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revenantlore · 3 months

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. wip introduction .

press start . game over . try again

a trilogy about a depressed, struggling alcoholic who’s tired of making mistakes, being replaced, and leading an aimless life. he eventually finds himself and his people, and takes up the stage as the lead vocalist of an immediately successful rock band called the filthy vandals … after enduring a lot of loss, trauma, and learning

premise for press start :

Rem's never known much about his biological parents, just that his mother overdosed soon after he was born and his father's a no-show dirtbag. He's content to keep that part of his life buried, content to believe his adoptive mothers are the only parents he's ever had.

When one of his mothers decides she's ready to pursue her dream of running an in-home daycare, it means kicking Rem out, causing a huge rift between them. She says it's because they need more room, but Rem knows better. Knows it's got nothing to do with space and everything to do with them thinking Rem's a shitty influence to keep around.

Their adoption of four-year-old Ramona soon after is all the proof he needs.

Rem’s got no job, and even if he did, he'd have zero chances of keeping it for long.

A sudden twist of fate has his father returning to Warren Creek begging for a second chance at parenthood almost twenty-four years too late. Rem’s never been one to forgive, but he’s got nowhere else to go, so he agrees to move in with Ross one town over in Jackson Grove.

It’s not long before Rem realizes he would have been far better off never meeting Ross again.

characters :

rem ashwell aka my best favorite jackass

There isn’t much Rem wants out of life, isn’t much he enjoys about living, and if not for Oliver, for music and pancakes, for good sex with an even better soundtrack, he probably wouldn’t be here anymore.

He’s used to temporary, to painful goodbyes, and often finds them easier than commitment, but a string of unexpected happenstances lead him to friendships, to love, to feeling for once in his life like maybe he does want more.

Like maybe he deserves it, too.

oliver de la croix

So much of Oliver’s time is spent focusing on anyone but himself, to the point it’s left him a little lost in life. Aimless, maybe, but his Gran’s business would fail if not for him taking up extra shifts, and Rem might not survive another night without Oliver’s shoulder to lean on—often quite literally.

To Oliver, it’s all worth postponing finding himself, and amidst his selfless acts and endless devotion, he eventually discovers some important truths about who he is and what he wants.

jonah kincaide

Home has never been a place for Jonah, it’s always been a person.

All his life he’s gone from house to house, family to family, never fitting in and never feeling wanted. Zev changed all that for him, showed him what it meant to be wanted, to be needed, to be loved.

But danger calls to Jonah in urges harder to tame than the fires he’s caused. Staying in one place isn’t an option, not when he’s running from the law, which means leaving Zev behind time and time again.

ziggy kennedy

Music has always played an important role in Ziggy’s life, from early childhood memories of night rides with her father, vibrations from the bass like magic under her fingertips, to learning guitar on a whim with her best friend Lex. It was always a hope, a vague dream, that she might become part of something bigger.

Alongside Lex, their roommate Oliver, and a crush from work at the record store, Ziggy’s dream is brought to life in the shape of a grungy garage band. Jellyfish Mayhem, however, isn’t all Ziggy hoped it would be—there’s too much drama between them to maintain a stable band, and before long it’s in shambles and Ziggy’s left to pick up the pieces.

lex anders

Working as a bartender at a strip club is either the worst or best job for an asexual man. Lex leans heavily towards the ‘best’ part of that spectrum because the cash is easy, there are zero distractions outside of rowdy customers, and he has nothing but support for the actions of his co-workers. Their bodies to do with what they will and all that. So long as they give him the same respect as he gives to them, he’s content to keep the job.

Besides, it’s just something to pay the bills until he, Ziggy, and Oliver can make something of their music.

Something more than just noise in Oliver’s grandma’s basement.

zev roswell [first appears in game over]

Zev’s been chasing a sense of belonging for as far as he can remember. He finds that in Jonah, more home than any house has ever been, but Jonah’s been chasing something else entirely that jostles Zev’s abandonment issues into the extreme.

If Jonah’s not finding trouble, trouble’s finding him, and it always ends with a rushed goodbye, an I’ll see you later, but Zev’s running out of hope that later hasn’t already come and gone.

That Jonah’s not coming back this time.

Devotion and more love than Zev’s ever known what to do with has him back on the road hunting Jonah down to bring him home, assuming he’s not already too late.

#this and mtd are my most belovèd projects #reese made oliver zev & lex #wip : game over #which i will forever love #wip : press start #wip : try again #my edits #writing #writeblr #wip intro #wip introduction #wip masterpost

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kolbisneat · 3 months

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MONTHLY MEDIA: January 2024

I know folks say January feels like a long month but it kinda felt normal to me? I dunno. Anyway this is how I spent the last 31 days.

……….FILM……….

Asteroid City (2023) The artistry is top notch and spoke the loudest but I feel like I'll need to watch it a couple more times to take in the quieter voices. I can't tell if it's me or specifically this film, but it felt...sadder than Anderson's other work?

Saltburn (2023) A lot of false starts, or rather a lot of pivots from what I thought the movie would be. And then also a lot of false endings? I dunno. I found the whole thing...indulgent (take that for what it's worth). A lot of beautiful and memorable imagery.

Spice World (1997) Technically a New Year's Eve watch and a great way to wind down 2023. Truly a wild ride and so many great cameos. And for anyone who doesn't know the Spice Girls I actually think it'd be a pretty great introduction to them.

……….TELEVISION……….

Delicious in Dungeon (Episode 1.01 to 1.04) Digging this adaptation so far! If you haven't heard me ramble on about how great the manga series is, this is your chance to see if you dig the tone and concept.

Daisy Jones & The Six (Episode 1.01 to 1.10) Gotta love the Fleetwood Mac fanfic. Feels both familiar and wholly unique and the brief documentary-style character moments are a lot of fun too. I strive to be Warren the drummer.

Blue Eye Samurai (Episode 1.05 to 1.08) Really great season of television. The last episode stuck the landing in an unexpected way and while I didn't looooove it, I respect it. Still suffers slightly from "just wait til next season" but one misstep amongst a season of perfect steps is okay by me.

The Crown (Episode 6.07 to 6.10) Having not watched the rest of the series (outside of a few eps of the Diana-centred eps this season) I really found the finale...moving. Elizabeth and Philip really do feel like the end of an era.

……….YOUTUBE……….

This Candyman Makes a Wonka-Style Candy Feast | WIRED by Wired Certainly didn't realize how interested I'd be in the process of making candy, but here we are. Really great breakdown and watch it if for no other reason than to learn the backstory behind the "drops" in "lemon drops". VIDEO

How YouTubers Can Avoid Burnout by Extranet Shaquille While specifically talking about YouTubers, this succinctly captures my approach to working in the creative industry: push yourself but not for the sake of exponential growth. Any creative could benefit from hearing this alternative to those pushing the grind mindset. VIDEO

……….READING……….

Full House by Zeke Masters (Complete) Picked this up randomly at a thrift store and it didn't disappoint. Not quite as horny as I expected an "adult western" to be, but that's okay. An easy read and if I see more of "Zeke's" books I'll definitely pick them up.

There Is A Tide by Agatha Christie (Complete) Plenty of twists and I think it all played fair as everything Poirot revealed made me think "oh yeah that was mentioned earlier". Great introduction to Christie's work and excited to pick up more!

Ducks: Two Years in the Oil Sands by Kate Beaton (Complete) Heart-wrenching. Such a deeply personal reflection and perspective on Canada's relationship with oil and the people who take it from the ground. While the entire read is a blend of very fun and deeply sad, I found the written epilogue to contain the biggest gut punch. Should be required reading for anyone who drives a car.

Richard Stark's Parker: The Score by Darwyn Cooke (Complete) It's incredible just how cinematic Cooke's work is. So much style and substance with such little brushwork (and only two colours)! If you haven't read any of the Parker retellings then know each pretty much stands on its own and are all worth checking out.

Delicious in Dungeon Vol. 3 by Ryoko Kui (Complete) Really enjoying this reread while also catching the Netflix series! It's interesting to see the little details peppered in that really shows the whole thing was developed from the beginning. Go watch the show and if you like it well enough then the books are, as cliche as it is, even better.

……….AUDIO……….

God is Dead by Twin Temple (2023) Satanic doo whop? Heck yeah. Their first album was great but something about this follow-up really clicked for me. Maybe it's the the track "Be a Slut (Do What You Want)".

……….GAMING……….

Oz: A Fantasy Role-Playing Setting (Andrews McMeel Publishing) My Tuesday crew is knee-deep in Ozian politics. They're allied with a few different parties and many of those parties are in conflict with each other. Classic. Anyway you can read all about their antics here!

And that's it. See you in February!

#Monthly Media #Andrew Kolb #Kolbisneat

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kitausuret · 1 year

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Top three Venom panels, go.

Oooooohhhh this is so mean. Like, come on, making me pick only three? BUT. For the sake of "I'm a Venom blog (mostly) and I probably use the same dozen panels over and over" I am going to try and be a liiiiiiittle bit unique this time, and maybe pick out a few moments that I don't normally talk about. These may not be my favorite moments of all all ALL time but I'm using this ask as an excuse to talk about them. I'm also going to behave and limit myself to one panel for each example, instead of like, a page.

Venom: The Madness #3 (W: Anne Nocenti, A: Kelley Jones)

SO. "The Madness" is probably the closest I get to a guilty pleasure with Venom comics. Is it very good? Probably not! Did I enjoy it? Yes I did! I mostly know Nocenti for her fantastic work on Daredevil, but she also was the first writer to REALLY be like, "Hey, could not just Eddie Brock, but Venom have a significant other?" And as someone who's kind of made my whole fic-writing thing about Venom being in relationships, I really enjoyed that. I was very sad that Beck Underwood broke up with Eddie at the end of this comic, but she's a delightful character and I'm nothing if not a fan of exes to friends.

Thunderbolts #118 (W: Warren Ellis, A: Mike Deodato, Jr.)

So, let me preface this by saying that, for reasons you can investigate very easily, I don't like Warren Ellis, and this isn't even really my favorite Thunderbolts series. But. I love an exploration of the symbiote's fall from grace, and how even with Mac Gargan it wasn't so... shall we say... symbiotic. I think there's always going to be a little bit of Mac that's a little bit scared, and a little bit just wants to be protected, but he also wants to FEEL like he's tough and respectable. He's really a rather tortured man, and he and the symbiote found each other at really awful times in their lives. But also, the symbiote being gross is funny, and I like the colors in this panel a lot. It's also worth mentioning that there was some Psychic Manipulation™ happening during this arc, so... take that as you will, as far as how the symbiote's acting.

Venom (2016) #4 (W: Mike Costa, A: Juanan Ramirez)

You thought I was going to close this out with a Flash panel, didn't you? DIDN'T YOU? Well, joke's on you, because this panel with Lee Price literally lives in my brain rent free and has for the past six freakin' years. It's just hysterical to me. The little symbiote manifestations on his shoulders. The symbiote literally pleading with Lee to make the right decision. The knowledge that his little shoulder angel/demons are just in his brain because Black Cat is sitting like four feet away. Hilarious. I love it.

So yes! I hope I had a couple unexpected surprises for you here, because occasionally I do like to showcase just how many Venom comics I've read. For the record, I can't really recommend any of these comics (except for maybe the last one, because Lee Price is an interesting twist on the host-symbiote power dynamics) but I will happily cherry-pick them for my favorite moments.

#asked and answered #venom #eddie brock #lee price #mac gargan #kita talks comics #runner ups were a couple panels from secret avengers and a shot from space knight 1 that i really like #but i talk about SK a lot and flash in general so i decided not to #so while these are not my top three venom panels of all time #they are three panels that live in my head rent free but i don't talk about often #thanks as always for indulging the question MC #i almost left eddie out completely and did an angelo panel instead 😂

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magickhajiit · 10 months

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Lost in the Snow - Chapter 2

all chapters here

The storm didn’t brew darkly in the distant horizon, looming at a comfortable enough distance for the X-men to outrun its fury. Instead, it bursts to life amidst the battlefield, engulfing mutants and Hydra agents alike within a matter of seconds. From the way the edges of the grey clouds are smooth and curved inwards the storm is manmade, constructed by some kind of high-tech weather machine Hank guesses, uncertified by the CSA clearly. With snow blinding them and bullets ricocheting in all directions they’re forced to retreat back onto the blackbird. When Jean arrives, shedding globs of snow from her amber hair as she moves, Bobby and Hank are already strapped in, the latter currently powering up the jet, green lights illuminating them.

Angel is the last to arrive, stumbling on moments after Jean, one wing bunched up to his side. Feathers have been ripped out, leaving a shallow gash visible in their wake. As blood fell to the jet’s pseudo plastic, never metal, decking, from Angel’s mouth words fall faster. So fast Jean is forced to pluck the thoughts from his head to understand. Diving through his mind is difficult, like swimming in a tsunami, panic suffocating her like water would. Then without warning an image is thrust at her, the intensity of it making her wince, Scott facing down a line of Hydra soldiers. The imagery is from a bird’s eye view, Angel must have been hovering above in the moment, close enough to see through the thick snow. Scott is weaving in and around them with grace before they’re gone, left crumbled in the snow by a silver streak. Stomach sinking Jean watches the streak return in the form of a human, his features achingly familiar although she can’t pin down why, before he runs at Scott, the X-man's glasses flying off.

Pain interrupts the memory, as images filter past Jean’s eyes, land and sky as she relives Warren’s unexpected descent, the agony she feels from a bullet skimming a phantom wing that’s never belonged to her is consuming, her teeth grind together as she pulls herself out of Warren’s head.

When she returns to the room, horror adorns each of their faces, Warren having repeated himself whilst she was lost in his head. Their leader not here Jean takes charge, ‘’Warren, Hank will attend to your wing whilst I go get Scott.’’

Any disputes are cut off by the jet tilting violently, sending Warren crashing to the floor whilst Jean’s skull is smacked off the back of her seat. White spots dance in her vision she looks up to the window, tendrils of crimson are creeping into view, wrapping the plane in its embrace. The storm is weaker now, the downpour of snow has thinned enough to see the figure standing before them. A young woman, eyes and hands glowing scarlet, fingers moving and her mouth muttering silent words.

‘'We need to move. Now.’’ Without waiting for affirmation Hank’s hands are gripping the wheel, his knuckles white, the engine’s loud in their ears as it powers up.

‘'Scott’s still out there.’’

''Jean, she is going to tear up this jet if we don’t go right now.’’ The jet groaning cuts off her reply, screws and bolts loosening and panels starting to cave in. The jet has begun to hover, the woman now out of view. Pulling the accelerator Hank winces as the jet swings north, its tail high whilst its nose sinks to the floor.

‘’Hasn’t Scott ever taught you how to fly this thing?’’ Bobby asks.

‘’The right thruster is damaged. We don’t have enough power to get in the air with her holding us down. And the left thruster is sending us tail spinning. Jean, I need you to use your powers to get us out of her reach.‘’

Reaching out with her telekinesis, Jean quickly meets resistance, her grasp on the ship dissipating as soon as it touches. The young woman’s power was telekinetic in nature, similar to Jean’s but somehow darker, her gift more primal and cunning. The red tendrils, twisting and turning violently, the body of red contorting like a dying animal, eat away at Jean’s power as soon as they come face to face, their owner's grip increasing by the second. The jet still screaming, web-like cracks begin to spiral across the window, threatening to crave in on the group.

Straining harder, sweat trickling down her brow, Jean focuses and lets a brief memory of a danger room session flitter past her mind. She recalls Scott leaning down to her ear, already towering over her even as young teenagers, one hand on her shoulder, reminding her when brunt force didn’t work, good strategy never fails. There’s no need to smash a jar when you can just unscrew the lid.

The battle between them was a fight of fire against fire, their jet burning in the flames. Pulling back Jean lets the jet rattle, as the boys swear in panic, she lets the girl think she’s the one in control. The stranger distracted by her sudden free reign to pull the jet apart like cotton candy, doesn’t notice Jean sharpening her telekinesis into hooks, not until it’s embedded in the crimson tendrils yanking them out one by one till the yet is free. Without restraint it soars into the clouds.

---------------

Now miles from where Scott has slipped into the world of unconscious, the blackbird glides through the grey clouds, its black hull gleaming in the moonlight. Undeterred by the labyrinth of roads and grassland below they would have reached the school hours prior, had the plane not been implementing defensive maneuvers devised by the one teammate not there. Scott had spent many nights in the library, bathed in the flickering light of an old lamp, mapping out a journey in case they needed to shake off any unwanted pursuers after their mission. The map he had spent hours leant over, rests upon Jean’s knees, her thumb tracing over the controlled scrawl of directions.

At the back of the plane, Angel is sitting, his eyes closed and his head tilted back. Jean’s not sure if he’s awake or not. Usually, a small nudge of her telepathy would let her know if her teammate was in the land of consciousness but the gift remains cut off from her, it’s like trying to see in a thick fog, frustrating and useless. A neat row of stitches snakes along the edge of his wing, the skin around is a painful pink, Jean was uncomfortably reminded of an uncooked turkey wing.

Bobby sits beside her, still in his ice form, tendrils of cold reach out raising goosebumps on her arm. ‘'Do you think he’ll be ok? With Hydra and Magneto there.’’ A collective shudder rolls through the group at the name. Though they’d been pursuing The Brotherhood, intel they obtained had put the Master of Magnetism miles away, deep in the belly of Madripoor. They had been unaware he was in The Brotherhood’s jet until wasn’t, until he was midair ripping the roof off the Hydra base with a flick of his wrist, causing soldiers to swarm out like an army of ants.

‘’He’ll have found a place to lay low, Bobby.’’ Jean murmurs, the writing on the map has smudged, her fingertips turned grey.

‘’But you heard Angel. He didn’t even have his glasses.’’

‘’It’s Scott.’' The words come out sharper than they were meant to, they’re short verbal daggers that she spits at him, for pulling her own worries out of her head like he’s the telepath instead. Without the reproachful look from Henry or seeing Bobby’s muted flinch she knew she’d gone too far. ‘'Sorry. It’s Scott. He’ll have found a way to stay safe.’’ One of her hands finds his shoulder, ignoring the icy chill it squeezes reassuringly. ‘'I promise.’’

‘’We shouldn’t have got off the jet,’’ says Bobby. Stepping off the jet had been ill-advised, they had been little more than bloody meat floating in shark-infested water, their plans crumpling like paper.

Red lights above their heads, blinking on and off, shows the radio is still down like the buzzing static filling the air doesn’t already let them know. Still, Hank feels the need to point out, ‘’The radio is still down.’' One hairy hand taps it like it’s not the only thing Jean has been watching this flight. ‘’Have you any telepathic contact yet, Jean?’’

‘'I’ve been trying to reach Professor Xavier, but it's like there's some kind of interference. I can't get through to him.’’ There’s a slight thumping pulsing in her head, a prior warning for the headache threatening to hit her full force if she didn’t put the telepathic phone to Xavier down.

‘’It sounds like there’s a telepathic dampener blocking you. If he can’t get through to you it’s likely that he doesn’t know Scott isn’t with us.‘’

‘’Maybe we don’t need the Professor to know where Scott is.’’

‘'What do you mean, Bobby?’’ Jean asks.

Gesturing to the left wall, Bobby says, ‘’Look at that.’’ There’s a mesh of devices hooked onto the wall panel, a few of them skimming the ground after the earlier telekinetic battle, wires trailing after them. Just below the roof, there’s a row of screens, linked to the exterior’s camera. Whilst most of them, show dark sky and grey clouds, the occasional bird breezing past, the furthest one looks half broken, a white blur eating away at half the feed.

Squinting Jean realises it’s not broken, the camera is embedded in a bed of snow, leaving only a sliver of the outside world visible. The mountainous hills in the background lets them know where they lost it, the Alaskan Hydra base. ‘’Hank, can you zoom in further?’' Complying he hits a button, the feed freezes for a moment before the image focuses in, blurring before it clarifies, revealing Scott Summers, bruised and blind but alive.

‘’We need to turn around.’’

‘'Jean, we can’t do that. I don’t even know if we have enough fuel.’’

‘’Hank, he’s right there. And night’s falling, he could freeze to death. He’s alone we can’t just leave him.’'

‘’He’s not alone.’’

‘’What.’' Jeans turns back around at the sound of Bobby’s voice, not acknowledging the subtle shift in his emotions she’d been unable to detect until now. The feed had been quietly projecting the sound of howling winds from the scene, the noise drowning out everything else. Now a crunching is relayed into their jet, slowly getting louder until sturdy purple boots enter the frame, the rustling sound of a cape accompanying them.

Jean’s throat goes dry like she’s spent the day in the desert rather than frozen mountains. She watches as the figure, the man she’s fought tooth and nail with many times, lower himself down to Scott’s level, one hand shifting to his face. Minor movements signal Scott’s finally awake. After a few seconds, harrowing moments where Jean envisions a metal fragment being wedged into his chest, Magneto rises, Scott held in his arms, red glasses now on.

Then without warning a verbal hurricane erupts in her skull. Crying out, Jean jerks forward, hands clutching her head as voices ring in her ears, the thoughts of the X-men barging down her telepathic walls. Their worries and confusion infiltrating her mind, their words drowned out by the sound of blood rushing in her ears. Quietly, barely in the background, she can hear a symphony of thoughts from the small town miles below the jet, she hears the child calling out their dog’s name and the father looking for his car keys.

Seconds later, a familiar presence peeks into her mind, the barrier once holding him back now gone, the professor quietens the voices and injects calm with a single nudge of his power. His presence is firm but gentle as he routes through her mind, catching up on the events of the day. Finally, she feels him, poking at her occipital lobe, till he can see the screen before her. The silence stretches long enough that Jean worries he’s been barred from her mind again until he says the name none of them had dared to utter, ’Magneto.’

Hi hope you don't mind I've tagged a few people that liked chapter 1. Let me know if you want to be tagged in future chapters. @rbookgirl23 @stormxpadme @morallyambigousgreyon @sunriseseance

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qlmb · 10 months

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Y'know, you should be watching Hollyoaks. - Why is Hollyoaks overhated?

Why is Hollyoaks overhated? The question lingers in the air like an unsolved mystery, as viewers across the globe overlook the hidden gem of the soap-opera world. With its vibrant characters, relentless plot twists, and unabashed commitment to delivering entertainment at warp speed, Hollyoaks has carved its own rebellious path amidst the sea of soaps. Yet, it remains unjustly overshadowed by its bigger, more established counterparts. In this article, we embark on a journey to uncover the truth behind Hollyoaks' perpetual underdog status, and why, against all odds, it just might be the best damn soap-opera out there. Buckle up, skeptics, as we delve into a world where melodrama reigns supreme and where Hollyoaks shines as a beacon of unapologetic brilliance.

Oh, Hollyoaks, the pint-sized powerhouse of the soap opera world. Born in 1995, it emerged as the fresh-faced rebel of the soap world, determined to shake up the status quo. Set in the fictional village of Chester, Hollyoaks captivated audiences with its youthful energy and boundary-pushing storylines. Over the years, it has fearlessly tackled hard-hitting issues, fearlessly delving into the darkness of teenage struggles, mental health, and societal taboos. Nowadays, however, prepare to be dazzled and left gasping for breath as you enter the whirlwind of drama, intrigue, and hair-raising plot twists that is Hollyoaks. This isn't your grandmother's slow-burning, snail-paced soap opera, don't you remember EastEnders last Christmas day? No, this is a turbocharged thrill ride that leaves you wondering if the writers have secretly taken up residence in your brain.

Unlike its contemporaries, Hollyoaks operates on a different frequency altogether. It's as if someone turned up the dial to maximum intensity and injected every episode with a potent dose of adrenaline. Gone are the days of dragging storylines that take months to unfold. Instead, Hollyoaks sweeps you off your feet, tossing you headfirst into a maelstrom of jaw-dropping events. Most storylines lasting the full week, with intense and ACTUAL gangster characters.

... but... If you don't like the drama and intense fights and hardcore, psycho storylines with villains, there's plenty of relaxing, light-hearted and overall happy moments. Ste's wedding with James made me cry. Hell, alot of the times I cried. I really lost myself in the world of this show. It's amazing.

What makes Hollyoaks truly stand out from the crowd is its knack for condensing an incredible amount of drama into each episode. It's like they've taken a full-length soap opera and distilled it down to its most potent essence. This means you get a concentrated burst of explosive storylines, simmering tensions, and electrifying confrontations, all neatly packaged and served up within a mere 22 minutes. It's like soap opera adrenaline on steroids. Dose me up!

And boy, does Hollyoaks know how to keep you on the edge of your seat. Blink, and you might miss a crucial revelation, a shocking affair, or Hollyoaks bad boy Warren Fox suddenly kidnapping a police-officer to threaten another man. The breakneck pace leaves no room for dull and boring filler or tedious scenes. It's like the writers have made a pact with the devil to ensure that every second is packed with enough excitement to make your heart palpitate and your jaw hit the floor.

Warren Fox waving, Hollyoaks resident - Professional Gangster - Established and Matthew-verified DILF

But it's not just the breakneck speed that sets Hollyoaks apart; it's the sheer entertainment value. This is a soap opera that knows how to have fun. Sure, there's plenty of angst, heartbreak, and dark secrets lurking in the shadows, but it's all tempered with a healthy dose of wit and irreverence. Hollyoaks doesn't take itself too seriously, and that's precisely why it's so darn enjoyable. It's like a rollercoaster ride with unexpected twists and turns, where you can't help but throw your hands in the air and let out a gleeful scream. So, if you're tired of soaps that move at the pace of a snail on tranquilizers, buckle up and dive headfirst into the electrifying world of Hollyoaks. Be prepared for a condensed, breakneck journey that will leave you breathless and craving more. In the realm of soap operas, Hollyoaks reigns supreme, injecting a shot of pure adrenaline and entertainment directly into your veins. Brace yourself for the most turbocharged, exhilarating 30 minutes of your TV-watching life. I heavily suggest you watch Hollyoaks. It took me a week to pick up the characters. It's easy. You will thank me later.

#hollyoaks #television #soap opera #uktv #uk tv shows #qlmarticle

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singofsolace · 1 year

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Thoughts on The Terminal (2004)

If I'm being completely honest, I didn't enjoy The Terminal as much as I expected to after watching the trailer.

I thought I was going to love it, because I loved the basic concept of the movie: that a man gets stuck living in the JFK airport because of a military coup in his home country, which therefore renders his passport and visa invalid. I also assumed that Catherine Zeta-Jones and Tom Hanks would be a good pairing together, and that was enough to get me to rent it.

But you know what? Between Hanks' distracting attempt at a Bulgarian accent and the "Krakozhian" language, and CZJ's flight attendant character, Amelia Warren, choosing to be in an ambiguously toxic relationship with a married man instead of with Viktor at the end... it just didn't do it for me. It was mildly entertaining, and worth the $4 I spent to rent it, but besides that? it didn't really live up to my expectations.

The ending wasn't satisfying to me, particularly because the leading man and leading lady don't end up together, and the motivation for Viktor to want to stay in the airport and eventually make it to a hotel in NYC didn't feel like it had high enough stakes. You're telling me that getting an autograph for his dead father was worth the price of a plane ticket from Eastern Europe to NYC, let alone nine months of living in an airport...? And that part isn't even played for laughs, like you'd expect to be... it's played as truly earnest and sentimental...? And the question of "what's in the peanut tin?" is teased for the majority of the movie, only for it to be...autographs?

I think I'm just confused about the expectation vs. the reality of the film. The expectation I had going into it was that it would be funny (it was) and that it would have a heart-warming, unexpected romance between Catherine Zeta-Jones and Tom Hanks (which it did... until it didn't?). Like, wasn't this movie meant to be a bit of a romantic comedy? Or was I just completely mistaken as to the genre of the film...? I thought so much more of it was going to be about Amelia and Viktor's relationship, and how they come together despite the odds, but the movie ends with them apart...?

The ending also just doesn't feel "earned." At least, it didn't to me. There suddenly being peace in his home country is one thing, but Amelia managing to get him a one-day emergency visa, only for her to announce that she is back in a toxic relationship with a married man and won't be going into the city with Viktor, is such an unexpected and strange twist? Putting aside how absurd it is that she even managed to get him a one-day visa without his knowledge in the first place, what was the point of the whole Amelia plot line if they weren't going to at least end on good terms...? A small nod from her before he gets into the taxi isn't enough to tie up that relationship at all! I didn't need them to get married or anything; I just wanted them to at least have some closure; a conversation about why their relationship would never work, but it's been fun while it lasted, you know? Instead, it's played as a tragic character flaw in Amelia that she'd rather get back with her married lover who is constantly lying to her and cancelling plans, than to leave the bastard for good and spend what little time she has with Viktor being happy...?

Ugh! it bothers me so much, because it could've been such a heartfelt, realistic ending, if they just dealt with the reality of a flight attendant trying to have a relationship with an immigrant who is inevitably going to leave one day, and she'll never see him again. Instead, they went with "actually, she dumps him for her toxic ex, and that's that." What?! Why? They don't even explain why she wants to get back with him in the first place, just that she warned Viktor to stay away from her and her bad romantic choices...?

Anyway, the movie is still worth watching, I think I just set my expectations a little too high. On to the next!

#the terminal #tom hanks #catherine zeta-jones

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chrisdeanfuller · 1 year

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Hyperion Cantos Series by Dan Simmons

I read the Hyperion Cantos series by Dan Simmons, and it was good. It’s a series of four books, Hyperion, The Fall of Hyperion, Endymion, and The Rise of Endymion. The series is, in some ways, two series, back to back. The first two books comprise a pilgrimage to see the Shrike shrine/monster and the last two books comprise the life of Aenea, a messiah sent to bring about salvation to the universe taking place almost 300 years after the first two books.

The first book won the Hugo literary award. It's about seven people journeying to see a monster called the Shrike that supposedly grants one of the pilgrims their wish while killing the rest. The Shrike is nine feet tall, completely covered in sharp blades, with four arms, and the monster can stop time for everyone around it whenever it wants. This book primarily introduces all the characters on this pilgrimage and stops right as they reach the shrine/warrens of the Shrike which was slightly disappointing. The background story of each participant is fascinating in its own way. The worlds and universe he weaves are amazingly imagined. It's definitely a recommended read.

The second book, The Fall of Hyperion, was okay but definitely not as good as Hyperion. It continued the story right from where it left off and divides into multiple tangents. Because of all the different characters and story lines, it feels somewhat disjointed. By the end of the book most things come together, but sometimes feel forced together. I wish the book had maps, but there are fan art maps available on-line. There were also some surprising twists I liked, and the writing is mostly good. The author has an obvious love affair with the poet John Keats, which is distracting. Still, it's an okay follow-up to the first book and a recommended read if you really liked the first book.

The third book, Endymion, was excellent! This book begins almost 300 years after the second book leaves off. A child, Aenea, destined to become a Messiah is transported to Hyperion where forces wanting her captured, and forces wanting her free, battle as they journey from one planet to another. The action moves along, the plot isn't too complicated, and the characters are compelling. The writing is good. There aren't many creative twists, or mind-blowing concepts, but the scenarios and situations are engaging. It's a popcorn novel, and it's a recommend read.

The fourth book, The Rise of Endymion, was okay. This book has some great parts where the protagonist and this messiah travel, avoid bad guys, fight bad guys and make friends, and then goes into these long explanations and re-explanations of history, of what's true and not true. The book is simply too long. The ending wraps everything up satisfying fairly well with an interesting and unexpected twist. Overall the series is good, but not great. He does a fantastic job creating an amazing universe of worlds, factions, species, and characters. The universe is incredible, he just took too long to describe it. He narrates interesting stories, some better than others.

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byneddiedingo · 2 years

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Susan Sarandon and Burt Lancaster in Atlantic City (Louis Malle, 1980) Cast: Burt Lancaster, Susan Sarandon, Kate Reid, Michel Piccoli, Hollis McLaren, Robert Joy, Al Waxman, Robert Goulet, Moses Znaimer, Angus MacInnes, Sean Sullivan, Wallace Shawn. Screenplay: John Guare. Cinematography: Richard Ciupka. Production design: Anne Pritchard. Film editing: Suzanne Baron. Music: Michel Legrand*. Old gangsters, like old gunfighters, make good movie protagonists, witness the success of Martin Scorsese's The Irishman (2019). There's something about a survivor's story that draws us in, giving veteran actors good roles to play at the waning of their careers. But director Louis Malle and screenwriter John Guare give us a special twist on the survivor's story, eventually revealing their old gangster to be a bit of a fraud, a hanger-on after all the big guns have been killed off, a has-been who is really a never-was. Hence the glee of the elderly Lou Pascal when he actually guns down two thugs -- something he never had the nerve to do when he was a bit player in the mob. Atlantic City works neatly with two kind of dreamers, both with impossible dreams. Lou's dreams are impossible because they're about an illusory past in which he was a big shot, whereas the dreams of the young, like Sally Matthews's, are impossible because they don't have what it takes to fulfill them. Burt Lancaster and Susan Sarandon got Oscar nominations for playing Lou and Sally, and the film itself racked up nominations in the three other categories in the "top five": picture, director, and screenplay. It won none of them, but like so many Oscar also-rans it has become more valued over the years than most of the winners: Who today remembers Chariots of Fire, which won for best picture and for Colin Welland's screenplay, or has the endurance to sit through Reds, for which Warren Beatty won best director? I cherish Atlantic City for the many unexpected angles through which it views its sort-of-lovable losers, for its use of the crumbling old Atlantic City as a metaphor for the ravages of time, and for lines like Lou's "You should have seen the Atlantic Ocean in those days."

*A courtesy credit: Although Malle commissioned a score from Legrand, he decided not to use it. The only music in the film is diegetic, like Sally's tape recording of Bellini's "Casta Diva" and Robert Goulet' s rendition of Paul Anka's "Atlantic City, My Old Friend."

#Atlantic City #Louis Malle #Susan Sarandon #Burt Lancaster

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insanexade · 2 months

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Why Life Insurance is the Unsung Hero of Our Stories

Hey friends,

As I navigate the early morning streets of Warren Ohio, delivering the day’s news to your doorstep, I can’t help but reflect on the stories hidden within those pages. Some tales are of triumph, others of loss, but each carries a message, a lesson about the unpredictability of life.

In my journey as a newspaper carrier, I've come to see the world through the lens of daybreak—where every morning brings a new story, a fresh start. But this job, much like the tales within those pages, speaks to the unexpected turns life can throw our way. It’s got me thinking about the importance of being prepared, of writing our own stories with a bit of foresight. That's why I've delved into the world of life insurance with PHP Agency, not just as a broker but as someone who genuinely believes in its value.

Life insurance, in many ways, is like the unsung hero of our personal narratives. It's there, in the background, providing a safety net for the chapters yet to be written. Here's why I think it deserves a spotlight in our lives:

1. It’s About Love, Not Loss: The heart of life insurance isn't in the event of loss; it's in the act of love. It’s about ensuring that those you love most will have financial stability, even if life throws a curveball their way.

2. A Legacy of Care: Just as every story seeks to leave a message, life insurance allows us to leave a legacy. Whether it’s ensuring your kids can go to college, your partner can pay off the mortgage, or simply that your family won’t be burdened by final expenses, it’s your way of saying, “I’ve got you covered.”

3. More Than Just a Policy: Life insurance can be more versatile than you might think. From term policies that offer a safety net for a specific period to whole life policies that build cash value over time, there’s an option that fits your chapter of life.

4. An Act of Empowerment: Deciding to get life insurance is like choosing to own your story. It’s an empowering step that says you’re proactive about protecting your loved ones and securing their future.

I share this with you not just as a broker looking to sell a policy but as a friend who delivers your news, who understands the value of stories and the importance of being prepared for all of life’s twists and turns. Life insurance is a tool that helps us write a more secure story for ourselves and our loved ones.

As we continue to share moments, laughs, and debates, I’m here not just to deliver your paper but to talk about how we can secure our stories’ future chapters. Let’s chat about it—whether it's over a morning coffee after I drop off your paper, or a quick message here on Facebook. Your story matters, and I’m here to help you protect it.

#LifeInsurance #familyprotection #financial planning #securefuture #InsuranceTips #moneymatters #wealthbuilding #newspaper #life

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dargeereads · 5 months

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White Lies by Skye Warren

5 stars

Wow, I wasn’t sure where this was going to go, and it certainly took me on a wild ride! We left the last book with our heroine kidnapped, and our hero in a funk after sending her away. How the truths came out, unexpected. How the stories, seemingly separate, intertwined, unforeseen. How all things hopeless came together, unanticipated. How that ending took a twist, just when it seemed all things were worked out, unpredicted. Cannot wait for the third book in this trilogy, Black Sheep, and what else is in store for Sienna and Logan!

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warrenferstermanchester-blog · 5 months

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A Look Back at Entrepreneurship in 2023

A Look Back at Entrepreneurship in 2023 http://warrenferster.uk/a-look-back-at-entrepreneurship-in-2023/ As we bid adieu to 2023, it’s only fitting to reflect on the journey of entrepreneurship throughout the year. Picture this: the bustling activity, the challenges faced, and the unexpected twists that shaped the business landscape. In October 2023, insights from the Voluntary Fortnightly Business Survey (BICS) painted a vivid picture of the state of UK businesses. One notable highlight was the resilience exhibited by trading businesses. A staggering 67% of those with 10 or more employees sourced their materials, goods, or services from within the UK. However, it wasn’t all smooth sailing, as 13% encountered challenges—either failing to secure necessities domestically or having to pivot to alternative suppliers. Global supply chain disruptions, a perpetual concern, remained stable at 5%. This figure, the lowest since late 2021, indicated a degree of adaptability within the business sphere. In November, a notable shift towards increased homeworking emerged, with 18% of businesses considering it a permanent model. Improved staff well-being claimed the top spot as the driving force behind this change, accounting for 56% of the respondents. Worker shortages, a shared woe for some, affected less than 10% of businesses in late November. Of these, a substantial 44% reported an inability to meet demands. The wage landscape witnessed a modest shift, with only 7% of businesses noting an increase in hourly wages from October to September 2023. Diving into the global outlook, a retrospective on the financial predictions for 2023 reveals a mixed bag. The anticipation of economic slowdown proved overly pessimistic, with the U.S. economy defying expectations. Contrary to fears, the GDP report showcased a robust 5.2% annualized growth, bolstered by consumer confidence and a consistent decline in inflation. Europe, navigating challenges such as gas shortages and soaring inflation, showcased unexpected resilience, with the Euro rebounding against the dollar. China, despite a surprising exit from “Zero-COVID,” faced growth impediments due to a slow-motion deleveraging process in the property sector. In the financial markets, the year favored risk assets, yielding nearly 20% total return for the S&P 500. Despite some misjudgments, such as the failure to foresee the bounce-back from mega-cap tech companies, the overall investment landscape delivered positive returns. As we conclude this year and set our sights on 2024, the key takeaway is the need for a thoughtful and reflective approach. The business terrain, much like the financial markets, is dynamic and influenced by multifaceted factors. The lessons learned from the challenges and triumphs of 2023 will undoubtedly shape the strategies adopted by entrepreneurs in the exciting journey ahead. The post A Look Back at Entrepreneurship in 2023 first appeared on Warren Ferster Manchester | Business.

#Warren Ferster Manchester | Business

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squidlykitten · 7 months

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**No. 12: “I haven’t slept in days but who’s counting?”**

Red | **Insomnia** | “I’m up, I’m up.”

Their shadows haunted him everywhere he went. He could feel them on the edges of his consciousness, catch the movement from out of the corner of his eyes. He had failed them. He was determined not to fail another.

The warren was almost completely empty now, its seemingly endless halls stretching out and twisting in front of him as he continued his endless patrol, the whispers of the dead echoing with every footstep down the long and empty corridor. He blinked, and forced the image back into alignment.

He was overtired. He *knew* he was, knew he was nearly three days past his scheduled rest cycle, and yet…

He was the only one. The only Guard remaining. To sleep now would be to abandon them, to let Kahna and her cohort go unprotected. None of them were military spec -- he doubted Kahna even knew how to pull the safety off. She was soft-bodied, a Noble, and though her will was steel she couldn’t protect herself, she couldn’t --

He could already picture it, the images shimmering like a mirage, the trail of blood upon the tiles, the echoing screams, the help that could only come too late.

Someone… someone was… Some*thing* was…?

His footsteps slowed, stumbling, his mind fuzzing away into the darkness, eyelids sliding closed.

Some… one… was…

A jolt of bright adrenaline rushed through his veins, startling him awake again, sending him reeling against the wall, scrambling for purchase. Footsteps behind him, danger!, the cohort was sleeping, his hand reaching for his blaster, it was their off-shift, no one else should have access--!

A gentle hand was laid upon his shoulder, Kahna’s eyes soft as they locked onto his own. Kajj’s hand went limp upon his holster, his arms dangling uselessly.

“You need to go to sleep,” she told him, her voice just as firm as it was at any budgetary meeting. “The warren is locked, Motherguard. No one is getting in.”

Anger mixed with fear, a sharp prickling mess, and Kajj glared down at her, pushing her hand off of him and away. It was *always* supposed to be safe. It was supposed to be the most secure location on the flotilla, the innermost sanctum, behind locks and locks and locks and -- *the smell of blood, old and congealing. The reek of flesh, half burned from the plasma blasts.* “*NO*,” Kajj snapped, a little more forceful than necessary. Why did no one listen to him? Why did they always insist he was paranoid, send him away…? “It isn’ t *safe* anymore, Treasurer. If I -- I *can’t*--” “You *will* rest,” Kahna Commanded, eyes hardening, her jaw set, and Kajj felt the order snap into place within his mind, felt the push from the weight of the Collective, urging him to obey. His already aching head rang from it, and he fought it, even knowing it would only make it worse.

He was all that was left. Guarding the warren, guarding the shadows, the whispers in the dark. He couldn’t rest, not now, not ever, the moment he stopped, the moment he turned his back--

“*REST*, Motherguard,” Kahna insisted, grabbing a fistful of his uniform and pulling him towards his own resting chambers. Her hand was small, but wiry, full of an unexpected strength -- but she could not move him without his cooperation. Eventually, he relented, though he could not have told you how. One moment he was there, the next --

Pacing his chambers, walking around and around the room, an animal trapped within a cage, the pressure of the order prickling at the back of his mind, losing time in fits and starts, his body moving robotically towards its next task, the shadows quavering in his wake, reaching for him, whispering, questioning. Where had they gone? Where had he gone wrong?

There would be no rest for him, not tonight. Not ever, until the answer was found.

#whumptober 2023 #no.12 #insomnia #im up im up #my writing #my ocs #oc kajj #oc Kahna

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theloniousbach · 10 months

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COUCH TOUR: JOHN SCOFIELD and BILL CHARLAP with Scott Colley and Bill Stewart, 92nd ST Y JAZZ IN JULY, 25 JULY 2023

This unlikely combination worked just fine and, as curator of the series, BILL CHARLAP knew what he was doing. For all his elegance and suits to extol the Great American Song Book, he is a 21st Century version of the Modern Jazz Quartet wearing tuxedos to send a message about the seriousness of themselves and their art. I don’t think Charlap sees himself as comparable to symphonies (who aren’t wearing tuxedos anymore, by the way), but suits and ties are far from de rigeur anymore either. They do though impart a well-deserved gravity for what he and Peter Washington and Kenny Washington accomplish.

He wasn’t wearing a tie though as he sat down to play with JOHN SCOFIELD who yes played with Miles Davis in the 1980s but also whom I have seen/heard in jam and settings with Phil Lesh and Warren Haynes. He can roar. But he can also play stately runs and finger twisting jazz chords, both comping and fingerpicked in chordal solos. And he was quite at home in a set of standards, including Alone Together, Easy to Remember, an Irving Berlin tune, Georgia on My Mind, and, best of all, an adventurous On Green Dolphin Street in 7/4 time (On GreeK Dolphin Street as per drummer Bill Stewart). The last was wonderful; I wouldn’t syrto to it, but it was nicely off kilter enough to freshen things up.

They also raved up the 1926 vaudeville tune ‘Deed I Do late in the set which featured Scofield riffing a quite distorted guitar. Charlap was equally rollicking.

Charlap knows the jazz canon too so there was Sonny Rollins’s Airegin and a Charlie Parker tune that I should be able to place. Both percolated nicely with both of them showing their stuff. But so did Scott Colley who was a rock all night, pulsing along in the service of both soloists. Stewart too pushed the rhythm around very nicely.

They closed with Well You Needn’t and another Monk blues that even more than the Parker I should know. Charlap of course has some edge with his elegant rhythm section which can easily let the throttle out, but I’d never heard him play Monk.

It was a night of such unexpected delights.

#concert review #jazz #couch tour #2023 #92nd street y

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watching-pictures-move · 1 year

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Movie Review | Blue Thunder (Badham, 1983)

You know, it would be a real shame if the police became militarized. And it would be a real shame if that was through their adoption of a state of the art attack helicopter. And it would be a real shame if that state of the art attack helicopter were to engage in the helicopter equivalent of a dogfight through a densely populated city that resulted in a shitload of collateral damage, including the destruction of a local Japanese barbecue restaurant. Yeah, that would all be a real shame. Of course, that collateral damage shouldn't have been unexpected. When we first see a demonstration of the state of the art attack helicopter at work, watching it blow away countless red cardboard terrorists while trying to avoid white cardboard civilians, we see it's maybe a bit less accurate than it's been touted.

"One civilian dead for every ten terrorists. That's an acceptable ratio." "Unless you're one of the civilians!"

This is a movie where its satirical aims probably are undermined by its commitment to its premise, but isn't necessarily less entertaining as a result. I understand the original story idea came from screenwriters Dan O'Bannon and Don Jakoby losing sleep thanks to the pervasive presence of police helicopters, but whatever venom was directed towards these things in earlier versions of the screenplay has been significantly diluted in the finished film, which is hopelessly infatuated with the state of the art attack helicopter that's supposed to represent the military industrial complex run amok, and shoots it with lovingly as it demonstrates each one of its fancy schmancy special features. Not only does it have an advanced targeting system that lets you get a bullseye just by looking at something, or super powerful microphones that let you eavesdrop on army bigwigs as they declare their roles in a criminal conspiracy, but it also has hi-tech cameras that offer not just thermal imaging, but zooms powerful enough to surveil a hooker's tits as she euphemistically negotiates with a john.

Apparently an earlier version of the story had the PTSD-stricken protagonist go on a rampage. Technically that still happens in the movie, although it's softened by having the hero rampage really in self defense as the bad guys are trying to shoot him down, and also by the fact that it looks really cool as it goes down. Any movie with cool helicopter shit is automatically a good movie, and that's especially true here, as this has the coolest helicopter shit and is therefore the goodest movie. The second half of the movie provides a number of great helicopter action sequences. These are executed with a mix of aerial stunts and really convincing miniature work (only a sequence involving F-16s looks a little choppy), and captured by some gorgeous widescreen cinematography by John A. Alonzo, who has the supernatural ability to catch the light bouncing off the helicopter at just the right angles as we swerve through the air along with it over the Los Angeles cityscape.

The PTSD is in the finished film too, less a motivator than shorthand for the hero's distrust of the military. As played by Roy Scheider, he's given a certain amount of grit and texture, lending some conviction to the movie's skeptical viewpoint even as it's completely undermined by the imagery. He's joined by Warren Oates and Daniel Stern, who are on opposite ends of the grizzled spectrum, and butts heads with Malcolm McDowell, who plays the biggest asshole in the continental U.S., and whose wincing from his real life fear of flying only adds to his teeth gnashing villainy. And lest you think the movie's thrills are all masculine and aerial, it throws in a twist in the form of a Candy Clark Car Chase, which it foreshadows earlier in the movie by having her drive like a maniac.

#film #movie review #blue thunder #john badham

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