdown version. Sometimes I need snarky comedy.

Firefly - yes I still wish we had more.

You Are My Glory - single most relaxing show I've ever watched, so rarely do the characters display infuriating levels of stupidity (also I love Yang Yang, what can I say).

Shadowhunters - does it count if I just skip to the Malec scenes for half the show?

SCI Mystery - I can't give you an explanation for this, it's so stupid in many ways, but also I love it. Also the theme song slaps.

Lord of the Rings (Peter Jackson extended edition) - yes, I ran out of TV shows. Love these movies though, and there are 3 so still a series if not a show!

Pacific Rim - not even a series, but sometimes I just want to watch giant robots punch monsters in the face, I'm not complex. Also I love that they don't kiss at the end. (Note, I've never seen the sequel).

The Old Guard - also yes a movie, but damn it's everything, I've watched it like 12 times.

That was fun but I've also ran out of steam, so anyone who follows me consider yourself tagged if you'd like to do this!

[soundsgayiminlmao]

jon richardson being an adorable adorable human being <3

[fuckyeahmackenzieboyd]

RIP Sean Lock 1963-2021

[reniadeb]