#'this has the same energy as american cop movies'

[sugarplumsfairy]

me again 😅 you're probably not doing the game anymore but I wanted to ask a follow up question akdnksdnks what did you think of the майор гром movie? I saw that you have it logged on letterboxd, thoughts on the whole 'does it have a political agenda' discourse? (your field of study sounds very fun btw)

hello again!! <3 i'm still playing and спасибо тебе <3

ok so майор гром...and 'does it have a political agenda'

yes 100%, it has one. i haven't read the original comics, so i can't really comment on those–but as a film on its own, it definitely has an agenda (pro-cop, anti-protest at its heart)

*disclaimer: it's been a while since i've seen this movie, so my memory of details is a bit foggy*

like igor grom himself is a police major who goes after dissidents (and in this case, sergei) –– the film's premise emphasizes the heroism of a police officer who works for the government and keeps government interests in mind. but then again, he's also treated as a rogue and fired. however, the film ultimately makes an exemplary of him because he is able to subdue the antagonist. there's also the fact that the things sergei and his followers protest...are elements of corruption. um...

the other thing too is that sergei's/plague doctor's characterization and the treatment of his mental illness is also indicative of an agenda. Of course there's also the trope of mistreated orphan becomes an antagonist who's anti-establishment. so the film is telling us that anyone who's anti-government (and anti-corruption) has mental illness :) (oi) also doesn't he also create an app that has greater encryption? (it's been a while since i've watched it)

i feel like this film definitely has an agenda, despite the overabundance of cliches and plot-twists. Because this movie is kind of like a marvel movie (a cliched comic book action movie that isn't considered 'high art') it can get dismissed as being 'just a movie'

however, just like any marvel studios production can be read as pro-american military propaganda no matter how good or bad it is, this movie can be read as being pro-police/pro-government simply based on its premise and the construction of its antagonist.

though i haven't read the comics, i read some reviews of them and apparently they're quite political and specifically pro-government/propagandistic

so it's not really a surprise that the film would reflect the themes of its source material.

your opinion on…

#it's been a while since i saw it #so my memory of details is a bit fuzzy #but i definitely remember watching it and thinking #'this has the same energy as american cop movies' #asks #the big (really only) draw this movie has for me is looking at tikhon zhiznevsky for 2 hours #also i really like doing these!!! <3

[zooterchet]

Weekend Update

MUSH directors Reliant (internet vigilante, for military codes of RL to follow MUSH IC consent rules), Dr. Leo (US Navy, quartermaster's meals and galleys, Quebec and New States of Britain), and Scorpio (mall security cop and convenience store manager, self write-in in Observe and Report to communicate to his friend "Mini-Peebo", lost at sea) continue to be embattled by the US Department of Justice as Shah's agents (Reliant found with dossiers in Farsi and Hebri-Iran, of his radical version of Autism Speaks, the Ba'ath era Republican Guard, under Uday Hussein, Dr. Leo attempting to explain why local Down's Syndrome hero ran a street hit on "Mini-Peebo" for being pro-life under information supplied by college professor Dr. Matthew Lennox, when the stated point of support to lead M3 was given as pro-choice, Pat Ware's endorsement by reason, and Scorpio's heroin addiction, following the murder of his drug dealer, Sayyed, "Short Circuit", a Detroit police officer undercover in the Yardies hunting the Insane Clown Posse and the Russian Mafia).

Jessica Bailey, grand daughter of Sirhan Sirhan and grand niece of Princess Diana, former wife to King Charles II, Connecticut State Police, DSS branch, remains at large.

Mini-Peebo, missing on the MUSH since 2004, claimed to be "autist" by local Bristol County Russian Mafia authorities with the psychiatric system, for having ADHD, a politician's caste dating to ancient Africa, prior to Egypt and settlement of the world, including in Mexican Atzlan culture, the only three exceptions to non-hyperactive politicians being Adolf Hitler, Harvy Milk, and Al Gore; a mental patient placed under armed guard between speeches, by German law students (the Eagle's Nest), a normal politician prior to his leg breaking in a gang hit from homosexuals (then gay, unable to jump), and Al Gore, claiming that ADHD was "exercises" and taking gymnastics (responsible for the downfall of the income tax, the rise of globing warming through the TV show "Captain Planet", and Enron deliberately staged to elect himself President, through conning Japan into thinking they were terraforming Mars, instead of opposing energy independence from oil, Enron's actual goal).

"James", the Longshanks Section Chief leader of "Koran Province" MI-6, New England, has defected to the Mossad, upon indictment of her spymaster for her three man action cell (the Obama election, through the Colbert Report, Obama elected mimicking McCain, objective achieved), Harry placed in Scientology, the spymaster in question; Elizabeth II found non-comprehense, due to actions by MI-6 psychiatric architecture expert, "Chet", also known as "Mini-Peebo", a chess blunder posturing Chet as her deceased husband, Philip II, calling her Rosa Klebb, her husband's pet name for her put in the film, "From Russia with Love", a chess blunder into king takes queen, the Queen resigning the match with a heart murmur; fatality within one week.

The paucity of American education continues, but only inside "charter schools", cop training academies (private schools), however with Hamas leader William Morgan Jr., FBI psychiatric nursing, as designing the system, taking Chet's notable preschool to college achievements, to get into West Point Academy, Thomas College NSA psychiatric pre-law defense, and Hofstra University Mossad Long Island, and altering them, to turn lawsuit entries into flaming homosexuals, the "Obama Legacy Fund", perfect models of John McCain, lawsuit-prone Rabbinical Muslim, however doggedly loyal to Obama, due to the funding of the program (McCain funded by the United Arab Emirates, and the Saudi medical film program out of France and their fraudulent textbooks, to medicate anyone fitting a movie role in constructive theory, with the same medicine, a magistrate's eugenics program, out of French-Canada).

[globabrand]

Fred Ward, ‘The Right Stuff’ And ‘Short Cuts’ Actor, Dead At 79

Ward, who appeared in films such as “The Right Stuff,” “Short Cuts,” and others, died on May 8 at the age of 79.

There was no mention of a cause of death.

Ward began acting in the early 1970s after three years in the United States Air Force. Ward was a renaissance guy who worked as a short-order cook, a boxer, and a lumberjack in Alaska. In 1979, he had his first major part in Clint Eastwood’s film “Escape from Alcatraz.”

“The Right Stuff,” starring Fred Ward, was released in 1983.

Ward played real-life Mercury 7 astronaut Virgil “Gus” Grissom in “The Right Stuff.” In “Henry & June,” he played Henry Miller, a chain-smoking, hard-drinking author who travels to Paris in 1931 to write his book “Tropic of Cancer.”

Ward obtained the film rights to “Miami Blues” in 1988, in which he played Hoke Mosely, a veteran Miami cop attempting to apprehend a suave ex-con.

Ward went on to work with Robert Altman in “The Player,” appeared as a gangster in Alan Rudolph’s “Equinox,” and portrayed a TV news presenter in Tim Robbins’ “Bob Roberts.” In the 1993 film “Short Cuts,” he played one of three guys who discovers a body while fishing.

In an emailed statement, Hofmann said, “The unusual thing about Fred Ward was that you never knew where he was going to come up, so unpredictable were his career choices.”

“Summer Catch,” “Sweet Home Alabama,” and “Abandon” are among Ward’s other cinematic credits. Ward has been on television in shows such as “The United States of Tara,” “Grey’s Anatomy,” “Leverage,” “True Detective,” and others.

Ward, who is also an artist, has recently focused part of his creative energy on painting.

His wife of 27 years, Marie-France Ward, and son Django Ward survive him.

Miguel Marquez of CNN contributed to this report.

R.I.P. Fred Ward, From Tremors And The Right Stuff

At the age of 79, actor Fred Ward passed away.

Ward was born in San Diego and lived a variety of lifestyles before breaking into acting in the 1970s. He is most known for his appearances in Tremors, The Right Stuff, and other films. The California native worked as an actress in New York for six months before hitting the road and working as a logger in Alaska, construction worker in California, and even a boxer, where he injured his nose three times.

Continue reading

Ward traveled to Rome, where he dubs Italian films and collaborates with neorealist legend Roberto Rossellini. In 1973, he made his acting debut in the three-part television series The Age Of Medici, directed by Rossellini. Ward returned to the United States and had minor roles in episodes of Quincy M.E. and the Brooke Shields pinball-spoliation cult classic Tilt before making a mark in Don Siegel and Clint Eastwood’s Escape From Alcatraz in 1979.

Ward leaned into his tough-guy character actor groove in the early 1980s, appearing in Walter Hill’s Southern Comfort and assuming the lead in Michael Nesmith’s futuristic, Mad Max-inspired Time rider: The Adventure Of Lyle Swan. His portrayal of Gus Grissom, the second American to travel into space, in The Right Stuff, an Oscar-winning real story about the US space program, raised his prominence.

Ward starred as Remo Williams in Remo Williams: The Adventure Begins in 1985. The Destroyer was based on a pulp book series, and Orion Pictures, who produced the film, planned it to be the first in a series: a “red, white, and blue-collar Bond.” Ward signed for three films, and while Remo Williams has gained a cult following in recent years, it was critically lambasted and bombed at the movie office in the fall of 1985.

The story continues…

Throughout the late 1980s, Ward continued to work in modest roles in cinema and television, and in 1990, she reunited with Right Stuff director Phillip Kaufman for Henry & June, a loose version of Anas Nin’s book of the same name about her connection with Henry and June Miller. The film is notable for being the first to obtain the NC-17 rating. The X rating was infamously co-opted by the adult film industry, and NC-17 was created to separate serious, non-pornographic films with adult themes; it’s also worth noting that several newspapers and television stations refused to advertise films with the X rating. Ward told the Washington Post in 1990, “There’s that sort of stench on it.” “They believe they’re going to Debbie.”

Ward also produced and appeared in the cult neo-noir Miami Blues and played Earl Basset in Ron Underwood’s monster movie favorite, Tremors, in the same year.

Ward spent the rest of the 1990s in big-budget comedies (Naked Gun 33 12: The Final Insult), two made-for-television films (Cast A Deadly Spell, Bob Roberts), and collaborations with Robert Altman (The Player, Short Cuts). Ward spent the rest of his career as one of the most memorable character performers on the big and small screens, with appearances in Joe Dirt, ER, Grey’s Anatomy, and his final performance on HBO’s True Detective.

Any memorial contributions should be donated to the Boston University Chronic Traumatic Encephalopathy Center, according to Fred Ward’s wishes.

#Fred Ward #Fred Ward 'The Right Stuff' and 'Short Cuts' actor dies at 79 #AccessHollywood #Tremors actors #vidIQ trending

[yetanothersonic]

A'ight, time for Sonic Multiverse 101!

Here's every important Sonic media/continuity/universe/dimension, summarized so you can educate you're non-Sonic-crazy friends.

Wrote this for my Discord friends last night and thought Tumblr might be interested.

Games:

Modern Sonic--Sonic Sonic/Normal Sonic/This is main one, used in almost every game, the OG, the truest canon, this is Sonic. He runs around, beats Eggman, destroys robots, and saves everything from the little animals to the whole planet when it rips itself apart.

Classic Sonic--Just Sonic from the past, until time travel in that one game set him on an alternate timeline.

Boom Sonic--Different universe altogether, where everything is less serious. This world got three mostly-terrible games and two good, hilarious seasons of TV.

TV:

90's:

Adventures of Sonic the Hedgehog (AoStH)--Humor, Robotnik and his henchbots are ridiculous, Tails is a 4-year-old, and Sonic Sez smoking, stealing, and accepting candy from strangers are No Good. Aimed at kiddos, explosions and goofiness.

Sonic the Hedgehog (Saturday Morning) (SatAM)--Darker and more serious, introduces the Freedom Fighters, trying to retake the Kingdom of Acorn back from Robotnik, while praying every day that their forest hideout isn't discovered, for fear of being roboticized into a mindless slave.

Sonic Underground--Sonic is a prince, has siblings, and they're in a band. They use music to fight Robotnik while trying to reunite with their mother so they can fulfill the prophecy that will free their kingdom from Robotnik's rule.

00's-20's:

Sonic X--Anime! The first one to actually come out of Japan, and the first that really took stories from the games, Sonic, friends, and Eggman get teleported from their world to Earth, and they (not Eggman) live with humans until they can get back home. Humor, but some parts could make grown men cry.

Sonic Boom--First in 3D, same world as the Boom games, stupid-funny, and Eggman secretly wants to be friends with Sonic.

Sonic Prime--??? Coming 2022!

Comics:

There are so many little manga and whatnot that I'm not going to mention them all. Here's the big ones:

Archie's Sonic the Hedgehog--American, originally based off SatAM, continuing the story of the Freedom Fighters. ~24 years of comics is too much to summarize, but there was romance drama, tons of world-building and lore, epic battles, angst, amazing characterization, a multiverse, and a reboot that took almost all of that away just a few years before the series finally caved. This has a few important alt universes, pre-reboot:

Sonic Prime--Savior of the multiverse, OG Sonic, yada yada. Likely no relation to the TV show of the same name.

Scourge--Anti-Sonic/Evil Sonic from the reverse dimension where everyone good is bad and vice versa. Green, wears a leather jacket and shades.

Zonic--Zone Cop from the No-Zone, 90 degrees from everywhere, in charge of keeping an eye on all the Sonics and making sure no one(Sonic or otherwise) goes into another universe unless it's necessary for plot without authorization.

Fleetway's Sonic the Comic--British, so I'm less familiar with it. Again starting with Robotnik having taken over the world, and Sonic and a different group of Freedom Fighters do their best to take him down. Unfortunately, this series never made it past the 90's. Also has a couple different Sonics that are important to distinguish:

Sonic--A bit of a jerk, though he really does care about his friends.

Super Sonic--Invincible psycho murderer who is activated when Sonic is too stressed or too exposed to chaos energy. Until Super gets his own body and looses his powers and memory, then he's an adorable baby who wouldn't hurt a fly.

IDW's Sonic the Hedgehog--American, the current series, three years old! Much more based on the games. Sonic and friends have to deal with whatever Evil Scheme Eggman has planned This Time, as well as dealing with a bunch of new baddies. Adventure!

Misc: OVA--The original movie/anime! Sonic, Tails, and Knuckles fight Robotnik and Metal Sonic, to rescue Princess Sara.

Movie--Sonic barely escapes his home planet with his life, then spends ten years stalking this human couple on Earth before getting caught and going on a Friendship Adventure. In the fandom, Sonic has adopted the couple's last name, Wachowski.

And I believe that's it!

#long post #sonic #sonic multiverse #melancholic if you see this this is what you're missing on the Discord #all the sonics

[monstermonstre]

October Spookathon 2021

As with every October for the past few years, I’ve done this 31 days of horror movies challenge (with relaxed rules because I refuse to turn it into a chore).

As always, I use the term “movies” lightly in this challenge. That’s to say that in order to help towards my final count (and because sometimes it’s hard to find the time or the energy for full feature-length films), single episodes from horror TV shows count. So when you notice that my total count of movies doesn’t reach 31, consider that every day missing from that list was replaced by an episode of either What We Do In The Shadows (which doesn’t need my recommendation, it rules and I think everyone knows it by now) or the new Chucky series (that is, so far, everything I could’ve hoped for in a Chucky TV series and more).

Also, I will add a lil star emoji next to the entries I liked so that, if you only want the recs, you can skip through the disappointments and go straight to the good stuff (according to my personal and therefore biased opinion).

Now that the disclaimer is done, here are the movies I’ve watched this month. (under the read more because it gets long)

Boys In The Trees (2016): I thought I was starting strong with this horror movie set during Halloween with strong werewolf symbolism and queer undertones. Unfortunately, and without spoiling it, I found the movie very disappointing in the end. The idea behind it wasn’t bad and the direction was overall competent but it felt in bad need of an edit and I found the first half misleading but not in a good way.

As Above, So Below (2014): I knew this one would be bad but having been in the Paris Catacombs myself years ago, I was curious about the treatment they’d get in an American movie. But it was just boring. The bits about an American secretly repairing the bells of Notre-Dame and translating a riddle from Aramaic to English in perfect rhymes were the hardest I’d laugh watching anything ever tho, so it gets points for that.

Titane (2021)⭐: This was a religious experience. Haven’t been to the cinema in years because I moved to a place where everything is dubbed and I’d rather see films in their original audio (especially in this case because French is my first language). However this having won Cannes, it was available in its original audio, and so I was able to experience it on the big screen. I have nothing to say about it publicly as of now; I want to keep it to myself frankly. If you like horror and you’re queer, you should see it (but also you shouldn’t because, you know, it’s my movie, mine).

Werewolves Within (2021): I couldn’t finished it, I was bored out of my mind. That’s a real bummer ‘cause there aren’t enough werewolves movies out there and Harvey Guillén is in this.

Mayhem (2017): Man Who Has Only Seen Fight Club And Shaun Of The Dead Makes Movie That Is Not Nearly As Fun As You’d Think. Not even Steven Yeun was able to save this. ‘Mom And Dad’ with Nicolas Cage had a similar premise and was much more entertaining.

The Blob (1958 & 1988⭐ versions): Putting these ones under the same entry because I watched them back to back and there is nothing to say about the 1958 original version. It’s incredibly square for a horror movie and no parts of it has aged well, not even in a funny way. The 1988 version though is a masterpiece. Super fun, terrifying and impressive special effects and body horror, a guy who talks at the cinema gets killed horribly, the male protagonist licks a male cop’s face in defiance. 10/10, will watch again.

The Haunting (1963)⭐: Glad to finally see this classic lesbian movie. Not much to say about this. It’s good and it’s gay.

Alice (1988)⭐: A Czech animated version of Alice in Wonderland. Trippy as hell, very impressive, creative, and unique animation. Was vibing the whole time and, not to be a stoner on main but, would love to rewatch it high to enhance the experience.

Treevenge (2008)⭐: A short gory Christmas-themed film that is available on YouTube (and in better quality on Dailymotion). Very fun, the cast is 110% committed to their performance and absolutely get the tone a story about Christmas trees taking their revenge on humans should have.

Over The Garden Wall (2014)⭐: This one was a rewatch. Nothing to say about it, if you haven’t seen it yet go watch it. Now. Also, some people built their Animal Crossing islands after it and if that’s your thing, you should defo check them out (here’s one https://www.youtube.com/watch?v=g0NVIjn_FQ0)

White: The Melody of the Curse (2011)⭐: I watched this one because Yhara zayd on YouTube made a video about it (you can watch it here https://www.youtube.com/watch?v=LYAviF79PeU) and her recommendations are always excellent. It’s a horror movie about the K-pop industry and it’s good. I don’t know much about K-pop so Yhara’s video afterward was a good insight. Unfortunately I missed the final climax of the movie because it was drowned in strobe lights and I don’t tolerate those well so if any of you have seen this movie and would care to explain to me exactly what happened at the end I’d be super grateful.

Halloween Kills (2021): Terrible, and pretty offensive at times. The best time I had watching it was that one scene Jim Cummings was in (if you haven’t seen Thunder Road and The Wolf of Snow Hollow you should check them out).

The Fog (1980): I really wanted to like this one but I didn’t. It’s not bad, it just wasn’t for me.

A Quiet Place Part II (2020)⭐: I wasn’t excited when I heard about this one because I loved the first one and I’m wary of sequels nowadays, but I’m weak so I watched it anyway. It had everything that made the first one entertaining except in a much more superficial way. Like you could see The Formula everywhere. But I’m kind of a sucker for formulaic works when they, well, work. And this one does. Also Cillian Murphy really oozes charisma, he’s just so great to watch act. Was thoroughly entertained throughout, never able to think for too long about the parts that bothered me bec--SHIT THEY’RE COMING RUN RUN RUN!

Candyman (2021)⭐: I love the original and I really liked this one.

Seed of Chucky (2004)⭐: Another rewatch, because the new TV series made me feel the need to (”Gendahflooid”). Not without its problems but I still love it, one of my favourite entries in the franchise and I really hope they find a way to put Glen/da in the show (and maybe have a cameo of Billy Boyd in a different role, ‘cause he put his whole pussy in this performance and I’d love to have him become part of the recurring cast of the franchise).

Frailty (2001): Was really excited about this one when I heard Bill Paxton directed it but I didn’t like where it went in the last act. Bill’s performance was magnetic tho, I’m happy I got to see it and his direction.

Cult of Chucky (2017)⭐: Again a rewatch, for the same reasons as Seed. One of my favourites in the franchise too and I can’t wait (I can’t wait!) for the follow-up to what happens in it to be reflected in the TV show.

Elvira, Mistress of the Dark (1988)⭐: Not being American or from an English-speaking country, I feel like I’ve still been aware of Elvira from a young age but without really understanding who she was until later in life. Still, despite my fascination every time I saw pictures of her or her being referenced, I never checked anything she was in until this and I don’t know what I was waiting for ‘cause it was great. You can tell she’s a true horror fan and she knows how to do camp. I will be trying to see if I can find her old show online somewhere.

Slumber Party Massacre II (1987)⭐: Heard a lot about this Nightmare on Elm Street exploitation film. The first movie in the series was genuinely clever and fun. This one was fun in a “so bad it’s good” for most of it, until it went balls to the wall in the last act and left me cheering at my screen.

The Lost Boys (1987)⭐: A rewatch, was feeling in need of a pick-me-up. This and ‘Near Dark’ are still THE modern vampire movies like...they really Got it. Unparalleled aesthetic and Corey Feldman’s exageratedly deep voice always cracks me up (but let’s be real, the entire cast is stellar (haha) in this).

Young Frankenstein (1974)⭐: Rewatch, in need of something light. Had a big crush on Gene Wilder and Madeline Kahn when I first saw this as a closeted teen. The first shot of Gene Wilder’s face with his big clear eyes and long eyelashes still does something to me.

#monstrueux blabla

[leverage-ot3]

to all the leverage fans out there, I thought I’d throw out some recommendations of other shows that y’all might like

this is completely centered around the lgbt aspects of leverage (how none of the characters are straight, how there is a canon ot3, etc), because I know other people have recommended white collar and stuff but I haven’t personally seen that and I’m just a humble lgbt wanting to share more gay shows with y’all

1. wynonna earp (my sideblog is @angelicearps)

just renewed for a fourth season after two years (this feeling is very familiar to leverage fans)

the first episode of season four aired last night and IM SCREAMING the writers served us a five course meal

the main love story includes waverly earp, a CANON (officially as of 4.01) bisexual girl falling in love with nicole haught, a lesbian cop-turned-sheriff (that’s a slight spoiler, so sorry about that) and both of them are main characters

wynonna earp, another main character, has a complicated relationship with two different men and is not slut shamed for it and is never put down about it

I’m serious- the healthiest and most stable relationship in the show is between waverly and nicole, so wlw nation rise

wynonna and waverly are descendants of the great gunslinger (and demon killer) wyatt earp, who ended up getting a curse on his future generations. the story of the show is centered around wynonna being the chosen heir having to fight demons and try to break the curse for good

doc holiday is another main character- yes, that doc holiday. he’s one of wynonna’s love interests and he has such a pure and loving relationship with waverly. he’d literally die for her and move heaven and hell to make sure she’s safe (that’s literally canon)

jeremy comes in around season two if I remember correctly. canon gay. gets in a relationship with another canon gay character whose name I am blanking on. they are very loving and very pure

literally, in 4.01, when armed military men are breaking into the earp homestead and he doesn’t know what to do, he literally says: “gays only?” lol they didn’t respect that answer

the show has so many good quips and one-liners. so many hilarious lines. it can be an angsty show at times but they definitely balance it out with humor and wlw softness between waverly and nicole

wynonna has a baby in season two and literally calls herself a milf

it also made fans faint because they have been calling nicole “daddy” for like six years and nicole was referred to as daddy three (3) times in 4.01

this show is NOT AFRAID to say things like gay, lesbian, etc. at one point someone tweeted at emily andreas (the writer) asking her to amp up the gay energy and she responded that she would

literally, emily andreas is on the same level as john rogers with trustability and dedication to fans

emily andreas heard of the bury your gays trope and did us one better: unkillible gays trope. the gays are unkillable.

2. motherland: fort salem (my sideblog is @fortsalem)

(HELL YEAH I WAS ONE OF THE FIRST IN THE FANDOM AND I GOT THE HANDS DOWN B E S T URL)

au where during the salem witch trials a witches named sarah alder made an agreement with the government that witches would serve for the us army in exchange for not being systematically hunted down and killed

THIS IS NOT MILITARY PROPAGANDA. sorry, I just had to make this point early on because it’s not even though it might seem like it in the beginning. literally by the end of the season you see it’s very corrupt

since this is an alternate history of the united states, in this universe there are no heteronorms. literally, there’s literally no words for lesbian and bisexual that they use because it’s so normalized and common and accepted that there’s no need for terms like that

the main love story is of star-crossed raelle and scylla. raelle comes from a poor family and is a talented healer, and (this isn’t technically a spoiler because you find out in episode one) scylla is a member of the spree

the spree is a terrorist organization of witches that protests the compliance witches are forced into by having to join the military or die/be imprisoned

scylla is supposed to turn raelle to the “dark side” but falls so deeply in love with her that she can’t do it (THATS TRUE LOVE FOLKS)

the students at fort salem (the military school) are divided into groups of three: the main group being focused on is composed of raelle, tally, and abigail

tally craven is a pure-hearted baby and I’d die for her. she is very idealistic about fighting in the military (but don’t worry that’s fixed by the end of the season)

abigail bell weather comes from a high military family and is kinda really stuck up about it, but she’s humbled a lot by the end of the season. this girl has LAYERS (they all do, but abigail goes through a lot and goes from very stuck up and stuck up the military’s ass to questioning everything she knows)

the trio starts off rocky, especially between raelle and abigail, because raelle blames abigail’s mother for her mother’s death (her mother’s unit was led by abigail’s mother)

the beltane episode literally hits you in the face with how there are literally no heteronorms whatsoever. they do this sacred dance where by the end they will end up with the people they are destined to spend the celebration with (“trust the dance”). raelle makes friends with a gay guy and they spend the celebration making fun of the sex noises around them and become gay friends for life. abigail has sex with two (2) guys who kiss each other. a group of four girls went off together. a group of two girls and a guy went off together. and sex isn’t shamed. at all. in fact, it’s respected as a part of life. and y’all, literally this representation was OFF THE CHARTS

the witch’s most powerful tool is their voice,,, think about that for a minute

it’s an all girls school so there are like no guys whatsoever minus the beltane episode and a couple others

EMPOWERED WOMEN (of all ages and ethnicities too)

3. siren (my sideblog is @polymarinelove)

imma start off by saying that season three doesn’t exist. don’t watch season three. don’t do it. the disappointment is real

ANYWAYS

the central love story is between an interracial couple (a white guy and his black girlfriend that has a native american stepfather) that turns into a loving polyamorous relationship

maddie, the girlfriend, is amazing and incredibly smart and the first two seasons (and the beginning of the third) accentuate that and they never downplay her because she’s a black woman like many shows and movies do. she’s a smart stem woman and we stan her so hard. she’s also bisexual.

ben, the guy, comes from a rich family that are basically the hotshots of the town and own the fishing company that the community works for. his dad is hella untrustable. ben doesn’t trust him and neither should you. he is kindhearted and smart and respectful, and at one point teaches a merman about consent after being kissed by him (and he didn’t even #nohomo it which was AMAZING)

now to the mermaids

mermaids are apex predators. they are very dangerous. they are very strong. they’re also wickedly smart, canon smarter than humans

the story begins when donna, ryn’s sister, is captured by a fishing boat and carted off to a military facility. ryn comes to land to try to find and save her. (she literally choses her name because she sees a character on a kid’s tv show saying “I am ryn” which is also the first thing in english that she can say)

she ends up being helped by ben and maddie and legit is like these humans are hot imma learn english for them

there’s a lot of really cool and thought out lore as well as TONS of thoughtful marine biology science that makes sense

oh and transforming from mermaid to human? painful as FUCK. realistic depictions of having your body literally transform into something else

humans are wrecking the oceans and that’s a heavy theme of the show

oil rigs are poisoning the water (making them infertile) and killing mermaids with their sonic drilling

so ben and maddie lowkey commit an act of ecoterrorism but it’s chill

“ben and maddie are love” they’re poly, bitches

they come together in a natural, organic way

very healthy and communicative

ben’s alright but ryn and maddie are amazing

don’t watch season three if you don’t want to be majorly disappointed. the writers listened to the homophobic trolls on instagram and broke up the polyamorous relationship and I’ll NEVER forgive them for that. seasons one and two are amazing though. just don’t watch the third one.

#leverage ot3 #leverage #reccommendations #my recs #siren #siren freeform #motherland fort salem #fort salem #wynonna earp #mine

[joecial-distancing]

July Roundup

Lifestyle:

I’ve been getting back into running this summer. It’s been about 4 years since I’ve done any serious running, and I have been made painfully aware of the differences in my body at age 29 compared to 25. My knees hurt more, I need to attend to stretching much more seriously than I used to. I’m coming at the task with better self-knowledge than last time, though; I know how far and how fast I’ve been capable of pushing, and I find an enormous amount of comfort and strength from that familiarity. 

I’ve also been applying to jobs, a process which started as nauseatingly daunting, but has gradually settled into just a regular chore of the week (ideally chore of the day, if I’m to keep up with new years resolutions). Getting a resume mushed into a satisfying shape has felt nice, as has getting together a form cover letter that I know hasn’t hurt my chances of getting my foot in doors. Annoyance Boxes checked off, and the rest is getting familiar with the rest of the grind. Interviews have been and will be the same process.

Games:

I’ve also been playing a lot of Sekiro. I’ve always “liked” Fromsoft games, but it’s been rare that I’ve been able to justify the time investment. There’s an appeal in the structure, endless chances to bash myself against a problem until it clicks, being able to run drills when stuck or inadequate (and there is a hook in the inadequacy; nothing frustrates me more than being unable to Just figure out a solution, or requiring too much time to get there. I have a tense relationship with time and deadline pressure. Impatience is one of my greatest vices). So with school finished, I’m diving into this as a treat to myself. The systems are fun, and the camera is so fucking awful that I get unreasonably angry about it. One thing I always do with these games that I think is anathema to a lot of their fans is to spoil myself on what I’m up against. In dark souls I would always have open area maps, rather than try to navigate the combat and exploration simultaneously. It put my mind at ease, I didn’t like the discomfort of the tension of untriggered surprise. And with Sekiro, I know roughly the zones I’m up against, I’m not above watching videos of the boss fights to learn the proper counters etc. No shame, no honor, that’s not what I get out of these games, really.

As with running, so with jobsearch, so with Sekiro, the method is diligence, the appeal is the pleasure of feeling my improvement over time. There is nothing more exciting to me than casually accomplishing something that I know would have annihilated me only a short time ago. I can finish 2 miles in 20 minutes, I want to get it down to 15. This also means the videogame tends to lose out on the priorities list—if I’m wanting to dedicate myself to practice, there’s almost always a different outlet that’d be better outcomes in the long run

very 8 of pentacles mood overall, lately.

Books:

I’m almost done with Pynchon’s Against the Day, which had taken up all of my Reading attention span this month. Unless it does something in the final 8% to lose me hard, it’ll probably clock in as my 2nd favorite of his stuff, behind Gravity’s Rainbow.  Anarchism as expressed against American mining companies, European empires, and the Mexican state; searches for a lost paradise city; warfare between schools of mathematics; the nature of Light. At face value, it feels closest to Gravity’s Rainbow and Mason & Dixon, compared to the rest of his work (I know there’s a lot of subtext and referencing going over my head with all of these in terms of both history and literature; I noticed a lot of reviews of AtD focused about the variety of genre style work that he’s pulling from in certain sections, nearly all of which is lost on me. It has, however, been very fun to me that I’m able to keep up with the mathematic academia infighting depicted in this). There’s a “fairy tales coming to life” quality to all three, if instead of Grimms’ stories it’s historical models of the world: Supersonic rockets wreck the flow of pavlovian cause & effect, the destruction of natural landscape in the course of linear surveying becomes a direct conduit for a massive influx of evil energy, quaternion mathematics casting time as real and space as imaginary allow a yogi to contort himself out of sight and into the imaginary plane. The aether is experimentally disproven in the beginning of Against the Day’s timeline, which doesn’t stop holdout engineers and mystics from working wonders with it.

It feels like there’s about as much going on in here as GR, but where GR is claustrophobically overstuffed (which is also part of the reason it’s a better book) and Mason & Dixon gets kind of plodding, the material here is given space to breathe, without losing momentum. It probably helps that the characters in this are a.) numerous, and b.) unusually solid as far as Pynchon goes.

It’s also got many great examples of something else I really like about Pynchon, which is that he is willing to commit 110% to incredibly stupid jokes. There’s an Elmer Fudd reference in here that completely knocked me on my ass.

Viz:

Watched the Bo Burnham netflix, which was mostly pretty good, though I’m completely out of patience for ostentations self-awareness or fake debate where the ~comedian~ who’s concerned about being ~white privileged mannn~ feels guilty he might be ~taking up space~, doesn’t know that he ~deserrrrves it~... out of patience because I already know what he did with that guilt (if genuine) — he didn’t scrap the project, he released the fucking thing anyway. What am I to do with this, Bo Burnham? Would you like my permission? Would you like an “it’s ok dude” from people of marginalized groups within your audience? Why am I watching along for a decision you’ve quite literally already made? I don’t trust displays of vulnerability before an audience of this size.

Also watched through I Think You Should Leave, which... sure it’s funny, and also very effective at making me uncomfortable, which is clearly what it’s aiming to do, but. I don’t really get why it’s got such a strong cultural draw within the online spheres I’m normally checked into. Saw some discourse about how the quotability is somehow distinct from regular memeing, which, alright get over yourselves jesus christ.

speaking of flavors of the month, watched 50 shades and lmao. I’ve been told by a trusted source the books are worse which is hilarious.

also speaking of flavors of the [century], S.O. and I have been doing a rewatch of pre-MCU comic book movies, which has been some fascinating anthropology. It meant, though, that we had to sit through howard the duck, an absolutely wretched film. Other highlights so far: willem dafoe power rangers acting, the soundtrack on affleck daredevil (incl a fuckin choice Evanescence exercise montage), Blade & Blade II still hold up.

We’ve also made it to the final season of pre-reboot xfiles. Duchovny’s mostly gone from this last season, replaced largely by robert patrick of T1000 fame, who is a better actor but a worse character, dude’s basically just A Cop. The writing’s weirdly probably better than the last couple Duchovny seasons, but the show doesn’t work without him — his bad acting was the main thing keeping things together, the tone’s all off now.

[kaiowut99]

5D’s Episode 29… With an “Uncut” Dub?! (Re-Edited 4Kids Dub/Japanese OST)

“A Looming Threat! The Dark Signer Ushio?!”/”Good Cop, Bad Cop”

Everybody listen!

Well, after over 2.5 years now (...welp), this little mini-project is finally wrapped up! (Well, not totally, as I realized I have to go back and fix a few things for consistency, but y’know) It’s been neat editing these to throw the Japanese OST back in, and while I might do a few clips here/there now for fun, unless 4K/Konami Cross Media decide to flub up more episode uploads without their dub OST, I probably won’t be doing more full episodes. (Need to work on finalizing my GX subs finally, haha.)

But in case this is still the first you’re hearing about my mini-project here, let’s get you up to speed:

So, the official Spanish YGO channel on YouTube flubbed a few uploads of the 5D’s dub such that they ended up uploading a few episodes of the English dub instead of the Latin American dub (21-29)–but with none of 4Kids’s background music! Which meant that I could swoop in and re-insert the original Japanese soundtrack (which I did by matching each track to how it was looped in the episode), but I wanted to do more by also tweaking the dub itself so that not only was it matching the original footage, but the dialogue was more in line with the original dialogue timing-wise (since I couldn’t salvage much of what they changed).  Hence, the “dubbed uncut” gimmick here.  To this end, I’ve also used dialogue from Duel Links where applicable, or even borrowed audio from other episodes with the vocals isolated to lend to that effect.

Check out the masterpost of episodes here!

Check out this episode’s WIP videos! WIP #1     WIP #2     WIP #3

This was an interesting one to work with, and I was looking forward to it because of the Jack/Carly scene at the end over Jack Battle; it was also neat working in OSTs like Ceremony off Sound Duel 2 and mesh it with the dub, while recreating some of the OST tweaks they did (like speeding up Carly’s theme or sputtering Rua/Ruka Battle 2 as Jack calls Carly out lol).  Dialogue-editing-wise, this wasn’t as bad as 28, thankfully, as most of the dialogue was more or less adapted well, though I still did need to grab dialogue from other sources to cover for some dub fails, and I did grab audio from episode 30′s dub for the preview.  I also translated the “Road of the King” poster shown in four scenes (two outside the gala that happens and two inside as Godwin talks), using the dub’s “Atlas Rising - The Rise of Jack Atlas” name.  And since this is the last episode I’m working on, I thought it’d be cool to make use of Mark de Groot’s awesome Last Train - A New Morning English cover to really channel more of that “what if uncut” energy (just a shame no solid English CROSS GAME cover exists, but hopefully my eventual full translation when I post it will help that along). Full breakdown below, if you’re curious.

So, yeah... Enjoy, folks! Now that these are all done, I’ll be focusing more on my finalizing my GX subs and looking into finally reuploading my 5D’s sub/dub comparisons onto a new site, though this has made me want to revisit my 5D’s!DBZ Kai project occasionally, lol (I do want to see about using TheMilkman’s reduced-filler cut of Kai, though, as I thought it was a much more streamlined way to watch the show, but we’ll see).  I do have ideas for clips to create later on, but for now, enjoy these and think of what could have been (and could still be if we ever miraculously get a redub...)~

*cracks knuckles*

So, in the Noteworthy Cards section, the twins’ dialogue is still all from Duel Links, as I stitched together a “What will this Monster be?” line for Luna to match Ruka’s line, and recycled the “You get to see!” edit I used in 27 for Leo.

For the cold open, I tweaked Trudge’s dialogue to remove more of the “working together” fluff from the subplot they added (I removed the more overt mentions in 28 since I couldn’t edit around it).

*cue Last Train*

In Carly’s scene with the officer, I recreated the Carly Nagisa theme as used here, which was pitched and sped up by nine seconds, and replaced the one officer’s line about her needing to go outside with Carly gasping (since the officer was originally silent).  Once outside, I used a mix of lines from 27 and Duel Links to stitch together a better line about her fortune matching the original more, then did so again over the transition shots to the Road of the King/Atlas Rising red-carpet event (where the dub inserted a commercial break).

At said red-carpet event, I used a Duel Links line to make Carly’s “Angela! Didn’t see you!” line after bumping into Angela “No way! Angela!” to match the original.

Once the ROTK/Atlas Rising gala starts, I used the Japanese audio from the transition to it to after Godwin steps down the stairs to remove dub!MC’s added lines, then shortened Goodwin’s lines hyping up the movie so it all finished while he was onscreen, using the Japanese audio as the audience clapped.  When Yusei and Jack start hearing the movie on their TV screens, I used Duel Links lines to make Jack’s movie dialogue match what was said in those scenes originally (and the dub was inconsistent), and after Angela calls bull on the movie’s “Jack was born in the Tops” narrative, I kept the reporters prodding Godwin in Japanese with a subbed line because of how 4Kids edited them such that they kept speaking in turns within a shorter scene.  As Carly looks up at the movie before running off, I used a Duel Links line for Jack in the movie, and as she talks with Misty, I shortened Misty’s (fluffed in the dub) foreshadowing line to Carly to match the flaps.

I didn’t edit the scene with Yusei and Trudge much, and then as Carly bumps into a reporter outside Jack’s hospital, I wanted to remove the cameraman’s “We’re still live!” (since he was originally quiet, and you wouldn’t talk over a live shot like that lol) but the reporter’s “I’ll show you sorry” line overlapped with it, making a clean cut hard.  When Carly makes it inside, I shortened her (fluffed in the dub) line about her costume working, then as Trudge walks in, I switched to the Japanese audio to remove his “only doing this to get close to Goodwin” dub-only line, and kept the dub’s Dark Signer birthmark SFX as it appears on Trudge (since the JP version seems to just use the regular Signer one for it).

After the eyecatch, I used the Japanese audio as Mikage peels the apple (since Mina was humming), then switched to it again after Jack says he wants to be alone to deal with the dub cutting Mikage’s bow and removing Mina’s “call me if you need... anything” line).  Once Jack’s outside with Carly and possessed!Trudge walks up to them, I redid the Dark Signer birthmark SFX and the glowing right after to remove the dub’s added zoom-in SFX, then after Jack gasps, I switched to the Japanese audio to remove the dub’s added flashback-transition SFX.  As Carly flashes back to possessed!Dick’s dueling in 28, I added in the “whooshing” SFX and recycled some SFX from 28 to remove “Wipe his mark clean!” from possessed!Dick’s dialogue and adding "Blizzard Strike!!” from my edit in 28 to it, also recycling Yusei’s yelling/groaning to keep Carly quiet--her on-screen “A glowing mark like Yusei” line right after is recycled from 28 (Carly’s original line was “That glowing on his arm...”).  Used Japanese audio as Ushio activates his Disk, then stitched together a “You’re a Dark Signer?!” line for Jack to replace his “I seriously doubt [I’ll be the first to fall]” line to Trudge.  I vocal-isolated Carly’s “Yusei won” line after Jack asks when Yusei’s happened and put it just before he does, replacing Carly introducing herself (which doesn’t happen originally until just before the last turn), and using the Japanese audio for the SFX as Jack looks determined.  I used a Duel Links line to cover Jack using Carly’s name just before he has her use his Duel Disk, and then the duel starts.

I recycled a Trudge “It’s my move” line from later to remove his “Let’s cut the conversation” line (I did what I could to remove how conversational they made possessed!Trudge) over the 4000 LP shots, and then I vocal-isolated parts of Carly’s excited lines about dueling with Jack to remove the dub’s flashback-transition SFX (which they used over a vision...), recreating the Rua/Ruka Battle 2 theme playing here and the sputtering that happens when she declares her turn only for Jack to correct her and say it’s his, lol.  I vocal-isolated Jack dialogue from later in the series to use a proper Vice Dragon effect explanation over Jack’s trash-talk line to Trudge, then did the same for a Carly line in 37 to fix an error where she mentions Vice Dragon having 2400 ATK (as I thought it’d sound better than “twenty-hundred” lol).  I shortened Carly’s and Jack’s (fluffed-up in the dub) lines about his being a “once-great duelist,” then recycled some Trudge laughter to cover for his “Hey, has-been!” line; as Carly sends cards to the Graveyard for Warm Worm’s effect, I redid the Graveyard-sending SFX to remove her “That’s how this works” line and the dub’s add-on to that SFX, adding on a Jack “What’s going on?” thought per the JP script.  As Carly reacts to having to send more cards per Shield Worm’s effect, I switched to the JP audio as the split-screens happen and the cards are sent to use those SFX.

As Carly declares another turn but catches herself, I used an “It’s my turn!” line from Jack to remove his “Let me see my cards” line, then tweaked Carly’s line to fix an error where she has Strong Wind Dragon take out Shield Worm in a “direct attack” so it’s “take out Shield Worm and attack!”; I vocal-isolated the resulting “Dimwit!” and “Did I mess up?” lines from Jack and Carly to remove the dub’s split-screen SFX.  As Trudge brings back Shield Worm with Regretful Rebirthborn, I moved his line about its effect so it started while he was onscreen per the JP script, also removing his “you and your little assistant” fluff, and I vocal-isolated Jack’s “Not as sorry as Trudge is going to be” thought to remove the dub’s added zoom-in SFX, using part of the JP audio to use that SFX, and then using the JP SFX as Carly sends the cards to their Graveyard.  Having removed Jack’s fluff here as there was a dub commercial break inserted, I tweaked a Duel Links “From my hand” line to use before he declares his Twin-Shield Defender summon, using the JP audio for the summon itself.

I moved Trudge’s “It’s my turn then” a second or two earlier, then used the JP audio after he summoned his Worm Tokens as the split-screens and counter fly-ins happen, then vocal-isolated part of Trudge’s line after to remove the dub’s split-screen SFX, and I used the “chaos” part of one of Trudge’s Duel Links lines to try and fix the dumb “Dark Tuner Chaos-Rogue Catastrogue” error (which I do 2-3 more times), using the JP audio as Chaos-Rogue’s summoned.  I moved Jack’s “What’s this Dark Tuning business all about?” line a second or two later to remove his use of Carly’s name, then used the JP audio from where Chaos-Rogue starts tuning to the Worm Token glowing to remove Carly’s added line about Dick Dark Tuning, and used the JP audio as Dark Diviner/Pitch-Dark Zumwalt’s summoned.  I redid the SFX as Carly sends cards to the Graveyard per Chaos-Rogue’s effect to move part of Trudge’s line attacking with Dark Diviner earlier (since 4Kids cut a second or two from this shot), and then vocal-isolated part of Trudge’s line about Dark Diviner’s effect to remove the dub’s split-screen SFX.  I switched to the JP audio as Carly sends cards to the Graveyard after as I moved Trudge’s line a bit to shorten it, then after Carly shields Jack from the attack, I vocal-isolated part of his line to Trudge to remove the dub’s split-screen SFX and used a Duel Links line to extend his dialogue (which 4Kids shortened); I also vocal-isolated Trudge’s line after to remove the dub’s split-screen SFX.

As Carly apologizes to Jack, I used a “Well?” from Duel Links for him to remove his guessing Carly’s name now that she properly introduces herself, and then vocal-isolated their lines as they start their turn to remove the dub’s split-screen SFX.  I used the JP audio after they draw, then again when they activate Mind Trust, vocal-isolating part of Jack’s line to remove the dub’s split-screen SFX and stitching together various lines to extend Jack’s explanation of its effect by adding a mention that it’s a Tuner with half the Level of the Monster he releases that he’s adding to his hand (4Kids cut this short and he just says “to pull a weaker Monster”).  I added a whoosh as the screen goes up Strong Wing Dragon to match the original audio, then as Dark Resonator’s summoned, I used the JP audio as the ATK counter flies in (but at a lower volume, since 4Kids moved Jack’s dialogue about the summon to during the summon itself, since Jack’s lips weren’t moving when he originally said them while onscreen), and stitched together a “Dark Resonator tunes with Twin-Shield Defender” line to remove the “tune-up” line, using Duel Links lines for Jack’s Exploder Dragonwing chant.  I vocal-isolated part of his explanation of its effect to remove the dub’s split-screen SFX, and then his line having Exploder Dragonwing attack to remove his “Of course [I still have it], I only lost yesterday” line to Carly, using his Duel Links “King Storm!!” shout for its attack, and switching to the JP audio as the attack hits and causes the explosion.  

As Trudge comes to, I added a Duel Links grunt over a second of lip-flaps that the dub cut, then no real dialogue edits to Carly’s and the reporter’s lines as she runs out with Jack.  Then, as Goodwin meets up with Yusei, I edited his “It’s time I told you the whole truth” line to match the flaps, adding a vocal-isolated “You see” from 26 just before “It’s time I told you the truth,” and used the JP audio after Yusei gasps looking to where he points to end the episode.

In the Preview, as mentioned, I used dialogue vocal-isolated from episode 30 to recreate the JP dialogue, though I did want to use Crow’s “Ready! Set! Duel!” from Duel Links but it wasn’t working too well, so I stuck with his “Time to ride!” from 30 that hopefully still sounds good.

*phew*

#yugioh #yugioh 5ds #yugioh 5d's #ygo #ygo 5ds #ygo 5d's #5D's #my work #5Ds dub uncuts #yu-gi-oh 5D's #yu-gi-oh 5ds #yu-gi-oh! 5ds #yu-gi-oh! 5d's #[i'm nothing if not a perfectionist even for a mini-project lol]

[tobesobri]

Hey! I’m just here to add to the debate rather than attack (I just know I’ll probably sound harsher than I intend to because it’s hard to distinguish tone over text) anyway I find this whole discourse interesting because it goes back to the ‘whole world revolves around America’ notion. Like I’d understand the upset more if this was a present day depiction of an American cop, and the presentation glamorised the law enforcement career, as that would be copaganda. But fact of the matter is, Tom is a 50s policeman (not a cop) in Brighton UK, and the story doesn’t romanticise being a policeman, instead it kinda shows that yeah, they kinda sucked too and that’s the issue Tom finds himself in. He’s in a career that was nothing like he expected and in fact doesn’t treat kindly to people like him and those issues it creates. I get the upset given the ‘current political climate’ but truth be told this climate is an American climate that specifies. There wouldn’t have been protests in the UK last year if it weren’t for everything happening in America, and while there’s certainly a lot to criticise about the British system, it’s not as problematic as the US system. And yes I know that the American system was founded in the British system way back when, but much like anything to do with America, they take concepts and run with it and make it bigger and more dramatic. Like come on, how can people say they’re the exact same thing when the average policeman in the UK doesn’t even carry a gun? And maybe I feel a bit butthurt about this discourse as I’m black myself (just not American) and I’ve seen posts essentially saying that all POC feel this way about the movie and stuff when it’s more like... American POC. And justifiably so, it just reminds me too much of the idea on the internet when people discuss ‘black culture’ when they actually mean ‘African American culture’. Similarly to how a Swede and an Italian don’t have much in common despite being white, I as a black Brit don’t have too much in common with an African American. Anyway that’s a different rant lol thanks for reading

sorry i just got to this! you’re 100% valid, there’s a lot i won’t add to bc its not my place. but i guess basically i just think that we all are aware of the issues that have been going on even if it is more prominent in America, the movie will be advertised here too so 🤷‍♀️. It’s just kind of a poor choice imo. (I also wouldn’t say British policies aren’t as problematic as ours, they just are in a different way. But that’s a whole other conversation that nobody has the energy for so I’ll leave it there.) Thank you for not attacking and just sharing like a normal person lol i appreciate it and hope you’re having a good morning(?) (i think njkjdc)

#Anonymous

[qsdblogging]

10 More TV Shows You Need To See

This is the second installment of my recommendations of shows for you to add to your own lists. I watch a lot of television and I’ve got, what I consider to be at least, a wide variety of shows under my favorites. 

If you haven’t seen the first list, you don’t need to unless you want to see another list of ten shows you may want to check out if you’re looking for anything new to watch.

Warning, though, some of these don’t end the best way and may end up more as a disappointment. I’ll leave that up to you to decide.

I. Warehouse 13.

Pete and Myka, U.S Secret Service Agents, are deployed to South Dakota’s Warehouse 13 with a new assignment from an authority above and outside the government. 

Intrigued?

With the Warehouse comes assignments regarding objects that hold some sort of abilities that can cause people to do wild and crazy things. It’s their job to find the artifacts (as they all hold significance to history) and bring them back to the Warehouse for safe keeping.

Things get wild and some serious topics get handled, but the show isn’t alone. It’s connected to another on this list, Eureka. More on that when you get to Eureka.

Some familiar faces are Eddie McClintock who played a part in Bones, one episode of Agents of S.H.I.E.L.D., Joanne Kelly who played a role in The Dresden Files television series, Allison Scagliotti who played roles in Stitchers, The Vampire Diaries, and Drake & Josh, Aaron Ashmore (twin brother to Shawn Ashmore, who has been in the X-Men movies alongside appearing in The Boys, and voicing Conrad in Man of Medan) from Killjoys, Lost Girl, and Smallville, and Jamie Murray from Castelvania, Gotham, The Originals, Once Upon a Time, Defiance, and Dexter.

I highly recommend, especially because the dynamic of the characters is really interesting and covers a lot. 

II. Eureka.

As mentioned above, this is connected to Warehouse 13. But only in the last two seasons of this show are the two connected. 

Eureka is a town full of geniuses and advanced technology that the government funds, and when a new sheriff comes to town, he’s exposed to all the daily occurrences the locals get up to. And maybe a couple instances of time travel that may or may not have to do with the connection.

The town is full of faces you may recognize. Colin Ferguson who has roles in Haven, The Vampire Diaries, and Maytag commercials, Erica Cerra who has roles in The 100, Supernatural, Deadly Class, and the first Percy Jackson film, Felicia Day who has roles in The Magicians, Supernatural, Con Man, The Guild, Dr. Horrible’s Sing-Along Blog, and Buffy the Vampire Slayer, and Trevor Jackson who has roles in Grown-ish, and a couple Disney productions.

It’s a huge science fiction show and if you’re into that, give it a watch.

III. Alphas.

Now, like the two above is, Alphas is a science fiction packed drama. And it’s rumored to be connected, like be in the same universe, as Warehouse 13 and Eureka. It’s never been confirmed, but there is one character (same name and job) that plays a part in both Alphas and Warehouse 13, which is the stem for the theory. (Plus, some other ideas floating around). 

But Alphas focuses on a team that investigates people with supernatural abilities while they, themselves, have abilities. These powered people are referred to as Alphas, due to their nature.

Unfortunately, this show ends on a cliffhanger in its second season.

Yet, I still recommend giving it a shot because it truly is an interesting show and it’s got some people you may recognize. 

IV. Haven.

If you’re a fan of Stephen King’s “Colorado Kid”, you’ll most likely enjoy this show since it’s loosely based off of it. 

Set in the coastal town of Haven, Maine, FBI Agent Audrey Parker comes to town to find that the residents have dormant curses, or rather troubles, that can be triggered at any given moment. She, along with the Sheriff and the town’s black sheep, must deal with the troubles’ deadly effects. And a few things may be revealed about herself too along the way.

It’s pretty interesting and I enjoyed it quite a lot when I first watched it. I’m not the biggest fan of Stephen King, and the connection seems to barely be there, but I wouldn’t know given my dislike for King. 

I highly recommend giving Haven a shot, however, especially if you’re a crime and fantasy fan. 

V. Lost Girl.

Lost Girl focuses on the gorgeous and charismatic Bo, a supernatural being called a succubus who feeds on the energy of humans, sometimes with fatal results. Refusing to embrace her supernatural clan system and its rigid hierarchy, Bo is a renegade who takes up the fight for the underdog while searching for the truth of her own mysterious origins. (Taken from IMDB). 

Plus, there a lesbian romance or two. 

Now, the show itself is pretty strong holding in its own storyline and lore, but the last season does get a bit rocky feeling. It could’ve been better, and it definitely feels a little rushed, but it wasn’t too bad of an ending. However, it’s not a show that got cancelled before it could wrap things up and it leaves things pretty open-ended.

In my books, that’s a point. I highly recommend this is if you’re a fan of fantasy.

VI. Almost Human.

Unfortunately, this is one of the ones in the list that only has one season (that seems to be out of order and frankly I’m not entirely sure of the order myself, so rely on googling it yourself and hopefully you find the right order) and was cancelled not long after airing. 

BUT, it’s a good watch. It’s set in the distant future, where cops are assigned an android partner to protect and serve. Things get pretty wild and I’m quite sure there are some bombs involved at some point, but there’s a bonus to all the madness of Almost Human.

Minka Kelly and Karl Urban. Two incredibly beautiful human beings.

I highly recommend bingeing this single season show. 

VII. American Gods.

This shows feels very confusing. But it’s still a good watch. 

It centers on a recently released ex-con named Shadow Moon. He runs into a man full of mystery named Wednesday (and you’ll later come to find out who he really is, or you may already know given your knowledge on the book of the same name or just how well you know mythology) who seems to know more than Shadow about his own life and past. 

There are Gods, mischief, and a lot of crazy shit in this show. So far it’s on it’s third season as far as I know (I have to rewatch the first two before I pick it back up).

You should give it a shot, but I won’t blame you if you feel way too confused about the whole thing.

VIII. The Boys.

Now, there’s a lot of controversy regarding this Amazon Original Series, but honestly, I think everyone should at least give it a chance. I know a lot of Tumblr users were put off on trying to due to the advertisements on the site. 

If you don’t know what this series is about, it follows a group of vigilantes set on taking down the corrupt superheroes that are abusing their powers and status.

It covers a lot of ground. Murder, sabotage, terrorism, capitalism, and a lot more. Feminism and sexual harassment occur, but there are warning before each episode for what you may see in the contents.

Some familiar faces include Karl Urban, who’s known for his roles in Thor: Ragnarok, the newer Star Trek movies, Almost Human, Lord of the Rings, and more, Erin Moriarty from Jessica Jones, Laz Alonso from The Mysteries of Laura, Chace Crawford from Gossip Girl and The Covenant, and Jensen Ackles from Supernatural has been confirmed to be joining the cast for its third season.

The Boys is currently on it’s second season, being released on a weekly schedule. So, if you like superheroes and graphic content, this show might be it for you.

IX. Chuck.

Chuck is the result of when a twenty-eight year old computer geek inadvertently downloads critical government secrets into his brain, the C.I.A. and the N.S.A. assign two agents to protect him and exploit the knowledge, turning Chuck Bartowski’s life upside down. (Taken from IMDB).

This is one of the shows I cannot recommend enough to people. It’s the right mixture of action and comedy, plus a little romance. Spies, love, and murder, oh my! What more could you want? 

Plus, Zachery Levi plays Chuck. If you don’t know him by name, you probably would recognize him from some of his roles with the most recent being in Shazam!, Fandral in the second and third Thor films, voicing Eugene Fitzherbert (or Flynn Rider) in Tangled, and Heroes: Reborn. 

If Zachery Levi playing a lovable computer geek turned spy doesn’t interest you, maybe some more familiar faces will. 

Yvonne Strahovski from The Handmaid’s Tale, The Astronaut Wives Club, acting as Daenerys in a Princess Rap Battle on Youtube, and Dexter. Adam Baldwin from Firefly/Serenity, Bones, Angel, The Last Ship, and Independence Day. Brandon Routh who plays Ray Palmer from the DC Shows. Matt Bomer from Doom Patrol, American Horror Story, White Collar, Magic Mike, and True Calling.

X. Deadly Class.

Unfortunately, I have a truly bad streak with new shows. Deadly Class, like others that have been mentioned in these lists of mine, got cancelled and on a cliffhanger no less. However, that shouldn’t stop you from enjoying the action-packed coming-of-age story set in the 1980s. 

Following a new recruit for a high school training assassins, things get pretty wild when you pair death and teenagers. 

#deadlyclass #watchlist #tvshows #chuck #eureka #americangods #alphas #theboys #almosthuman #lostgirl #haven #warehouse13 #qsdblogging #qsdbloggingpopculture #qsdpopculture #findingqsd

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10 Best Fighting Game Movies

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Once upon a time, Bruce Lee, Jim Kelly, and John Saxon visited a crime boss’ private island to compete in a fighting tournament and it was awesome. The 1973 movie Enter the Dragon is basically the prototype for the fighting games like Mortal Kombat and Street Fighter. And when those fighting games became popular, they inspired their own movies that either tried to emulate Enter the Dragon or do something completely new.

The ‘90s gave us the cheesy live-action fighting game movies from Hollywood and the animated movies from Japan. There have been several live-action Mortal Kombat movies as well as a few animated ones. There have also been multiple Street Fighter movies, four attempts at Tekken, a trilogy of Fatal Fury films, and more.

Are most of them bad? Yes. But did we pick our 10 favorite fighting game movies anyway? You bet. Here are our picks:

10. ART OF FIGHTING (1993)

Eh…it’s harmless.

The Art of Fighting series is mostly defined by the twist that the first game’s final boss is the main character’s father and the second game’s final boss is a younger incarnation of the villain from Fatal Fury. Take away those aspects and you’re left with a rather lowkey storyline for a fighting game where a teenage girl is kidnapped by a mobster and is rescued by her brother and her boyfriend.

Wait, I said that weird. It’s two different people, I swear! Except in Capcom, where Dan Hibiki is literally both of them merged into one character.

In the 45-minute Art of Fighting movie about Ryo and Robert, who are like chiller and dopier versions of Ryu and Ken, we watch as the duo gets sucked into a plot about stolen diamonds, martial arts criminals, and angry police lieutenants. It doesn’t take itself seriously and it’s a fine, breezy watch.

Ryo’s incorrect hair color kind of irks me, though.

9. STREET FIGHTER ALPHA: THE ANIMATION (1999)

This movie suffers from the same problem as Fatal Fury: The Motion Picture. It features a cast of heroes from a fighting game taking on a villain created for the movie instead of the villains we actually give a shit about. But the movie does also have some brief but awesome cameos (Kim Kaphwan and Geese Howard from Fatal Fury and Dan Hibiki and Akuma from Street Fighter Alpha) to brighten up a less-than-stellar plot.

Street Fighter Alpha: The Animation does at least get by because the original characters play up Ryu’s whole fear about being overcome by “the Dark Hadou.” This leads to some cool animations where Evil Ryu looks like a mindless, shambling zombie but also an unstoppable fighting machine.

The movie’s main storyline is about a kid named Shun who claims that he’s Ryu’s long-lost brother. He too is a fighter cursed with an inner dark side, which is used as a red herring to suggest that Shun’s father (and presumably Ryu’s father) is actually Akuma. That ends up being bupkis and Shun is just linked to some scheme by a mad scientist or whatever.

Probably the funniest thing about this movie is the directors’ infatuation with Chun-Li’s midsection. She’s wearing her form-fitting Street Fighter Alpha costume and there are dozens upon dozens of random close-ups to her lower torso from the front and back. If this were a drinking game, it would kill you.

8. FATAL FURY 2: THE NEW BATTLE (1993)

Of the Fatal Fury movie trilogy, this one is easily the best, even if it makes all the good guys seem like a bunch of overly-serious crybabies. The basic story is that after having avenged his father’s death, Terry hits rock bottom, dusts himself off, and comes out the other end stronger. Good, good. Going Rocky III is the perfect direction for a follow-up.

The problem is that Terry comes off as a bit of a whiner and the other heroes try way too hard to vilify the movie’s main antagonist, who hasn’t actually done anything that terrible. Krauser shows up one day, challenges Terry to a fight, wins, and says, “Okay, when you get better, train and fight me again.” Krauser isn’t trying to take over the world or murder orphans or whatever. He’s just a dude with huge shoulder armor who wants a good fight.

But everyone acts like Krauser’s the absolute worst. Terry starts drinking and falls to pieces while his buddies hope to get revenge. What a bunch of jerks.

While a fun romp, the worst thing about this sequel is how they redesigned Krauser. Gone is his mustache and forehead scar for the sake of making him seem younger. Kind of a bullshit move, considering he’s supposed to be the half-brother to middle-aged Geese Howard.

7. TEKKEN: THE MOTION PICTURE (1998)

This hour-long anime is almost great but just can’t stick the landing. It runs into the same problem as Mortal Kombat: Annihilation where the game series tells a specific overall story but the movie cuts corners to tell the same story. Tekken: The Motion Picture covers the first Tekken while setting up Tekken 3 and skipping Tekken 2 completely.

It means that everything’s well and good until the confusing and rushed finale. Otherwise, the movie is a fine use of the Enter the Dragon formula. Heihachi Mishima has a special island fighting tournament and the entrants include his vengeful son, a couple of cops investigating the situation, a gigantic robot, an angry Native American girl, two feuding assassin sisters, and a bunch of awesome characters who only get about three full frames of appearances each. Really would have liked to see something from Paul, King, and Yoshimitsu, though.

Other than Kazuya being pissed at everything, the best scenes are the over-the-top ones. When Jack does crazy robot stuff, when dinosaurs show up and start eating people, and that memorable sequence where Heihachi catches a hatchet with his mouth and then shatters it with his jaw.

6. STREET FIGHTER (1994)

I know this movie is just a GI Joe script with Street Fighter names pasted over it. I know it’s a cheesefest of dopey ideas and Belgian accents. I’ve long accepted that. Thing is, the movie is still a total blast to watch. What it lacks in faithfulness to the source material, it makes up for with pure camp and ham.

The 16 characters from Super Street Fighter II are represented here, except Fei Long is replaced with the forgettable Captain Sawada. How ironic that the movie star character isn’t even in the movie!

In general, the movie features some head-scratching depictions of classic Street Fighter characters. All-American Guile is played by Jean Claude Van Damme, Charlie Nash and Blanka are the same character, Dee Jay is an evil hacker, Ryu and Ken are comedic conmen, and Dhalsim is a frumpy scientist.

It’s Raul Julia’s M. Bison who keeps this guilty pleasure afloat. He’s to Street Fighter what Frank Langella’s Skeletor was to Masters of the Universe. He gives 110% and his performance is easily the best reason to watch this movie. It’s truly a wonder to behold.

Read more

Games

The Forgotten Fighting Games of the 1990s

By Gavin Jasper

Games

King of Fighters: Ranking All the Characters

By Gavin Jasper

The movie is infamous for inspiring a fighting game based on it, but you know what nobody ever talks about? The Double Dragon movie also had a fighting game based on it made by Technos and released on the Neo Geo. And Double Dragon wasn’t even a one-on-one fighter to begin with!

Anyway, if you intend to sit back and watch Street Fighter, make sure to add in the RiffTrax commentary.

5. DOA: DEAD OR ALIVE (2006)

Enter the Dragon meets Charlie’s Angels is a heck of a concept, but DOA: Dead or Alive is so confidently tongue-in-cheek that it succeeds as an action comedy that’s way better than it has any right to be. Part of why it works is that Dead or Alive has never had much of an overarching storyline, but is more defined by the individual characters (plus, you know, all the cheesecake). Enough of those characters appear in what’s your regular “fighting tournament on a mysterious island” setup.

The whole thing moves with such energy that it’s easy to get sucked in. It’s the opposite of the live-action Tekken movie, where even though the film features accurate versions of all the characters, everything is so drab and lifeless that you just can’t wait for it to be over. In DOA, the combatants spend their downtime playing cartoony action volleyball with Fake Dennis Rodman on commentary, while in Tekken everyone mopes about dystopian capitalism.

Other than Helena’s character being “important dead guy’s daughter,” most of the main characters are charismatic enough to keep your attention during the 3% of the movie when fights aren’t happening. It must suck for Ninja Gaiden fans that Hayabusa is depicted as a total dweeb, but he at least gets to do some cool stuff here and there.

The movie also has Kevin Nash playing a character based on Hollywood Hogan and he’s so likeable that I’m genuinely bummed that he peaces out about halfway into the movie. Luckily, the movie is entertaining enough that I didn’t even notice until after it was over. It helps that during that time, we get more of Eric Roberts, his amazing hair, and his special sunglasses that turn him into the ultimate martial arts master.

Spoiler alert, but the secret to defeating him is, get this, removing his sunglasses!

4. MORTAL KOMBAT LEGENDS: SCORPION’S REVENGE (2020)

It took a while, but Warner Bros. Animation is on fire these days. After that Batman vs. TMNT movie and Teen Titans Go vs. Teen Titans, the studio appears to be hitting more than they miss. That’s exactly the kind of team needed to put together the latest animated Mortal Kombat movie.

This is the umpteenth retelling of the first game’s story. Not only does it have to compete with the first live-action movie, but also the events of Mortal Kombat 9, which depicts the tournament in cutscene format. Fortunately, Scorpion’s Revenge has a few tricks up its sleeve. First, it puts Scorpion in the forefront as the protagonist. He was barely a character in the original movie and the game just had him kill Sub-Zero and feel bad about it for the rest of the story mode. Now he feels like a character in a crossover, making a mark on the original story instead of being put in the sidelines.

We also have the wonderful stunt casting of Joel McHale as Johnny Cage. More importantly, Jennifer Carpenter plays Sonya Blade, which is such a step up from Ronda Rousey’s voice acting in Mortal Kombat 11.

This cartoon has a very hard R when it comes to violence. From the very beginning, Scorpion’s origins are gruesome and grisly. Once Jax is introduced, it doesn’t take long until we realize, “Oh, that’s how they’re dealing with THAT plot point in this continuity.” Then there’s a surprise villain death late in the movie that not only comes as a shocking development, but it’s so graphic and nasty that you can’t help but be taken aback.

Scorpion’s Revenge is a fantastic first chapter of what is hopefully a series of animated movies, but it does have its pacing issues. Scorpion being the protagonist may be a welcome change, but at times it does feel like a square peg being crammed into a round hole.

3. TEKKEN: BLOOD VENGEANCE (2011)

One of the best things about the Tekken series is the endings. While the cutscenes from the first couple games haven’t exactly aged well, these CGI epilogues have become a staple in nearly every installment. What better reward for your time and success than watching a rocking action sequence with Yoshimitsu and Bryan Fury killing each other in the jungle?

And so, to play to the series’ strengths, Bandai Entertainment released a Tekken movie that’s really just one big ending cutscene. It’s not canon, but it feels at home with the games.

Since Tekken’s main conflict is with two ruthless megalomaniacs (Heihachi and Kazuya) and a disgruntled nihilist (Jin), it’s hard to treat any of them as a real protagonist here. Instead, they go with Ling Xiaoyu, who is portrayed as the person who sees the good in Jin and wants him to see the light. She’s given a robotic BFF in Alisa Bosconovitch because Xiaoyu is kind of a tame character and needs someone with chainsaw arms and a jetpack to liven things up.

The first hour or so is good enough to keep your attention and its lightened up by a couple appearances by Tekken’s best character, Lee. But once it gets to the third act, it just becomes a completely awesome Heihachi vs. Kazuya vs. Jin fight, with Xiaoyu taking a backseat to watch all the crazy shit going on. It’s a full-on fireworks factory, as we not only see Devil forms of Kazuya and Jin but a very special final form for Heihachi that’s a true delight for Tekken fans.

2. STREET FIGHTER II: THE ANIMATED MOVIE (1994)

Let it be said that for someone who grew up in the ‘80s and ‘90s, finding a faithful cartoon adaptation of a video game property was not easy. Link and Simon Belmont were unlikable sexual harassers. Mega Man was a more annoying sidekick than Scrappy Doo. Mario and Luigi teamed up with Milli Vanilli. Power Team was…a thing. When we got an animated movie based on Street Fighter II, it was mind-blowing. This was a movie where the very first scene was Ryu tearing Sagat’s chest into a bloody gash thanks to a well-animated Shoryuken.

There’s a lot going on in this movie, but at the same time, nothing is going on. By this point, there were 17 characters in the various Street Fighter II games, and outside of a blink-and-you’ll-miss-it Akuma cameo, it feels the need to include every single one of them. Some get minor roles, like Cammy and Dee Jay. Then there’s Zangief and Blanka, who fight each other for no reason other than for the sake of giving them something to do. Even Ryu vanishes for a huge chunk of the runtime.

Once everything funnels into the third act, this movie is great. And the earlier fight scenes are straight fire too, including the memorable Chun-Li vs. Vega brawl. Even though the movie already feels true to Street Fighter II, it’s even better when you realize that it’s all supposed to be a prequel to the game itself.

Or at least I hope so. Otherwise, all Sagat gets to do is get his ass kicked by Ryu and get chewed out by Bison.

1. MORTAL KOMBAT (1995)

The stars truly aligned for this one. Mortal Kombat Mania was at its peak, so it makes sense that this movie was a retelling of the first game’s story with added aspects from the second game, all while hyping up the arcade release of the third game. CGI was such a novelty in Hollywood in the ’90s that even if it looked primitive, it still looked cutting edge at the time. It was the perfect time to release this movie.

But Mortal Kombat isn’t perfect. Reptile is embarrassing. Scorpion and Sub-Zero being relegated to goons still stings. I still roll my eyes at the part towards the end where Sonya is suddenly the damsel in distress and Raiden flat-out verbally buries her by saying she couldn’t beat Shang Tsung in a million years. Otherwise, it’s the perfect storm of ‘90s action garbage.

There are so many over-the-top and charismatic performances here. Johnny Cage, Raiden, Shang Tsung, Kano, and even Goro are a blast to watch. All 10 characters from the original game are given something to do and, most importantly, they realize how uniquely weird the game’s story is and actually dive headfirst into it. The movie isn’t embarrassed to be a Mortal Kombat movie but handles itself well enough that we aren’t embarrassed to be watching a Mortal Kombat movie.

Even with a PG-13 rating, the movie was violent enough. Kano talked up seeing a pile of frozen guts in the wake of a Sub-Zero fight, Scorpion got his skull sliced apart with demon brain goo spewing all over the place, and Shang Tsung got impaled to death.

With the reboot being rated R, going for the gore could very well be the right route to go, but for the love of the Elder Gods, don’t forget to have FUN. All I’m saying is, if even Johnny Cage isn’t hamming it up, then what’s the point?

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Billy Dee Williams

William December "Billy Dee" Williams Jr. (born April 6, 1937) is an American actor, voice actor, and artist. He is best known as Lando Calrissian in the Star Wars franchise, first in the early 1980s, and nearly forty years later in The Rise of Skywalker (2019), marking one of the longest intervals between onscreen portrayals of a character by the same actor in American film history.

Williams was born in New York City, and raised with his twin sister Loretta in Harlem. In 1945 he made his Broadway theatre debut at age seven in The Firebrand of Florence. He later graduated from The High School of Music & Art, then won a painting scholarship to the National Academy of Fine Arts and Design, where he won a Hallgarten Prize for painting in the mid-1950s. To fund his art supplies he returned to acting, including stage, films, and television. He kept creating art, his work has since been shown in galleries and collections worldwide.

Williams’ film debut was in The Last Angry Man (1959), but he came to national attention in the television movie, Brian's Song (1971) which earned him an Emmy nomination for Best Actor. He has appeared in at least 70 films over six decades including critically acclaimed and popular movies such as, Lady Sings the Blues (1972) and Mahogany (1975) both starring Williams paired with Diana Ross; and Nighthawks (1981). In the 1980s he was cast in his most enduring role as Lando Calrissian, becoming the first African-American actor with a major role in the Star Wars franchise, in The Empire Strikes Back (1980), and Return of the Jedi (1983). He also delivered Lando as a voice actor in video games, animated series, and the National Public Radio adaptation of The Empire Strikes Back. He was inducted into the Black Filmmaker's Hall of Fame in 1984, and earned a star on the Hollywood Walk of Fame in 1985. Another enduring franchise relationship started with Batman (1989), playing attorney Harvey Dent, a role that was also developed into a villainous alter-ego, Two-Face, which he voiced for The Lego Batman Movie (2017).

Williams's television work has over sixty credits starting in 1966 including recurring roles over the decades in Gideon's Crossing; Dynasty, General Hospital: Night Shift; and General Hospital. Numerous cameos and supporting roles included being paired with Marla Gibbs on The Jeffersons, 227, and The Hughleys. Later work included voice acting in the series Titan Maximum (2009), and appearing on the reality show Dancing with the Stars (2014). His work has earned him numerous awards and honors including three NAACP Image Awards, and the NAACP Lifetime Achievement award.

Early life and education

William December Williams Jr. was born in New York City, the son of Loretta Anne (1915–2016), a West Indian-born elevator operator at the Lyceum Theatre and aspiring performer from Montserrat, and William December Williams, Sr. (1910–2008), an African-American caretaker, with some Native American ancestry from Texas. He grew up in Harlem on 110th Street, between Lenox and 5th, adjacent to Central Park North–110th Street station. He used to go to Central Park to see the Negro league players and the Cuban baseball league, “They were fantastic, and I wound up working with a lot of those guys,” (in The Bingo Long Traveling All-Stars & Motor Kings (1976)). He has a twin sister, Loretta, and they were raised by their maternal grandmother while their parents worked several jobs. His mom had studied opera for years, becoming an accomplished opera star who wanted to break into movies; the family was richly cultured, exposing the children early on to drawing, painting, theatre and similar creative experiences; Billy Dee would remain a fan of the arts including opera. In March 1945 he made his Broadway debut at age seven portraying a page in The Firebrand of Florence, Kurt Weill and Ira Gershwin’s operetta starring Lotte Lenya. His mom, who worked at the theatre, volunteered him for the part which he found boring.

Williams attended Booker T. Washington Junior High School where he had dreams of being a painter. He graduated in 1955 from the LaGuardia High School of Music & Art and Performing Arts in Manhattan, where he majored in arts with a focus on visual arts. The school would later be the subject for Fame (1980), and its derivative television series. While there he got a two-year scholarship for the National Academy of Fine Arts and Design in New York—which later changed its name to National Academy of Design—to study with a focus on "classical principles of painting". He was nominated at eighteen or nineteen years old for a Guggenheim Fellowship grant—for “creative ability in the arts;” and won a Hallgarten Prize in the mid-1950s. Although he had scholarships to pay for school tuition, he turned to acting to pay for his paints, supplies, and canvasses. His first Broadway theatre “big break” was a play, A Taste of Honey. He continued to struggle as an actor for ten years working as an extra, doing small and large theatre, and “slowly breaking into television and film”. During art school he gained interest in the Stanislavsky Method—experiencing a role contrasted with representing it, to mobilize an actor's conscious thought and will to in turn activate emotional response and subconscious behavior—and began studying at the Harlem Actors Workshop. It was run by blacklisted actor Paul Mann who embraced actors of all races; Williams also studied there under Sidney Poitier. He first viewed his acting as a way to pay for his art supplies, by the early 1960s though he began to “devote all of his energy to performance.” In succession he got an actor agent through a friend, started getting major Off-Broadway roles, then work on Broadway.

Career

Stage

Williams first appeared on Broadway in 1945 in The Firebrand of Florence. He returned to Broadway as an adult in 1960 in the adaptation of The Cool Word. He appeared in A Taste of Honey in 1960. A 1976 Broadway production, I Have a Dream, was directed by Robert Greenwald and starred Williams as Martin Luther King Jr. His most recent Broadway appearance was in August Wilson's Fences, as a replacement for James Earl Jones in the role of Troy Maxson in 1988.

Film and television

Williams made his film debut in 1959 in The Last Angry Man, opposite Paul Muni, in which he portrayed a delinquent young man. He was frustrated in the 1960s with the “paucity of parts for leading black men,” the majority of roles he wanted went to Sidney Poitier. He enjoyed doing theater and television, but “his slow-building film career ate at him.” He found LSD, a popular hallucinogenic drug with the era’s hippie movement to be a cure, “LSD saved my life ... I wasn’t doing it to get high. It let me get inside of myself.” Otherwise he is anti-drug.

He rose to stardom after starring in the critically lauded blockbuster biographical television movie, Brian's Song (1971), in which he played Chicago Bears star football player Gale Sayers, who stood by his friend Brian Piccolo (played by James Caan), during Piccolo's struggle with terminal cancer. The film was so popular that it was given a theatrical release. Both Williams and Caan were nominated for Emmy Awards for best actor for their performances. Williams said the role was the one of which he was most proud:

It was a love story, really. Between two guys. Without sex. ... It ended up being a kind of breakthrough in terms of racial division.

Having broken through, Williams’ success with Brian's Song earned him a seven-year contract with Motown's Berry Gordy. He became one of America's most well-known black film actors of the 1970s, after starring in a string of critically acclaimed and popular movies, many of them in the "blaxploitation" genre. In 1972, he starred as Billie Holiday's husband Louis McKay in Motown Productions' Holiday biopic Lady Sings the Blues. The film was a box office blockbuster, becoming one of the highest-grossing films of the year and received five Academy Award nominations. Through his portrayal he became “a full-fledged sex symbol, touted as the ‘black Clark Gable.’” Diana Ross starred in Lady Sings the Blues opposite Williams; Motown paired the two of them again three years later in the successful follow-up project Mahogany.

1980-present

Williams was cast as Lando Calrissian in The Empire Strikes Back (1980), becoming the first African-American actor with a major role in the series. J. J. Abrams, who would direct Williams in the ninth installment film in 2019, noted, “Lando was always written as a complex, contradictory, nuanced character. And Billy Dee played him to suave perfection, ... It wasn’t just that people of color were seeing themselves represented; they were seeing themselves represented in a rich, wonderful, intriguing way.” He would reprise the role soon after in Return of the Jedi (1983). Between the latter two films, he starred alongside Sylvester Stallone as a cop in the thriller Nighthawks (1981). The charm of his role as Lando Calrissian proved to be popular with audiences. Williams has voiced the character in the 2002 video game Jedi Knight II: Jedi Outcast, the audio dramatization of Dark Empire, the National Public Radio adaptation of The Empire Strikes Back, two productions for the Star Wars: Battlefront series, The Lego Movie, and in two episodes of the animated TV series Star Wars Rebels. Some fans were disappointed with Calrissian's absence from the first film in the Star Wars sequel trilogy, The Force Awakens, but in July 2018 it was announced that he would reprise his role in The Rise of Skywalker (2019), marking one of the longest intervals between onscreen portrayals of a character by the same actor in American film history.

Williams co-starred in 1989's Batman as district attorney Harvey Dent, a role that was planned to develop into Dent's alter-ego, the villain Two-Face, in sequels. However, that never came to pass; he was set to reprise the role in the sequel Batman Returns, but his character was deleted and replaced with villain Max Shreck. When Joel Schumacher stepped in to direct Batman Forever, where Two-Face was to be a secondary villain, Schumacher decided to hire Tommy Lee Jones for the role. There was a rumor that Schumacher had to pay Williams a fee in order to hire Jones, but Williams said that it was not true: "You only get paid if you do the movie. I had a two-picture deal with Star Wars. They paid me for that, but I only had a one picture deal for Batman." Williams eventually voiced Two-Face in the 2017 film The Lego Batman Movie.

Williams' television work included a recurring guest-starring role on the short-lived show Gideon's Crossing. He is also known for his advertisements for Colt 45, a malt liquor, for a five-year period starting in the mid-1980s; he would reprise his spokesperson role in 2016. Williams brushed off criticism—for the subtext of the ad campaign, ‘works every time,’ and the target audience—of the choice, "I drink, you drink. Hell, if marijuana was legal, I'd appear in a commercial for it." Colt 45 hired Williams “simply because he was so cool,” and went from trailing behind Joseph Schlitz Brewing Company in barrels produced, to “skyrocketing” a year after the 1986 ads ran to two million barrels in the top spot for malt liquor.

In the 1984–1985 season of Dynasty, he played Brady Lloyd opposite Diahann Carroll. Williams was paired with actress Marla Gibbs on three situation comedies: The Jeffersons (Gibbs's character, Florence, was in love with Williams and challenged him on everything because she thought Williams was an imposter); 227 (her character, Mary, pretending to be royalty, met Williams at a banquet); and The Hughleys (Gibbs and Williams portrayed Darryl's parents). In 1992, he portrayed Berry Gordy in The Jacksons: An American Dream. In 1993, Williams made a guest appearance on the spin-off to The Cosby Show, A Different World, as Langston Paige, a grumpy landlord, in a backdoor pilot for his own series. Williams appeared as himself on Martin where he provided Martin Lawrence's character with advice on getting back together with Gina.

Williams made a special guest appearance on the hit sketch comedy show In Living Color in 1990. He portrayed Pastor Dan in an episode of That '70s Show. In this episode, "Baby Don't You Do It" (2004), his character is obsessed with Star Wars, and uses this to help counsel Eric Forman (himself a Star Wars fan) and Donna Pinciotti about his premarital relationship. Williams made a cameo appearance as himself on the television series Lost in the episode "Exposé". He also appears regularly on short clips on the Jimmy Kimmel Live! as a semi-parody of himself. In February 2006, Williams guest starred as himself in the season 5 episode "Her Story II" of Scrubs, where he plays the godfather of Julie (Mandy Moore). Turk hugs him, calling him "Lando", even though he prefers to be called Billy Dee. Williams played Toussaint Dubois for General Hospital: Night Shift in 2007 and 2008. Williams reprised his role as Toussaint on General Hospital beginning in June 2009. Also in 2009, Williams took on the role of the voice of Admiral Bitchface, the head of the military on the planet Titan, in the Adult Swim animated series Titan Maximum. In July 2010, Williams appeared in the animated series The Boondocks, where he voiced a fictionalized version of himself in the episode "The Story of Lando Freeman".

In February 2011, Williams appeared as a guest star on USA Network's White Collar as Ford, an old friend of Neal Caffrey's landlady June, played by Diahann Carroll. In February 2012, Williams was the surprise guest during a taping of The Oprah Winfrey Show spotlighting Diana Ross. Ross and Williams were reunited after having not seen each other in 29 years. In October 2012, Williams appeared as a guest star on NCIS in Season 10 Episode 5 titled "Namesake", as Gibbs's namesake and his father's former best friend, Leroy Jethro Moore. On January 9, 2013, Williams made a cameo appearance as himself on Modern Family, season 4, episode 11 "New Year's Eve".

In 2014 Williams competed on the 18th season of Dancing with the Stars, a reality show/dancing competition partnered with professional dancer Emma Slater. The couple had to withdraw from the competition on the third week due to an injury to Williams's back.

Over the years, Williams has been a featured guest at fan conventions, mostly science fiction ones for his iconic Lando Calrissian role in the Star Wars franchise. Of his fan interactions he has said they have mostly been positive ones, "I love every single moment of it, I'll have an audience for the rest of my life."

Return to painting

In the late 1980s, Williams resumed painting devoting much of his time to the work. He returned to New York to star in August Wilson’s play Fences replacing James Earl Jones in the lead for four months starting in February 1988. It marked a turning point for him, returning home, and for him, the center of the art scene. He also renewed his friendship with Peter Max who had also trained, and sold art in the city, and renewed Williams' interest in painting. Within a two year span he “cranked out 120 original works of art.”

Williams is the Honorary Chairman of Thelonious Monk Institute of Jazz (TMIJ) in Washington, D.C., which fosters jazz education. TMIJ uses his artwork each year for its competition programs since 1990. He had his first solo exhibition in 1991 followed by many throughout North America, and later, the world. Around 1992, Williams, inspired by his friend and fellow New York artist Peter Max who had a teapot collection, started a cookie jar collection. Being an opera fan, he first found a jar in the shape of a singer in an opera gift shop by artisan couple Michael and Shelley Buonaiuto; later buying more than a dozen from their limited lines including ones of jazz artists Josephine Baker and Fats Waller. His 1993 self-portrait is at the National Portrait Gallery of the Smithsonian Institution (Washington D.C.) with a description that he “specializes in acrylic paintings combining traditional brushwork with an airbrushing technique;” he also works in oils. Williams painted a series of impressionistic portraits of the Tuskegee Airmen, the “African-American pilots whose real-life exploits changed the course of American military history.” He started the series in the 1990s but when officials from National Air and Space Museum (NASM) saw them they wanted more, and to use them in an exhibition. In 1999 they were displayed at the African-American Museum of Art, Culture and History in New Orleans, and in early-2000, the NASM in Washington, D.C.

He was commissioned for four paintings—including one of track and field star Jesse Owens sprinting, and another of a pair of boxers in a fight ring—for Nissan that were displayed at the 1996 Summer Olympics in Atlanta, Georgia. In 1997 he did paintings for Walt Disney Company’s Mighty Ducks arena for the Anaheim Ducks. From a description, circa late 1990s, at one of the galleries that carries his work, “Billy’s paintings are usually acrylic on canvas, applied with brush and airbrush. He also works with collage elements and has even created three-dimensional canvasses incorporating ceramic, Lucite, and neon light.”

He got permission from Star Wars’ creator George Lucas to sell lithographs of a montage of Williams’ iconic character from the franchise, Lando Calrissian. As of 2001 his paintings sold for an average of $10,000 to $35,000 (equivalent to $50,537 in 2019). "I call my paintings 'abstract reality.” Said Williams, “Sometimes I refer to them as 'impressions/expression.' It's the best way I can explain them." In early 2001 Williams was one of the celebrity artists painting seven-foot angel sculptures as part of the Oscar Academy’s sponsoring L.A.’s “A Community of Angels” charity project. The art angels were displayed for months then auctioned to raise funds for L.A. youth programs. In his online gallery biography, he states, “[an] interest in Eastern philosophy characterizes his images, first to record the physical reality, and then to uncover through the application of light, color and perspective. He cites Edward Hopper, M. C. Escher—the Dutch Master, Frida Kahlo, Tamara de Lempicka, Thomas Hart Benton, and the exciting, vibrant forms of African art as some of his strongest influences.” Williams’ work is included at the Schomburg Center for Research in Black Culture in New York, and the American Jazz Museum in Kansas City, Missouri.

In a 2001 interview he said, "Either I want to drop dead with a paint brush in my hand or I want to drop dead doing a soliloquy on the stage, I love acting. I love it. I take my acting very seriously, but I also find it fun. To do what children do and get paid for it is a lot of fun. I'm very fortunate." In late 2007 he was a guest artist on a ten-day Princess Cruise liner. They bought about eighty pieces which they put on their cruises and then auctioned off. He was commissioned for another set of Disney paintings to be unveiled in 2011 at Disney’s D23 Expo, also in Anaheim, California. For those, he set iconic Disney characters Mickey and Minnie Mouse, and Goofy in jazz music settings. In a 2011 interview he said, “I mostly create abstract paintings. I paint what's obvious to the eye and then incorporate an abstract point of view, which allows me a lot of space to play in. I work a lot with acrylic and oils, mostly acrylic right now and do a lot of line drawings.” In a September 2015 interview he said he finds painting “cathartic” compared to collective film work, “When you’re painting you just lock yourself up in your little private world. And it’s all about you and your imagination and nobody else interfering with that. It’s a great exercise because you really start discovering who you are and what you are without a lot of assistance … and the moment you come up with something interesting it’s a success that’s really based on your own personal, private sensibility.” As of 2019 he has made around 300 paintings, which Williams sees as his legacy.

Other ventures

Let's Misbehave

In 1961, Williams recorded a jazz LP produced by Prestige Records entitled Let's Misbehave, on which he sang swing standards. The album, which was a commercial success, earned Williams a spot on Motown 25: Yesterday, Today, Forever (1983).

The album included the first-ever vocal recording of “A Taste of Honey”, a song by Bobby Scott and Ric Marlow later covered by The Beatles on their 1963 debut album Please Please Me. Williams was the first to sing the song in the U.S., on the Broadway stage with Joan Plowright as part of the original Broadway production of the play A Taste of Honey. Williams said of the album, “Recording it was sort of a lark. I did some singing in clubs, for a moment, and then I stopped. I have too much respect for singers to really think that I'm a singer.” The album was re-released on CD, Download and Streaming platforms in 2014 and continues to be available.

Thirty years later, in the early 1990s, he sang on a “celebrity-packed charity single,” “Voices That Care,” to honor U.S. troop of Operation Desert Storm, the 1990-1991 Gulf War, and supporting the International Red Cross. The single reached number eleven on the Billboard Hot 100, and number six on the Hot Adult Contemporary Tracks. Through sales and plays of the song Williams and the other celebrities became platinum-recording and Billboard-charting artists.

Video games

Williams voiced Lando Calrissian in the video game Star Wars Jedi Knight II: Jedi Outcast and Star Wars Battlefront as well as the spin-off Star Wars Battlefront: Elite Squadron. However, the Battlefront appearances were archive footage and his voice-appearance in Elite Squadron is left uncredited or unknown. He also played a live-action character, GDI Director Redmond Boyle, in the game Command & Conquer 3: Tiberium Wars, which was released in March 2007. This made him the second former Star Wars actor to appear in a Command & Conquer game, with the first being James Earl Jones as GDI General James Solomon in Command & Conquer: Tiberian Sun. Williams voiced Lando Calrissian in 2015's Star Wars: Battlefront for the DLC pack Bespin and its 2017 sequel Star Wars Battlefront II.In the 2016 game Let It Die, Williams voices Colonel Jackson, who acts as the 2nd major boss players face.

Internet

In 2008, Williams reprised his role as Lando Calrissian to appear in a video on Funny or Die in a mock political ad defending himself for leader of the Star Wars galaxy against vicious attack ads from Emperor Palpatine. Williams is currently a cast member of Diary of a Single Mom, a web-based original series directed by award-winning filmmaker Robert Townsend. The series debuted on PIC.tv in 2009.

Personal life

Williams has been married three times, and has three children, and two grandchildren. His first marriage was to Audrey Sellers in 1959. They were divorced some years later, after which he apparently became depressed. He stated that "there was a period when I was very despondent, broke, depressed, my first marriage was on the rocks." They had a son, Corey Dee Williams, born in 1960. In 1968, Williams married model and actress Marlene Clark in Hawaii. They divorced in 1971. He moved from New York City to California in 1971.

He married Teruko Nakagami on December 27, 1972. She brought a daughter, Miyako (b. 1962), from her previous marriage to musician Wayne Shorter. Together they have a daughter, Hanako (b. 1973). In 1984 he bought a “Zen-like contemporary” home in the Trousdale Estates neighborhood of Beverly Hills, California; he sold it in 2012. He filed for an amicable divorce from Nakagami in 1993, but they reconciled, and were again living together by 1997.

Williams was arrested on January 30, 1996, after allegedly assaulting his live-in girlfriend, whom the police did not identify. He posted a US$50,000 bail. L.A. Police said the woman had minor bruises and scratches. The attorney's office filed misdemeanor charges of spousal battery and dissuading a witness. The woman later stated that the incident was her fault and hoped the police would drop the case. In a plea bargain, Williams was ordered to undergo 52 counseling sessions. In a 2019 interview, Williams says he never slapped or abused women.

In late 2019, Williams talked about his feminine side in an interview, and used masculine and feminine pronouns to refer to himself. Media outlets widely speculated that Williams might be gender fluid, but he clarified that he was referring to anima and animus: the feminine side of men and the masculine side of women in Jungian psychology.

Honors and awards

Primetime Emmy [Nominee] (1972) for Outstanding Single Performance by an Actor in a Leading Role in "Gale Sayers" in Brian's Song (1971)

Inducted into the Black Filmmaker's Hall of Fame in 1984.

Hollywood Walk of Fame

Academy of Science Fiction, Fantasy & Horror Films

Film Independent Spirit Awards

Multicultural Motion Picture Association (Diversity Awards): Circa 2000-2001, Lifetime Achievement Honor

Black Reel Awards: Nom 2002 Theatrical - Best Supporting Actor for The Visit

NAACP Image Awards (NAACP)

Indie Series Awards

TV Land Awards

African-American Film Critics Association (AAFCA)

Behind the Voice Actors Awards

American Black Film Festival

Star on the Walk of Fame (1985) at 1521 Vine Street.

Saturn Award [Nominee] (1981) for Best Supporting Actor in Star Wars: Episode V - The Empire Strikes Back (1980)

Saturn Award [Nominee] (1984) for Best Supporting Actor in Star Wars: Episode VI - Return of the Jedi (1983)

Independent Spirit Award [Nominee] (2001) for Best Supporting Male in The Visit (2000)

Image Award [Winner] (1972) for Best Actor - Motion Picture in Lady Sings the Blues (1972)

Image Award [Winner] (1977) for Outstanding Actor in a Motion Picture in The Bingo Long Traveling All-Stars & Motor Kings (1976)

Image Award [Nominee] (2001) for Outstanding Supporting Actor in a Motion Picture in The Visit (2000)

Lifetime Achievement Award for his outstanding contributions to the arts in 2006.

ISA [Winner] (2010) for Best Performance by a Guest Actor in Diary of a Single Mom (2009)

ISA [Nominee] (2011) for Outstanding Supporting Actor in Diary of a Single Mom (2009)

TV Land Award [Winner] (2006) for Blockbuster Movie of the Week In Brian's Song (1971)

TV Land Award [Nominee] (2003) for Most Memorable Male Guest Star in a Comedy as Himself In The Jeffersons (1975)

Special Achievement Award [Winner] (2012)

BTVA Feature Film Voice Acting Award [Nominee] (2018) for Best Vocal Ensemble in a Feature Film in The Lego Batman Movie (2017)

(2018) Hollywood Legacy Award

Books

PSI/Net (1999), ISBN 978-0-312-86766-9, novel co-written with Rob MacGregor based on an actual government program of psychic spying.

JUST/In Time (2001), ISBN 978-0-8125-7240-7

Filmography

Williams’ film debut was in The Last Angry Man (1959), but he came to national attention in the television movie Brian's Song, which earned him an Emmy Award nomination for Best Actor. He has appeared in at least 70 films over six decades, including critically acclaimed and popular movies Lady Sings the Blues (1972) and Mahogany (1975), which both starred Williams paired with Diana Ross, and Nighthawks (1981).

In the 1980s he was cast as Lando Calrissian in The Empire Strikes Back (1980) and Return of the Jedi (1983). He would portray Lando in the Star Wars franchise for nearly forty years, including The Rise of Skywalker (2019), and as a voice actor in video games and animated series. Another enduring franchise relationship started with Batman (1989) playing attorney Harvey Dent, a role that was also developed into a villainous alter-ego, Two-Face, which he voiced for The Lego Batman Movie (2017).

#04/06

[notyourpapashockey]

Hispanic Heritage Month Fan Highlight: Elan Lozano

NOTE FROM NOT YOUR PAPA’S HOCKEY: SOME PEOPLE DECLINED TO SHARE LAST NAMES, TWITTER HANDLES AND/OR PERSONAL PICTURES. WE RESPECT THEIR RIGHT TO PRIVACY, AND WE HOPE OUR READERS DO AS WELL. WE HAVE NOT EDITED ANSWERS ASIDE FROM SLIGHT SPELLING ERRORS AND ADDED CLARIFICATION.

Not Your Papa’s (NYP): Tell me a little about yourself - name, pronouns, where you're from, fun fact if you want, etc!

Elan (E): My name is Elan Lozano, I am a 29 year old Mexican-American male from Saint Paul, Minnesota. I am not only an extremely huge hockey fan, but I am a musician as well. I play the drums, a little bit of guitar and work at a music shop as well. I have a hockey jersey collection that is currently up to 20, but most likely will be more by the time this article will come out.

NYP: Who is your team (or teams)?

E: Minnesota Wild all the way!

NYP: Who is your favorite player and why? 

E: Matt Dumba, no question. He’s the definition of a true leader in my opinion. He is always the first guy to help the younger guys get acclimated to the team. He is always there to pick up his teammates when they are hurt and the first to stick up for his teammates in a scrum or a fight. He is also finally getting recognized for it with his King Clancy Award this year, but he is an extremely huge community leader. He is always donating his time to multiple programs, charities and even strangers since the first day he arrived in Minnesota. He has done a ton of work with the ACES program and it is amazing to see. He has also donated money to help rebuild Minneapolis and for Black Lives Matter. It still boggles my mind that he has not been considered an option as a potential team captain when Mikko Koivu retires.

As a player, when he is on, the Wild are on as well. He’s a player that very much can dictate where the team can go. Plus, he has one of the best one timers I have ever seen. He has an absolute bomb of a slapshot! I honestly think if he did not get hurt halfway through last season, we would be talking about Matt Dumba across the league a lot more as one of the top offensive defenseman in the NHL. I have all the confidence that he will be able to turn back around and become the 20-30 goal scorer he looked like he was going to be before he was injured.

NYP: How long have you been a hockey fan and how did you get into hockey?

E: For as long as I can remember. I would guess around 6 or 7, so 22 or 23 years. All I remember was seeing The Mighty Ducks as a kid and being hooked! I mean, it was a movie that was filmed in my hometown. It was like it was meant to be. As far as NHL hockey, it easily has to be the 1999 Stanley Cup Finals. I just remember Dominik Hasek being an absolute madman in the net and making some of the craziest saves I have ever seen. Still, to this day, it amazes me how he made some of the saves he did. In my opinion, Dominik Hasek in his prime was the best goaltender to ever play the game. He almost single handedly won the Sabers a Cup. Shoutout to The Dominator. Still is one of my favorite players of all time.

NYP: What do you like the most about hockey? 

E: This is [a] tough question. I do not know if I can pick just one, but one of the things I love most about the sport is the fact that an underdog can win on any given night, and I do not think you can say that about any other sport really. Especially, in the playoffs. How many other sports leagues can say that an 8th seed has a shot at winning their league’s championship if they are able to make the playoffs and get hot at the right time? Not many, if any at all. The feeling of anything can happen is just pure amazing.

Another thing I love about the sport is the passion of anyone who is involved or surrounded by the game itself. The players, the announcers, the writers and the fans. We all live and die with our teams. The players leave it all out on the ice. The fact that a player can get as big of a cheer for blocking a shot as they can for scoring a goal tells you all you need to know about the passion the players and the fans have for the game and for each other.

NYP: How has being Hispanic/Latinx in a white-male centric fan community affected your relationship with the sport?

E: My experience with the sport has been positive for the most part, but there are moments where things have not been so positive. I remember growing up and saying my favorite sport is hockey. You would have kids make comments like, “But, you’re Mexican.” I never took those kids as meaning anything hurtful by it. Most of the time, they thought it was cool that I was Mexican and liked hockey, but I learned quickly at a very young age that there was not a lot of Latinx representation in the sport and that has always disappointed me.

It is growing. Slowly, but it is growing. I always looked up to Scott Gomez and would do reports in school on him as much as I could because he was an inspiration to me. It is amazing to see that we have a Latinx GM for the Minnesota Wild in Bill Guerin. It is amazing to see Alex Meruelo as the first Latinx owner in the NHL. I cannot tell you how exciting it was to see Auston Matthews go First Overall in the NHL Draft. There was such a high sense of pride for me seeing a Latinx player go first overall and especially to arguably the biggest hockey market in the world AND be their star player. 

The more negative experiences I have had have more come from looks or getting the feeling someone is talking about you because you are different. When I have been at the local bars surrounding Xcel Energy Center grabbing food and beer before a game, there are a few times I will get looks or get the feeling someone has been talking about me. It has happened at the arena a few times as well. I never let it bother me much because I am not going to allow someone to ruin my good time and waste the hard earned money I spent on my ticket to the game, but at the same time, I am human.

I can only deal with so much before I want to say something. I usually never do because, for one, I am usually alone and two, I am a Person of Color by myself at a hockey game. I would like to think a majority of the fans would have my back in helping defend me against racism, but I always get the feeling security or the cops at the arena would take the other person’s side if I did ever speak up. The worst part is I am a Season Ticket Holder and I still feel like very few people would have my back to support me. 

NYP: What do you wish you could see from teams or players when it comes to Hispanic Heritage - especially teams in areas with large Hispanic/Latinx populations?

E: Simple. Outreach, outreach, outreach. Most of the time, the teams will go to the suburbs of the city they play in, but where the outreach is needed most is usually a lot closer to the arenas these teams play in. It would be as simple as taking the time to go to a local rec center and play some floor hockey in the gym with the kids. If you did that once a week or even once a month, you would get so many more eyes on the sport and get kids interested at a much younger age.

Outreach is the first step. The second would have to be donating not only time, but money and/or gear. The game is extremely expensive. From my personal experience, my mom did not have the money to get me the gear I needed to play hockey when I was younger. A few years ago, I was able to get myself skates and a helmet and started to trying to learn how to skate on my own. There was no way my single mom could have afforded to buy the gear and ice time I would have needed to be able to play.

NYP: In relation to the question above, what would you like to see your favorite team, specifically, do for Hispanic/Latinx fans?

E: I would give the two same answers as before, but I will specify it more to my city and to the Minnesota Wild. I live on the West Side of Saint Paul, which has a very large Latinx population, more specifically, Mexican and Mexican-American. I live literally 5 minutes from the Xcel Energy Center and in the near 20 years of the team’s existence, there has been no or hardly any outreach to this side of town. We could not live any closer to not only the arena, but to the practice facilities as well. There is no excuse the team has to not have more of an outreach in our neighborhood. We have a new rec center in the area, an indoor ice rink and the rec center also makes two outdoor rinks every year. There are plenty of opportunities for the Wild to outreach to the neighborhood I live in, but I have seen more outreach in the suburbs who are 30 to 45 minutes away from the arena. Even the Minnesota Twins rebuilt the baseball fields that are attached to the rec center and they are based out of Minneapolis, not Saint Paul like the Minnesota Wild are. It is extremely disappointing.

NYP: What is your favorite thing a team or player has done for Hispanic Heritage? 

E: It almost feels disappointing that this is my answer because I feel like it should be something on a bigger scale to talk about, but it has to be an interview/YouTube video that SportsNet’s Donnovan Bennett did with Auston Matthews about his Latinx heritage that was released back in February this year. It was great to hear him talk about his family and his culture. It shows where he comes from. Sadly, the video has under 100,000 views at the time of me writing this. It is crazy to me that the Leafs, or the NHL for that matter, did not promote this more for one of its Superstars players in the league.

[Note from NYPH: the video has since surpassed 100k views but barely, it sits at 100,684 as of Sept. 23, 2020.]

NYP: Tell me about a favorite hockey memory.

E: Hands down, my favorite hockey moment is Andrew Brunette’s OT Game 7 winner against the Colorado Avalanche in 2003. I was 12 and I remember it was one of the rare times my mom let me stay up late to let me watch the game. No matter how late it could have gone, she was going to let me stay up and watch the entire game. She knew what it meant to me. Quick shoutout to my amazing mom for always being supportive of my passion for the sport of hockey. My mom even let me watch the game on the big TV in the living room.

I remember Brunette getting a break to the net and when he scored, it is a feeling I will never forget. I just remember jumping up and down, screaming and crying out of pure joy. The emotions came over me. To this day, whenever I see this goal, I get a chill down my spine. No one gave us a chance and we took down the mighty Avalanche. We were the underdog, and we fought so hard to get a chance. To get respect. That is why I connect with the game so much. I am that person in my everyday life. I have to fight for every inch and you have to do that exact same thing in hockey.

NYP: What is something you wish people knew as a Hispanic/Latinx hockey fan? 

E: I think from a cultural standpoint, we have so much to offer to the game to make it better. We are passionate. We love hard! We dive headfirst into the things we love. We will fight, scratch, claw and defend our team to no end. Imagine having more players with that fire and passion on a team or in a front office. We have so much to offer the sport. We just need the opportunities to do so.

You can find Elan on Twitter: @MapexDrummer26.

#hispanic heritage month #hispanic #hhm #hockey #matt dumba #auston matthews #minnesota wild #latina #latinx #latino #interview #fan interview

[chiseler]

The Crowd Doesn’t Just Roar, It Thinks: Warner Bros.’ All-Talking Revolution

“Iconic” is a gassy word for a masterwork of unquestioned approval. But it also describes compositions that actually resemble icons in their form and function, “stiff” by inviolate standards embodied in, say, Howard Hawks characters moving fluidly in and out of the frame. Whenever I watch William A. Wellman’s 1933 talkie Wild Boys of the Road, these standards—themselves rigid and unhelpful to understanding—fall away. An entire canonical order based on naturalism withers. 

To summon reality vivid enough for the 1930s—during which 250,000 minors left home in hopeless pursuit of the job that wasn’t—Wellman inserts whispering quietude between explosions, cesuras that seem to last aeons. The film’s gestating silences dominate the rather intrusive New Deal evangelism imposed by executive order from the studio. Amid Warner Bros.’ ballyhooing of a freshly-minted American president, they were unconsciously embracing the wrecking-ball approach to a failed capitalist system. That is, when talkies dream, FDR don’t rate. However, Marxist revolution finds its American icon in Wild Boys’ sixteen-year-old actor Frankie Darro, whose cap becomes a rude little halo, a diminutive lad goaded into class war by a chance encounter with a homeless man. 

“You got an army, ain’t ya?” In the split second before Darro’s “Tommy” realizes the import of these words, the Great Depression flashes before his eyes, and ours. No conspicuous montage—just a fixed image of pain. Until suddenly a collective lurch transmutes job-seeking kids into a polity that knows the enemy’s various guises: railroad detectives, police, galled citizens nosing out scapegoats. Wellman’s crowd scenes are, in effect, tableaux congealing into lucent versions of the real thing. The miracle he performs is a painterly one: he abstracts and pares down in order to create realism.  

Wellman has a way of organizing people into palpable units, expressing one big emotional truth, then detonating all that potential energy. In his assured directorial hands, Wild Boys of the Road sustains powerful rhythmic flux. And yet, other abstractions, the kind life throws at us willy-nilly, only make sense if we trust our instinctive hunches (David Lynch says typically brilliant, and typically cryptic, things on this subject). 

I’m thinking of iconography that invites associations beyond familiar theories, which, in one way or another, try to give movies syntax and rely too heavily on literary ideas like “authorship.” Nobody can corner the market on semantic icons and run up the price. My favorite hot second in Wild Boys of the Road is when young Sidney Miller spits “Chazzer!” (“Pig!”) at a cop. Even the industrial majesty of Warner Bros. will never monopolize chutzpah. The studio does, however, vaunt its own version of socialism, whether consciously or not, in concrete cinematic terms: here, the crowd becomes dramaturgy, a conscious and ethical mass pushing itself into the foreground of working-class poetics. The crowd doesn’t just roar, it thinks. Miller’s volcanic cri de coeur erupts from the collective understanding that capitalism’s gendarmes are out to get us.

Wellman’s Heroes for Sale, hitting screens the same year as Wild Boys, 1933, further advances an endless catalogue of meaning for which no words yet exist. We’re left (fumblingly and woefully after the fact) to describe a rupture. Has the studio system gone stark raving bananas?! Once again, the film’s ostensible agenda is to promote Roosevelt’s economic plan; and, once again, a radical alternative rears its head.

Wellman’s aesthetic constitutes a Dramaturgy of the Crowd. His compositions couldn’t be simpler. I’m reminded of the “grape cluster” method used by anonymous Medieval artists, in which the heads of individual figures seem to emerge from a single shared body, a highly simplified and spiritual mode of constructing space that Arnold Hauser attributes to less bourgeoise societies. 

If the mythos of FDR, the man who transformed capitalism, is just that, a story we Americans tell ourselves, then Heroes for Sale represents another kind of storytelling: one firmly rooted to the soiled experience of the period. Amid portrayals of a nation on the skids—thuggish cops, corrupt bankers, and bone-weary war vets (slogging through more rain and mud than they’d ever encountered on the battlefield)—one rather pointed reference to America’s New Deal drags itself from out of the grime. “It’s just common horse sense,” claims a small voice. Will national leadership ever find another spokesman as convincing as the great Richard Barthelmess, that half-whispered deadpan amplified by a fledgling technology, the Vitaphone? After enduring shrapnel to the spine, dependency on morphine, plus a prison stretch, his character Tom Holmes channels the country’s pain; and his catalog of personal miseries—including the sudden death of his young wife—qualifies him as the voice of wisdom when he explains, “It takes more than one sock in the jaw to lick 120 million people.” How did Barthelmess—owner of the flattest murmur in Talking Pictures, a far distance from the gilded oratory of Franklin Roosevelt, manage to sell this shiny chunk of New Deal propaganda? 

How did he take the film’s almost-crass reduction of America’s economic cataclysm, that metaphorical sock on the jaw, and make it sound reasonable? Barthelmess was 37 when he made Heroes for Sale; an aging juvenile who less than a decade earlier had been one of Hollywood’s biggest box-office titans. But no matter how smoothly he seemed to have survived the transition, his would always be a screen presence more redolent of the just-passed Silent-era than the strange new world of synchronized sound. And yet, through a delivery rich with nuance for generous listeners and a glum piquancy for everyone else, deeply informed by an awareness of his own fading stardom, his slightly unsettling air of a man jousting with ghosts lends tremendous force to the New Deal line. It echoes and resolves itself in the viewer’s consciousness precisely because it is so eerily plainspoken, as if by some half-grinning somnambulist ordering a ham on rye. Through it we are in the presence of a living compound myth, a crisp monotone that brims with vacillating waves of hope and despair.

Tom is “The Dirty Thirties.” A symbolic figure looming bigger than government promises, towering over Capitalism itself, he’s reduced to just another soldier-cum-hobo by the film’s final reel, having relinquished a small fortune to feed thousands before inevitably going “on the bum.” If he emits wretchedness and self-abnegation, it’s because Tom was originally intended to be an overt stand-in for Jesus Christ—a not-so-gentle savior who attends I.W.W. meetings and participates in the Bonus March, even hurling a riotous brick at the police. These strident scenes, along with “heretical” references to the Nazarene, were ultimately dropped; and yet the explosive political messages remain.

More than anything, these key works in the filmography of William A. Wellman present their viewers with competing visions of freedom; a choice, if you will. One can best be described as a fanciful, yet highly addictive dream of personal comfort — the American Century's corrupted fantasy of escape from toil, tranquility, and a material luxury handed down from the then-dying principalities of Western Europe — on gaudy, if still wondrous, display within the vast corpus of Hollywood's Great Depression wish-list movies. The other is rarely acknowledged, let alone essayed, in American Cinema. There are, as always, reasons for this. It is elusive and ever-inspiring; too primal to be called revolutionary. It is a vision of existential freedom made flesh; being unmoored without being alienated; the idea of personal liberation, not as license to indulge, but as a passport to enter the unending, collective struggle to remake human society into a society fit for human beings. 

In one of the boldest examples of this period in American film, the latter vision would manifest itself as a morality play populated by kings and queens of the Commonweal— a creature of the Tammany wilderness, an anarchist nurse, and a gaggle of feral street punks (Dead End Kids before there was a 'Dead End'). Released on June 24, 1933, Archie L. Mayo's The Mayor of Hell stood, not as a standard entry in Warner Bros.’ Social Consciousness ledger, but as an untamed rejoinder to cratering national grief.

by Daniel Riccuito

Special thanks to R.J. Lambert

[riotatthemovies]

Today we have a true wildman, maverick of low budget film Joel D Wynkoop. Let's get in the mindset of an actor, an actor's actor. An American Brian Blessed without the beard you could say (imagine Joe D Wynkoop as Hawkman and let that sink in) . To you regulars here at Riot at the movies you will remember Joel from 2019s Terrible Two Day fest where he closed the weekends events by appearing in Clownado as the cowboy pilot. Then just before screenings shut down in the first week for March 2020 we saw him again in the first film of this year Terrible Two Day Fest with a small but high energy cameo at the very end of Dinogore.

Let's pretend we are a live audience talk show and give a round of applause for Joel D Wynkoop.

Riot: Joel you are known as a high energy guy, what do you think or even what do you hope are people's first impressions of you?

WYNKOOP:      Well I hope they like my performances.  There are some that just flat out say "He yells too much!" I even had an actress tell me "Stop yelling at me, you're always yelling at me" but what she didn't get is that was the idea in the movie, the Sheriff(Played by me was yelling) but she got her feelings hurt and asked me not to yell at her.  "But....I'm supposed too." I told her...anyway the director pulled her aside and explained to her "...this is not real life and we were pretending" and she still didn't get it, so the director told me "don't yell at her too much."  Aside from the yelling and the out of control antics of a lot of my characters, I also want to be known as the actor that can do serious stuff too.  I have done parts that when they were done or in the middle of where the audience was crying because I was going for that emotional touch.  I have done things that scare the audience, not to mention my co stars.                          My wife, before I knew her, we had just met and we did a very emotional scene when I was in her face yelling at her, later the director said to her "You were great you really looked scared." and she said "I was scared, he is a scary guy when he yells... I thought he was going to hit me."  But I can also do comedy where people may say "Man Wynkoop was so funny in that" or "Mannnn Wynkoop was so annoying in that" in each case that is what I was going for.                                In my latest movie "THE CRAIGLON INCIDENT" I think people are going to say the latter because the character I do is annoying....but funny...I hope.  If they don't like me right away or there's someone out there going "Wynkoop sucks, his movie's suck"  I hope people make their own decisions if they like me or not.

Riot: Let's look back at your early break into low budget films. Which character do you relate to the most, Steve Nekoda the religious, confused martial arts man of action from Lost Faith or do you deep down feel a little more fucked up like Dan Hess from Wicked Games or maybe even worse the officer in Dirty Cop No Donut? Or is that just crazy ? If you don't feel you personally relate to them, who was your favorite character to play?

WYNKOOP: Just doing Steve Nekoda, Dan Hess or Gus Kimble I think I am a little of all of them in real life.  One time... well more then once in my life...real life...I have had to step in and protect someone like Steve Nekoda would, other times I have been the smart ass like Gus Kimble and his brand of justice where I have said things like (When someone is too close to me, I mean right on my ass) I turn to them and say "Are you gonna propose?" and they say "No" then I say "Then get off my ass!"                        More than once I have stood up for somebody... one time I told two guys to leave the premises because the girl inside the store was scared of them.  The one guy then said to me.  "You got a problem with me?"  I said "No, I don't have a problem with you, but you're gonna have a problem with me if you don't leave now!"  He started to move towards me. I went into a striking stance and his buddy grabbed him and said  "Let's go man." and they left.  The cops told me later "Don't be the hero just call us next time, we have guns."                      Dan Hess pushed in his Truth or Dare world, is me when I get annoyed in traffic.  Someone cut me off I exploded in rage, he saw me in his mirror cursing him, he stopped his car and jumped out and came after me, I jumped out of my car and yelled at the top of my lungs "Don't FUCK with me man!!"   He got back in his car and left and I did the same.  Hey, I'm not perfect!  

                     Again Steve Nekoda. I am a Christian yes, I swear, I'm sorry, were all human. I will stop and pray with someone at the drop of a hat.  I have ran charity events for people struggling with medical bills.  I will offer you some money if they are hard up...not scammers!  So I guess I am a little of all of my characters.  Nick Hazzard, Dan Hess, Steve Nekoda, Parsons Cooper, Angus Lynch, Tie-Ree, Cope Ransom and a lot more.                         Favorite character?  I think all of them.  I loved Steve Nekoda cause he is like a superhero, Parsons Cooper is turned into a sci-fi superhero.                          Dan Hess is fun because he is an average guy with a messed up life.  Angus Lynch was fun to play because he was just psycho!  Same with Gus Kimble from the Dirty Cop movies.  They are all fun to play, I just can't lock one particular one down.  They're all fun...CLOWNADO?  I loved playing that character "HAWK" for Todd Sheets!!  It was a fun role to play and Todd really let me run with it.  Little easter eggs too in one line almost under my breath you here my character HAWK say "I'm just about to watch a Todd Sheets Joel Wynkoop double feature, those guys kill me."  Yeah I love them all!

Riot: I am honestly imagining you doing a remake of Falling Down (the Micheal Douglas movie) just so I can see you super red faced getting angry in your car and flipping out at the traffic. You have like a dozen, if not more projects on the go at any time. How's Covid treating you? Are you going stir crazy or getting some stuff done on the side? I hope the conventions come back and people can get copies of all these movies as well.

WYNKOOP: Covid?  We are dealing with it.  If the law, Government or whatever wants you to wear masks just wear the mask.  It's not that big a deal.  Yes it annoys me but I wear it because it is the law and you're keeping people and yourself safe.  You know what?  I knew a guy that was a nudist and he told me "Joe, I don't know why we have to wear these, these clothes, I should be able to walk around unencumbered and free, there's nothing wrong with my body, I should be allowed to walk around nude, go into the store, go to the movies, I feel like I am being persecuted against because I cannot be free and naked."  Well guess what?   That is what everyone is saying about wearing their masks...are you comfortable with people walking around naked in your grocery store, pet store, church, movie theater, everywhere you go?  I'm not.     I think if we are told to wear masks then wear them.  It's "NOT" being sheep, you're being smart.  If you don't believe in it... go up to a stranger and say (With your mask on) "Please hack up all over me because I don't believe in the Corona Virus... try and let spit come out of your mouth too cause I don't believe in it so I won't get it!"  Then pull your mask down so you can inhale all that virus you think is "NOT" there.  People say more people die from the flu then Corona?  Really?  Personally I don't know any of my friends that have died from the flu...BUT I Have had at least 10 friends die of the CoronaVirus in the last two months.  As of writing this tonight I just found out two more of my friends caught the Corona Virus because they let someone in their home and now they have it.  If you don't believe in it then you don't believe the Earth is round.                     Stir Crazy?  Nah!  If we need to get out it is because of the news.  The world is really messed up now and it is all the same stories over and over again.  The riots were terrible!!!!!!  Anyway when it gets too much we go for a ride in the van.  I just want to make movies. I can't change anything, I'm not magic.   I'll  just continue to make movies.  Also I am editing my new movie now called THE CRAIGLON INCIDENT which never would have happened if it were NOT for the Corona Virus, I started this movie cause everyone was told to stay home, it was mandatory here! Curfew was enforced.  So I asked my wife Cathy, "Hey just shoot me talking to the camera."  Now spin it around so it looks like I am talking to myself as my counterpart and THAT is how The Craiglon Incident originated.  It is now like two hours long in my timeline waiting to be completed.  If there was no virus there would have been no CRAIGLON INCIDENT".                    But just editing the movie keeps me plenty busy! PLUS I ask people if they are interested in being a producer or executive producer of either or both my movies "THE CRAIGLON INCIDENT" or "BEAST MODE"(A movie we started with Debbie Rochon and Lloyd Kaufman but was shut down because of Covid) people can contact me and become producers and executive producers just by purchasing some of my movies...It's a great way to get some entertainment and build your IMDB!!!!                       Conventions YES!!!  Me too.  So many have been shut down at the last moment.  We even had Tampa Bay Screams here that was slated in August but it has been moved to March 2021 and we don't even know if that will happen.  Yes I miss it!!  More than selling the flicks I like meeting everyone that comes to the shows.  That's why I continue to do things on Facebook and make movies and sell online to keep my name out there so folks don't forget about me.  I don't think I would be comfortable doing a show right now anyway, not the way things are. I have had two shoots lately, one a TV show and one a rap video and I was nervous the whole time hoping I didn't get anything from anyone.  But yes it would be nice to get the world back to normal, well, not even normal... BETTER THAN NORMAL...hey that's a good name for a TV show..."Hey brother what are you doing next Wednesday night?"  "Me, oh not much I'm gonna check out that new TV show...what's it called, oh yeah...BETTER THAN NORMAL".

Riot: Let this be a reminder to my regular Canadian viewers and readers of just how freaking lucky we are up here. I love America for many things but for my health situation I wouldn't trade places with you Joel for the world. Thanks for being so open with us. Ok, How do you feel your films have dated over the years? The projects you've done with Tim Ritter seem to have just as strong a twisted fan base as always if not more these days.

WYNKOOP:     I think they hold up fine.  You have to remember when Tim Ritter and I started there was no CGI in indie movies.  It was all practical effects, if you wanted blood you made it and threw it on the actor you couldn't say "Hey put a blood splat there and make it look real with your CGI effects."  Nothing wrong with CGI it is just we didn't have that then. Also editing wasn't on your home computer with Movie Maker and Premiere... (They didn't exist when Tim and I broke into this, in fact some places have credited Tim and I  have been credited with the whole direct to video happening.)...  it was rent an edit bay with big 3/4 machines and shuttle the tape back and forth... In the beginning for Tim and myself, Tim and I use to edit on cutting boards with splicing tape.  You scratched your effects into the actual film.                           I remember putting "The Eight Million Dollar Boy Meets The Invisible Transport Boy" together, splicing it all together, it was an hourlong and it was hard to do that 50 feet at a time.  But yeah a lot of people are like "Yeah I remember TRUTH OR DARE man that was cool!" Even Elijah Wood on all the late night shows was talking about how much he loved "TRUTH OR DARE"!  "LOST FAITH" has got that same kind of attention, a lot of people really love it.  BUT like all our movies... some hate them, some love them.  I'll take the love over the hate... but you have to accept it all.       Believe it or not I learned this philosophy from Marvel Team Up.  Spiderman had just stopped the Basilik and was handing him over to the cops and Spidey said "Here you go officer, although I don't know why you would want him?" and the cop said "All part of the job wall crawler, you take the bad with the good."  And that is how I take everything, especially reviews.  You take the bad with the good.                               So yeah I think they hold up...I had a friend when STAR TREK THE NEXT GENERATION came out and he was like "Oh the original sucked the effects are much better in NEXT GENERATION"   Well "No Duh" I told him... it's like 30 some years later but STAR TREK is still a classic show!!  It still holds up today, the stories are great and I love the effects... yes the upgrades are awesome but always classic "Star Trek".  There is always gonna be a better format... pretty soon movies will be like holograms and we'll be being punched in the face by the characters in the movies. Technology changes everything so you have to give them credit for the era they were made.                                    The people that love Twisted Illusions movies and my movies are AWESOME.  I divide the two because Tim and I have done alot together as Twisted Illusions and I in turn have done a lot under Wynkoop Productions and joined the two over the years. I am still a part of Twisted Illusions with Tim and he with me in Wynkoop Productions it is two small companies just trying to entertain people.                                   We are BOTH very fortunate to have the nice people we do enjoying all of our movies and we will never forget that.  I get Facebook requests all the time and I ask them "What made you want me as a friend?" and they 90% always say "I saw your movies in High School" or "I saw you in Truth Or Dare"or "I loved you in Dirty Cop No Donut" and they all say "What are you doing now?".  In fact every time I think I am going to quit I get a Facebook from someone saying "I love your movies please don't stop making them." and I never will until GOD calls me home.  Even then when I am gone, I hope people keep watching all my movies I have done with Tim and the ones I have done and the ones we have collaborated on.  To the ones out there that watch our stuff I hope we are entertaining you because that is all we want to do, 'cause we sure arn't getting rich from it.

Joel Getting Tough in The Other Side

Riot: You do the whole package, acting, directing, producing. What makes low budget filmmaking still a passion for you and what are some of the things these days that frustrate you the most?

WYNKOOP: Frustrate me the most?  Editing.  I will have a whole scene in my timeline and the power goes out, I hit the wrong key and delete stuff, lightning hit the house and fries it, lightning turns out our power and I lose it.  It freezes up as I am editing and I have to wait an hour for it to fix itself.  When it says "SAVE" I hit no.  I make mistakes when I am tired while I am editing and boom I do something wrong and it is gone and I have to start all over again.  There have been problems when I was editing my TV show I was putting in the last minute touches and lost the whole thing and had to start over from the beginning again.  Frustrating!  I keep working at it no matter what.  I like to act in all I can.  When I don't have anything that is when I say it's time to make my own movie, although in this case of "THE CRAIGLON INCIDENT" it was because of Covid 19.  I'd like to make more money at it but doesn't everyone?

So as you can tell I sneak more then one question in at a time and I'm glad you took the time to shoot the shit with us. I hope 2021 means we get to go crazy and make all the weirdest and wildest movies we all can think of and I look forward to seeing what you got to throw at us. Thanks again. Stay Awesome.

Also Check out Joel in Lycanimator made by our Ontario buddy Seb Godin (also of Dinogore), get the vhs horror boobs made for Wild Eye Releasing , its better then the dvd.

WYNKOOP:  Thank you all for taking the time and showing some interest in this old guy!!!!  It is appreciated, thank you to everyone on your staff and everyone reading this article... thank you all so much and to see what I am doing please seek me out on Facebook under Joel D. Wynkoop.  Thank you!

#joel d wynkoop #bmovies #lowbudget film making #wicked games #killingspree #lost faith #clownado #lycanimator #the other side #dirty cop no donut #wildman

[anthonybialy]

Kabuki Quarantine

The government needs to keep you from living to keep you alive. Sickness is nothing new. Histrionic overreach is their only specialty. Mid-level elected executives turned broad suffering into specific interdictions about unrelated matters. Hassling maskless restaurant patrons brings to mind pointlessly invasive September 11 measures that haven't made us safe since. Confiscating liberty can only get worse if there are no marginal benefits.

Panic always motivates rational responses, so be sure to get wound up about the news. Those interfering with your business for your own good always use a totally calm counterpoint, which is that opponents of being bothered by law are demons wearing human skins who want everyone to croak. The claim is even more risible when made by those who tried to make nursing homes fun by letting everyone share a lethal disease.

We can move without fear through the sky thanks to an unwieldy legalized harassment squad staffed with the nation's ruder high school dropouts and convicted felons. You feel safer in the clouds, right?

TSA set the precedent for bothering Americans as a reply to horror. Pat the heads of anyone claiming security theater has prevented any terror measures. Then pat the bathing suit area, because they tacitly admitted they like it. To be fair, people who are useless even by federal standards have stopped plenty of travelers from making flights. It's easier to harass the innocent than terrorists, if not quite practical.

If al-Qaeda wanted flyers to remove shoes, they won. Hopeful passengers are still wandering aimlessly around security checkpoints protected from hideous floors with nothing but socks almost 19 years after that vile dastard tried to light his footwear fuse. And the liquid bomb plot was in 2006 if you wonder why you can't bring a Dr Pepper aboard in 2020. Tales of carrying liquids on flights are legends at this point. Those out to attack surely haven't attempted to devise new methods to inflict atrocities. But being kept thirsty surely makes air travel safe.

Security professionals couldn't spend a few seconds talking to passengers. Those obsessed with tolerant equality to the point of risking everyone's lives are focused on implements instead of humans with nefarious intentions, which for the record is also why gun control doesn't work. It's simply uncanny how the same principles apply to different issues. Similarly, bandana fetishists refuse to acknowledge common sense can do more to defeat an epidemic than mandatory cotton facial application.

Concerned people have done more than any bossy order to stop the contagion. Common sense is the best protection, which is why fans of big government think we're stuck with getting infected forever. Those who totally trust their fellow humans think simple wisdom must be mandated. Overreaching has created economic and human depression, but it's crucial to build counterproductive dependence.

There's little hope of order when forces of chaos get to impose their wills. Governments are reactive by nature, as they have to see what damage they inflict before they announce how to fix it. Residents who had dwellings ransacked are trying to rebuild after a toddler tornado, with the difference being legal adults don't have the excuse of being two years into life and experiencing the energy jolt provided by consuming handfuls of Sour Patch Kids for the first time. Anyone tasked with cleaning up after the immature can only attempt to repair some of the damage's effects. I'm sorry about your coffee table.

Capricious restrictions in the face of contagious disease are the opposite of scientific. I hope the illness is prevented by superstition, as the only other method currently being deployed as a bulwark is sanctimony. Call your birthday party a rally against injustice to keep Democratic governors from ordering dispersal.

Faith will protect you, according to our present understanding of epidemiology. Chant about six feet while wearing a ceremonial mask to maintain health. The only way to stay safer is to attend a protest enchanted against infection. Your cause just has to reach a certain level of righteousness, like wanting to replace cops with social workers.

Capricious orders are the most caring, as they mean benevolent saviors sense troubles unenlightened commoners don't. Being told what to do only seems like a random burden to the benighted.

Those who don't grasp how good they have it with their lives limited think they're being held back by governors who don't understand politics. Surely, office-fillers grasp the subtle scientific complexities involved in spreading illness. Political science majors who became lawyers are renowned for knowing how experiments work.

If you're already feeling sick, knowing we could've been done with this stupid illness might not make you feel better. People could have coped as it passed and immunity built while washing our hands and sticking grandma in a John Travolta bubble. But then we wouldn't have shut down the fundamental aspects of society for months.

The era for speciousness will always feature claims of unilaterally shutting down interactions prevented life from turning into a zombie movie. Sagacious elected prophets kept you safe by ruining your life, and you won't even build statues. You're so ungrateful just because you noticed all this ruin didn't even help. The same people don't think more cops prevent crime from happening in the first place need you to stay in solitary confinement just until life has no more problems.