#this has been in my head for months now but it's finally actually watchable to the masses

[swearingcactus]

when i say Saweetie - Best Friend (ft. Doja Cat) as Jason and Ajay's friendship theme song can mean something very personal to me i hope you know this is what im talking about

#this has been in my head for months now but it's finally actually watchable to the masses #jason brody #ajay ghale #far cry 3 #far cry 4 #far cry #co-workers au #can you tell im going through a withdrawal phase #crack vids #i edit this tag

[buzzdixonwriter]

COMPARE & CONTRAST: Birth Of A Nation vs Gone With The Wind vs The General

TRIGGER WARNING:   Talking about race in American culture and movies, so some readers may want to brace themselves (looking at you, wypipo).

. . .

Confining “classic films” to movies that: Demonstrate technical expertise, and Influenced other films and creators

-- we have three (and only three) movies about the American Civil War we can safely put in the classic bin.

Before we go further, let’s restate the obvious: A film’s impact in the medium of motion pictures is separate from its impact on the culture as a whole.

Case in point: Leni Riefenstahl’s The Triumph Of The Will is a perfect textbook example of how to stage massive crowd scenes for maximum visual impact, and how to promote individuals and ideas in purely cinematic terms.

It also contributed mightily to the Nazis’ rise to power, their subsequent wars of conquest, and the deaths directly and indirectly of tens of millions of human beings.

It’s important to know The Triumph Of The Will exists and why it’s important in film and cultural and political history, but you need never subject yourself to its vile hate mongering.

With that in mind, let us proceed.

. . . 

Here are the three bona fide classic movies about the American Civil War:

The Birth Of A Nation (1915)

Gone With The Wind (1939) 

The General (1926)

They are all problematic for the same reason: They embrace the “lost cause” myth of Southern white supremacists.

The Birth Of A Nation is by far the worst offender of the trio, helping to restart the Ku Klux Klan and promulgate jim crow for decades to come.

Director D.W. Griffith was a Southern boy, Kentucky born with a father who served as a colonel in the Confederate army (Kentucky, a border slave state, tried to stay neutral at the beginning of the Civil War, then leaned heavily towards secession, but by 1862 threw its lot in with the Union).

Griffith bought into the lost cause myth heavily, and The Birth Of A Nation explicitly states African-Americans are fit only for slavery, becoming a murderous / rapacious mob once freed, and the Ku Klux Klan were gallant heroes attempting to turn this tide.

Griffith tries to have it both ways, depicting Abraham Lincoln as a thoughtful and compassionate leader who would have treated the South better had he survived (ignoring the fact Andrew Johnson did everything in his power to prevent the Union from holding the South accountable, and that Lincoln’s assassin was a Southerner who killed him in revenge after the war ended).

There can be no denying Griffith’s enormous talents as a film maker (again, separating thematic content from the technical expertise).  While the Hollywood publicity machine was quick to claim The Birth Of A Nation was the first feature length film (i.e., 65 minutes or more), the truth is the Australians, the Chinese, the English, the French, the Italians, the Japanese, and the Russians all made feature films long before Griffith, and Griffith wasn’t even the first American to make a feature but was preceded by at least a half a dozen other film makers.

What Griffith was, however, was a master synthesis of all the techniques that preceded him.  Griffith made movies better than anyone else of his era, and his best films are still eminently watchable to this day.

That’s what makes The Birth Of A Nation so harmful and destructive:  Like the Riefenstahl film, it seduced common audiences into complacency while stirring the worst people to action.

It’s a film whose final cost is not measured in dollars but in innocent blood and tears.

Griffith wasn’t stupid, and while he might have felt personally immune to the criticism of his racist attitudes, he was savvy enough to recognize publicly embracing them would not serve his career well.  He followed The Birth Of A Nation with Intolerance, an epic that jumps around in its story lines like a Tarantino film, and in later movies displayed a far gentler albeit still patronizing attitude towards African-Americans.

But the damage was done, the lost cause myth cemented into not just the Southern psyche but white America in general.

Like The Triumph Of The Will, I would never recommend The Birth Of A Nation as a “must see” film to anyone.  If you’re a film historian and you want to subject yourself to this cancer, that’s your choice, but if you’re a student of film there’s nothing Griffith did technically or artistically in this movie that he didn’t do better in his later efforts, and other film makers have since emulated his innovations and built upon them.

. . . 

For many decades Gone With The Wind was celebrated as the pinnacle of American film making, but once the romantic blinders were removed we see it for what it is:  An over long, over blown epic that promulgates what we now recognize as white supremacy, classism, and rape culture.

And while it uses every technical trick in the book, it doesn’t use them as well as Orson Welles did a year later with Citizen Kane.

Gone With The Wind is really two movies:  A well made Civil War epic and its lackluster Reconstruction sequel.

They should have ended the movie with “As God is my witness, I’ll never go hungry again!”  (Seriously.  The only two memorable scenes in the second half other than “I don’t give a damn” both center around Scarlett O’Hara’s dresses.)

Again, let’s emphasize that a technically well made movie does not excuse bad intentions in thematic content.

Gone With The Wind is a rip-roaring bodice-ripping historical novel, admittedly well research and well written by Margaret Mitchell.

She isn’t necessarily writing from a conscious desire to spread the message of white supremacy, but as a Southern gal who grew up in the midst of the lost cause myth, she ends up breathing that message into every line of the book.

The movie version can’t escape that, nor does it try to.  There’s a brief scene early on where both Mitchell and the later film makers prefigure the lost cause myth where Rhett Butler explains to the good ol’ boys at the Tara cotillion that they’re about to be brutally decimated by the Union in a war of attrition, but both author and film makers side with the good ol’ boys and support their God given right to throw away their lives and destroy their homes in an attempt to keep enslaving millions of innocent people.

That last part in bold never gets mentioned, does it?  As others have observed, Gone With The Wind isn’t antagonistic towards African-Americans, rather it treats them as if they don’t exist other that walking / talking props among the scenery.

In that regard, Gone With The Wind is on par with The Fountainhead or Atlas Shrugged (only with a far superior writing style).  The protagonists of all three books are narcissistic sociopaths who will lie / cheat / steal / blow up buildings because the common folk -- the people who actually put in the grunt labor to make things work -- are nothing but slaves there for the elites’ entitlements, and God (or market forces, take your pick) help them if they ever raise their heads or voices -- much less their hands -- in protest.

Oh, but doesn’t it look gorgeous?  As those beautiful rich Technicolor gowns and sets and matte paintings.  All those balls and dances.  All those smoldering looks.  All those flames as Atlanta burns…

There’s the true hero of the story:  William Tecumseh Sherman.  The mofo cut the Confederacy in half, destroying lines of supply and communication, obliterating any rebels who dared to stand up to him, shortening the war by several months, and freeing tens of thousands of enslaved people in the process.

None of which would have been necessary if a few greedy bastards such as the O’Haras had lived Christian enough lives to say, “Y’know, maybe the way we’re treating these people is wrong…”

Gone With The Wind proved insanely popular, on a scale with The Birth Of A Nation a generation earlier, and once again it made it easier for mainstream middle American whites to turn a blind eye to injustices still being perpetuated on African-Americans of that day.  

And it kept playing again and again, one of the very few non-Disney movies to enjoy a substantial re-release schedule, popping up about once every seven years in theaters until the arrival of first cable then VHS.

And it’s still popular, still a steady seller in DVD and BluRay.

That’s in no small part to the skill of both Mitchell and the film makers in hiding the most egregiously problematic elements of the story under a think patina of romanticism.  It became a cultural touchstone that everyone knew and everyone could reference, from political cartoons to Carol Burnett skits.

But it’s still racist and white supremacist, saying African-Americans exist only to serve whites.

It’s still classist, saying not all whites are worthy of what the upper class hogs for itself.

It’s still about rape culture, saying all Scarlett needed was one good rape by Rhett Butler to set her straight.

Is it a product of its era?

Absolutely. The same way over the counter heroin at your friendly neighborhood drug store was a product of its era.  The same way cocaine laced Coca-Cola was a product of its era.

Just because it wasn’t recognized as a bad idea then means we should still circulate it now.

Compared to The Birth Of A Nation, Gone With The Wind is a far less hate filled work, and one that inspires less immediate harm.

It has inspired harm over several generations by making it easy to overlook the real harm it represents in favor of a romantic antebellum fantasy.

If someone wants to see a film that represents the Hollywood studio system at the height of its creative power, I’d recommend Casablanca or The Wizard Of Oz.

I’d put Gone With The Wind way down on that list, and I’d caution it with caveats, but I would say it represents a good example of the old Hollywood system firing on all eight cylinders.

At least for the first half of the film.

. . . 

In most ways, Buster Keaton’s The General is the least problematic of these three films.

In another, it’s as bad as Gone With The Wind.

The good thing about The General is that modern audiences can easily enjoy it.

Buster Keaton chasing after a stolen steam locomotive?  What’s not to love?

It’s one of his best comedies and if it’s not the very best, I’d hate to live on the difference.

It certainly lacks the overt racism of The Birth Of A Nation. 

In fact, it almost lacks any race at all.

And ironically, that’s what makes it a problem.

In researching this post, I re-watched The General, something I wasn’t willing to do for The Birth Of A Nation or Gone With The Wind.

I re-watched it looking for African-American faces anywhere in the film.

I think I found four.

Two porters lugging a trunk in an early scene at a train station, possibly two small children with their backs turned to the camera at the edge of a crowd about ten minutes later.

That’s it.

In a movie about one of the most crucial events in American history, an event entirely predicated on the issue of the enslavement of millions of African-Americans…that’s it.

Four faces.

Total screen time: Less than a minute.

If critics can justifiably lambast Gone With The Wind for sailing over the bloodied backs of millions of enslaved African-Americans to focus on the luxury liner S.S. Scarlett O’Hara, what can they say about a Civil War movie that almost succeeds in eradicating those enslaved humans from the story?

Paradoxically, this makes The General the safest of these movies to show an unsuspecting audience.

The Civil War is boiled down to the dark uniform army fighting the light uniform army; why they were fighting is never explored in detail.

But the lost cause myth was so prevalent at that point that Keaton and company didn’t need to discuss the causes of the war.

Audiences – even those completely ignorant of U.S. history -- automatically assume the light uniform army are the good guys simply because Buster is on their side.

Buster would never do anything bad, would he?

Of course not!

And so -- =poof!= -- millions of people erased from history.

Top that, Thanos.

To be honest, I don’t know how a modern audience should react to that, in particular an African-American audience.

Disappointment at being culturally short changed again?

Relief at being spared the most egregious stereotyping and white supremacy apologies?

Or just plain enjoy Buster chasing after a stolen locomotive?

The General’s cultural weightlessness helps it become a great film.

It’s a purely cinematic endeavor, with the intertitles used primarily to explain the spies’ and military leaders’ plans and motives, not tell us what Buster is thinking and doing.

For a guy called “the great stone face” Buster could be awfully expressive with his body language, and he needs title cards the least of all the performers in this movie

. . .

So where does that leave us, as a 21st century audience in a 21st century culture?

We can neither deny nor ignore the impact of these three films.  Even The Birth Of A Nation, as vile and as hateful as it is, influenced the country and the countries attitudes for a century.

Gone With The Wind feels like something we’ve outgrown, something some audience members can look back on with fondness, but not anything we can fully embrace again.

The General can still make us laugh, and in this case the sin of omission seems far less than the others’ sins of commission.

Learn from the past.

Do better in the future.

    © Buzz Dixon

#race relations #movies #art #cinema #morals #ethics #politics #Birth Of A Nation #Gone With The Wind #The General #DW Griffith #Buster Keaton

[frankendykes-monster]

So probably the best way to start this is to mention the obvious and say that Joker (2019) has pretty much all of nothing to do with...The Joker.  I had mention to someone else a week or two back, but for as much as The Joker can work in a wide variety of stories, the character is inherently limited, my go-to phrase being “one dimensional.”  The Joker’s ongoing motivation is that he wants to defeat Batman, nothing more, nothing less.  “Killing Batman” is only a single part of it, “it” being proving that Batman is fallible and has some weakness.  There are characters like The Riddler that zero in on a single aspect of that such as, surely there are some problems that can be created that even The World’s Greatest Detective cannot solve, but The Joker is a convenient character in that he can be applied to any aspect of Batman’s character, which is why you get stories like Batman and The Joker getting into a surfing contest, because it all goes back to that theme of if there’s something that Batman is not the best at, Batman is ultimately doomed to fail (with regards to suspension of disbelief that is needed for superheroes to work, both creators and the audience have to commit to the concept that superheroes existing 100% makes the world around them a better place, and a major incoming failure on Batman’s part makes for greatest suspense in that it threatens that concept.)

But then, there lies the issue.  Joker does not actually have any driving motivation for WHY he wants to defeat Batman, he simply is.  It’s my theory on why no origin story has ever permanently stuck, because you can’t ever really make sense of that.  This compounds itself into Batman and Joker’s relationship and can never really evolve, it’ll play out in the same way every time just with new set dressing.  What you can do is raise the stakes, but with the back to back publishing of “The Killing Joke” and “A Death in The Family” in 1988, raising the stakes meant making The Joker a sadistic serial killer at the cost of everything else about the character, creating a Joker where everyone questions why he deserves to be alive to appear in another comic three to six months down the pipeline.  There have been some instances of trying to make The Joker more nuanced, like Grant Morrison introducing the concept of “super sanity” in their Batman work and addressing how The Joker reinvents his personality on the fly, but it’s ultimately set dressing that doesn’t alter anything.

So, that begs the question of why Joker, the film, calls itself “Joker” in the first place or why it takes place in Gotham instead of New York and blah blah blah the short answer is if they didn’t, Warner Bros wouldn’t have been able to rake in a billion dollars.  It’s on par with Sony deciding to make Venom (2018) and never addressing why Venom has those large white eye covers if his design isn’t based on Spider-Man, I’ll give Joker (2019) the compliment that it’s more interesting than that film at least.  I really did not want to bring up all this Batman shit while watching this but then they started addressing Thomas Wayne and I began mentally groaning.  I don’t want to dive into the concept of how or if the Batman mythos is impacted if you make Thomas (and Martha Wayne, who like in most Batman stories is more of a cameo than an actual character here) a shitty person, but then again I wouldn’t have to bring that up if the film didn’t cram it in in the first place.  I am...SO...SO THANKFUL I did not see any memes or theories or head canons surrounding “B-B_BUH JOCKER IS BEETMANS HALF BROTHER?????/???” which...whatever. Come to think I didn't see anyone bitch that he doesnt become The Joker until 90 minutes in either.  I think the majority of my goodwill (what turned it from, oh you know the good outweighs the bad enough for me to be able to tell someone this is watchable, to, oh you can skip this) was destroyed at the Waynes getting shot scene with, WHOOPS, The Joker was responsible (indirectly!)  That gave me BAD Batman (1989) flashbacks, and when you remind me of Batman (1989), you kind of do get on my bad side.  Fuck that movie.

SO.  In the midst of ALLL of this.  Let’s talk about the “““real source material”““ for Joker (2019): Taxi Driver (1976) and The King of Comedy (1982).

I don’t think I’m ruffling any feathers by saying that that is the case and that both of those films are wayyy better than Joker (2019).  I mean, there’s a reason why Robert De Niro was not only cast in this film, but he’s second billed right under Joaquin Phoenix.  Those are two fairly different films but they’re, at their core, stories of men who are ticking time bombs of violence ready for someone to light the fuse.  It’s another point against Joker (2019), not only for reminding me of much better films, but forcing me to ask why another pastiche of this story needed to be told.  Martin Scorsese kind of made his career with a monopoly on men losing their shit and everyone around them being caught in the tornado.  Joker (2019) admittedly plays the material much differently, in that all the way through we are supposed to sympathize with Arthur Fleck and stand alongside him every step of this of his downward spiral, and even with where he ends up, I’ll admit I don’t have an issue with that, but the film struggles with making me care half the time.  Like, yes, when Arthur is alone at home trying not to go awol, yeah, I get that, but at other times there’s stuff like how Arthur’s relationship with Sophie is never developed in any meaningful capacity, like why is enamored with him, why is she not as disturbed by him as most other people seem to be?  When we discover she’s not real, that explains it from a logical perspective I guess, but it isn’t a shock or a gut punch.

Can I be real for a second?  There are a lot of moments in this film where it made me embarrased as a neurodivergent person.  The number of people who definitely saw this, because, once again, it made a billion dollars, and came away thinking oh so that’s what mentally ill people are like, even if they’re sympathetic about it, it makes me sigh.

Even though the crux of this film is Arthur’s descent, it desperately wants to be important.  I know I’m not the first person to make this observation, but it does read like, oh, what’s popular now?  Incels?  Better make part of Arthur’s character arc that he can’t hit up any actual real women so he has to entertain himself with fantasies.  Antifa?  Better make it so Arthur accidentally inspires a movement of nebulous anti-rich people who all wear masks.  And so on and so on with no actual commentary while simultaneously it’s not really world-building either because it’s so front and center to the plot. I gotta say, if the film is about people in general not putting up with things anymore after being shat on nonstop, why oh why is there a joke aimed at a little person pretty early on, even through some meta lense where “oh the person telling the joke is an asshat who dies later so it’s cool”?

Now I’m not sure what to say next about the film itself so I guess now would be a good time to discuss the film’s ~impact~ as it were.  If it weren’t for Parasite (2019) I’d have no problem saying this was the biggest film of 2019 in the grand scheme of things, like EVERYONE came in with every possible perspective on this thing long before it came out.  I remember how back in like, late-2017/early-2018?  A bunch of people were shitting on the announcement of this film and Warner Bros had to do damage control by releasing some on-set photos of the second subway scene two days later.  It’s surreal more than anything actually watching this film now and seeing, wait, this is what everyone was memeing about nonstop?  This is a mainstream film?  With the directions it goes in?  With the topics it brings up?  Well I’ll be damned.  This is probably the first time since Les Miserables (2013) and Man of Steel (2013) where a movie comes out and no two people have the exact same opinion on it, so I’m curious as to how Joker is going to age in like, a decade.  So fucking weird that this is called a “superhero film” in retrospect just because it shares a name with a comic book character owned by the same company that developed and distributed this.

I wouldn’t be talking about this film if it wasn’t called “Joker” but then again hey nobody else would either.  I don’t hate this film despite how I’ve said nothing positive about and I was pretty prepared to call it “barely good” before the finale, so I don’t regret watching it, I don’t know what the fuck to say anymore.  Gang Weed memes are pretty funny if you haven’t actually seen any in the wild.  1940: “Let’s throw him into chemicals.”  2019: “Let’s throw him into society.”

[letterstothemidnightsociety]

THURSDAY OCTOBER 8, one of the longest running television shows of our time begins airing the final episodes of it’s final season. Guys, Supernatural is 15. FIFTEEN. It can practically drive a car now. As one friend put it, “that show had a Quinceañera.” And if you don’t know how significant that is, think of the last show you know of that made it to season 10. Take your time, I’ll wait. 

Whoever I stole this birthday invite from, they are probably older than this show.

I started watching Supernatural in 2008. I was 19, I had just begun my journey towards Over-Worked, Under-Slept Millennial, and my best friend recommended it. I can’t really remember how the conversation went, but I’m sure at some point it was “It’s scary, and it’s got these two brothers, I’ll send you a link!” cuz we were trash and we were broke and Netflix...existed? Hulu existed, but not in the way that either of those sites work now, so we watched by...ahem...other means. It is probably why my first laptop stopped working after 3 semesters of college.

And damn, I was hooked. I don’t do scary movies and honestly, I was legit creeped out by a lot of these episodes, but it had two hot dudes who took down a monster every week and then (the real kicker) had a bigger, season-long mystery they were trying to solve. And occasionally, they got punched in their big dumb beautiful faces. If I had known what a kink was at the time, I would have said that someone was reading my dream diary. 

Over the next 12 years - Let me say that again for those of you in the back - TWELVE YEARS - I had an on-again-off-again relationship with the Winchesters. It was pretty hot and heavy in the beginning. I was jumping on the back of this 67 Chevy Impala 3 years in, so I had three seasons that I bought on DVD that I binged and was caught up with season 4 by the time the midseason started to air in late January of 2009. I was introducing all my friends to Supernatural, I made several people watch the entire first disc of season 1 with me, irregardless of whether they’d asked or not. Things started to cool down towards the end of season 4 as life started picking up and I know...I caught...the tail end of season 5? I think? I distinctly remember the final scene of the final episode, but honestly, I can’t remember how much of that season I actually watched.

At that point, I considered Supernatural to be a weird pseudoaddiction. I’d be clean for a while, years even, and then Netflix caught up with consumers and I could binge whole seasons in a weekend. It’d be, oh, I could just watch an episode. Just one episode. Maybe two. And then the weekend is gone in a blaze of classic rock and rock salt and I’m left with something like but not necessarily a hangover where my feelings live. I think I did this for seasons 6 through, like, 8? Eventually, Netflix stopped putting it at the top of my dashboard and it was easier to avoid. And I said to myself, well, when they finally get to the last season, THEN I’ll go on one last run, one last big score, and watch the whole series again in one go. 

But the seasons kept coming?? And they?? Didn’t stop?? Guys, I don’t know how many of you care about this but, Friends, one of the most popular sitcoms of all time that defined an entire generation had ten seasons. TEN. Supernatural is ending with fifteen! For an industry where most shows don’t make it past a pilot, let alone a season 1, this is INSANE. 

But now it’s ending. Even though a pandemic halted production just two episodes away from the finale, Supernatural is finally outta cassette tapes. The Wayward Sons may finally (??) be laying their wearied heads to rest (?? lol, I know).  

And frankly, 2020’s been a real sh*tshow so I thought “Why not?” 

And if I’m doing this and I’m not interacting with anyone on a human level, I might as well chronicle this epic dive into a time capsule of television because frankly, what the hell else am I doing? 

Cuz that’s what this is guys. 15 years in TV time is multiple lifespans. Shows are born, grow into something Emmy-worthy, and die in less time than Supernatural has been on the air. You know what else aired their pilot episode in 2005? The American version of The Office. You know when The Office ended? 2013. 

So let’s talk about pilots because that in and of itself may be a thing of the past not too far from now. 

Guys, I love pilots. I will probably say this a lot over the next, uhhhh...many months, but I love pilots and I love season ones, especially for a sci-fi and fantasy shows because that’s where your characters are at their most vulnerable, their most unsure. The writers and producers are really digging around, trying to figure out what the groundwork for this world is and there’s something so exciting about exploring it with them, as an audience. 

Pilot’s are great, pilots on spec are even better, and that’s a lot of what the Supernatural Pilot feels like. It’s got a real indie/guerilla-style horror movie vibe, like the crew scraped together just enough cash for that one special effect scene but had to skimp out on a lot of the other production stuff, and still managed to turn something around that is totally, 100% watchable and somehow more charming than if they’d had the budget to make something really polished? Go watch Night of the Living Dead (1968) and tell me that movie would have been better if they’d had a bigger budget. You could, but I won’t agree. 

Ok so a quick break down of technical terms. A television pilot is basically the first episode of a TV show. Well, that’s not exactly true. A pilot is kind of like making a sample or a blueprint of your show that you hand over to the television networks and say, here! This is what my TV show will look like. Will you pay me money to continue making it? And the networks (think ABC, NBC, CBS, FOX and The CW - remember, this is Network, not cable) will spend January through April of every year reviewing pilots and deciding if they want to pay you money to make more episodes. Well, every year except 2020. See: sh*tshow. Sometimes the network comes to you with an idea, or maybe, you’ve pitched your script/show to some executives and they buy in for that first pilot episode to see where things will go. Neither of these scenarios are a sure thing, and pilot season is always rife with will-they-won’t-they tension. In fact, if you’re working on the show, there’s a real possibility that pilot will get re-shot after studio notes, you’ll lose your job to someone the studio liked better, and then the show still may not get picked up. A pilot shot on spec is in even more of a limbo scenario because nobody asked for this! And just to follow through on Pilot Season - after the networks decide to buy your pilot, they then air the pilot at Upfronts (usually in May) where their many ad companies decide if they will pay money to air their ads during those shows. This is where we get things like prime time and key demographics - if you thought TV was all about the art, you are very wrong. TV, like most other industries, is still a business that’s about making money. 

Back to the Supernatural pilot. Now, from my research, series creator Eric Kripke had been working on the concept for 10 years. He was big into classic rock, big into urban legends and big into cowboys and all those things get married ever so neatly in this show. A lot of his initial ideas remain unchanged, at least for the first season - he wants two brothers, traveling across the country, facing off with America’s Spookiest Myths and legends. A lot of it did change. I honestly feel like I remember reading an early draft of the pilot where Sam and Dean are cowboys? But I’m also pretty sure I’m imaging that. What I’m not imagining is this ridiculous early draft where John’s been locked in an insane asylum, dies before the first episode starts, and Sam’s been living with an aunt and uncle his whole life and knows nothing. They still use something close enough to the La Llorona legend as the catalyst for the episode, but a lot of other things are changed. This is not the Sam and Dean we come to know and love. This is also a good example of when you SHOULD listen to notes, because this draft was rewritten after executive producer McG and his Wonderland Sound and Vision production company signed on, but before they actually shot the script. 

Now from what I’ve read, the WB picked the show up for (4) episodes initially, and ultimately picked it up for a full season of (22) episodes. This was, at the time, a pretty standard season and a pretty standard way to get it. They had a better deal than The Office, anyway, which only got picked up for (6) episodes in their first season, then got picked up four episodes at a time for season 2. 

Now let’s go over that paragraph one more time and talk about what a hecking DINOSAUR this show is - 

FIRST off - Supernatural premiered on THE WB. It PREDATES The CW!!

Man guys, you remember they had a frog as a mascot? Oof, that would not work today.

Secondly, it got 22 EPISODES. We’ll get into this some more when we talk about that evil bugs filler ep, but think about how many episodes were in the last show that you binged on Netflix? 8? Maybe 10?

Welcome to the exciting world of GRAPHS brought to you buy https://www.theringer.com/tv/2017/8/4/16094348/inefficiency-week-mourning-the-lost-long-tv-season

OH! And SPEAKING of Netflix and streaming services like them, they’re kind of killing pilot season AND upfronts. They pick up shows when they want to. They “air” them when they feel like. There are no ads because you pay for that content on a monthly basis and also they don’t even have commercial breaks. I am slowly seeing the passage of time in one (1) episode of television and I think I’ve aged 100 years. 

Here is just one of MANY articles about the death of Pilot Season 

Finally, and most importantly, this show got a better deal than The Office. And that show was an NBC primetime show. 

This show was nominated for 193 awards and won 50. And it ended when my nephew was still in kindergarten. He’s gonna be in high school next year. 

So what about this Supernatural Pilot? Was it any good? Honestly, I’m gonna say yeah. This is some very solid Hero’s Journey here. I think the only weird thing about it is that Sam is our Hero, our point of contact character that gets us into this world. And I only say that because I’ll be real up front and say that I’m a Dean girl through and through. I don’t hate Sam, but because we live in a world where we have to choose, it’s Dean 4Eva. 

From that early script draft, we learn the plan was for Sam to be in the dark and essentially be our audience stand in so that Dean can explain all the backstory. I think the decision to make John Winchester raise his kids as a weird fringe paramilitary outfit and establish Sam as the brother that tried to get away is a good one. It’s a very “Arrive Late” (or if you’re fancy, in media res,) sort of attitude and it works and you’ve already started building in the Atonement with the Father. There’s still some pretty excellent exposition dialogue, but what are ya gonna do. Sam, did you really need to explain to Dean that your collective father “raised you like warriors”? Or that you “kill everything we CAN find?” It’s fine. You’re beautiful and I love you. But also, he knows all that.

You have the Call to Adventure - Dean showing up and saying “Dad hasn’t been home in a few days.” You have the refusal of the call (“He’ll sleep it off”). You have your supernatural aid (hah!) giving Sam a push out the door - that’s Dean. You have your famous line that I quoted along with the TV - Dad’s on a hunting trip. And he hasn’t been home in a few days. 

The dead mom backstory seems pretty on the nose, but the “burned on the ceiling” concept was new and unique enough that I was intrigued to find out more. Listen, I’ve already admitted I don’t watch a lot of horror so if this has been done before, don’t @ me. 

La Llorona or Woman in White or Weeping Woman was a new trope to me at the time, so it too seemed fresh. I see that myth show up in a lot more Supernatural-type shows now, but in 2008, at 19, I was like, oh this is different. Not to mention - this definitely leaned in to the horror aspect. I know I’m a baby, but it aired at 9pm, which is the more adult side of Prime Time, so the WB thought it was too spooky for kids who had early bedtimes. So there. 

I HATE when they do this cuz it freaks me out EVERY TIME and THAT’S NOT EVEN HOW THESE MIRRORS WORK??? SHE’S NOT EVEN IN THE BACK SEAT IN THIS SHOT!

And then at the END, when Sam STILL refuses the call to adventure, you have the real Crossing of the Threshold - Jess is ALSO stuck on the ceiling, dead, and on fire. Spoiler alert, but they had to fridge her early to make the rest of the season work and so it shouldn’t be a big surprise. Sam’s all in and we get 21 more episodes of him and Dean and that car. 

Is it technically fridging if she’s lit on fire?

And let’s talk about Jess for a second cuz actress Adrianne Palicki is giving a LOT more in this performance than a fridged girlfriend should be required to. She’s likeable, she’s down to earth, she’s crushing it and and all this with only, like, two scenes of dialogue. I say this even though we meet her in a slutty nurse costume - COME on WB. 

WB what the hell is this wardrobe. What the HELL is THIS. 

In fact, all of the extras in this show are crushing it? Louis is instantly likeable and he disappears after his first scene, never to grace our TV’s again. And these extras in the town in Jericho, California - I kind of love them. As CW (or I guess, WB) as Jessica is, these extras look like they found them at the local highschool and I LOVE THEM FOR IT. They probably came to set already in makeup and wardrobe! They POSSIBLY brought their own jewelry! They’re weirdos and they are GREAT. I’m pretty sure this will NEVER happen again on this show because once the $$ came in, so did the more polished-looking one-off characters.

 Lookit these magnificent goth weirdos! And great news, both these actresses have very full, non-goth careers after this. 

Also, heckin’ Joseph Welch is just crushing it. This man has NOTHING CW about him and that’s maybe why I like him so much? Everything about the scene with him and Sam is pretty heartbreaking, from his rundown car graveyard to his rundown physique with his rundown accent to the fact that we never actually see his face. Seriously, really LOOK at this scene - WHAT is going on with this cinematography? Is this a reference to something? It’s SO bleached out and SO stark and WHAT is going on???

WHAT is this lighting? And also this guy was played by Steve Railsback was on X-Files!

You can’t talk about Supernatural without talking about the chemistry between Sam and Dean and that’s probably the real hook here? I mean a) very beautiful. I will probably talk about this a lot. Let’s call it what it is here, they’re beefcakes and they’re made for me and people like me. It is weird that this show is so macho but their primary audience was mostly there for the babes. And by babes I mean Jensen Ackles and Jared Padalecki. And b) they REALLY sell the whole brothers thing. They’re both from Austin, TX which feels like a weird coincidence. They were both already on WB shows before this one, also a weird coincidence. And they just click. They just do. It’s impressive, and occasionally creepy when we start to get into the Wincest of it all, but lets not talk about that.

Oh, and the MUSIC! The music just makes it. If you don’t believe me, watch the Netflix version of the first season and then find yourself a DVD version. See, TV shows need to acquire a license to play popular music during the show. Nowadays, the CW actually tags their songs in the episode so you can find and presumably buy it later, but they still have to pay royalties for using those pop songs. When Netflix acquired Supernatural, they did NOT acquire the licensing to use the classic rock songs from ACDC, Metallica, etc. and so you’re left with some pretty bland and generic production music that’s something like but not necessarily Back in Black. More like, Back in...Grey? This pun didn't work how I wanted it to. 

And the show just...doesn’t work? Like, who knew BACKINBLAAAAACK! Was so instrumental to whether I thought this was quality programming or not. Side note - it ruins my favorite piece of dialogue of maybe the entire series - 

Sam: I swear, man, you gotta update your cassette tape collection.

Dean: Why?

Sam: Well, for one, they're cassette tapes.

Do the young people even know what a cassette tape is? I AM the CRYPTKEEPER.

So yeah, you got a lot of ingredients to make something pretty great. Did we know then that it would launch a juggernaut of a television program that would still be on the air in the Year of Our Reckoning, 2020? I was a big fan of Firefly, so I was 99.99% sure this show was gonna get canceled at any second. In fact, I was thrilled, in 2008, to find there were two more seasons after the one I was currently watching. Of course, season 3 aired around the time of the great Writer’s Strike of ‘07, where nothing looked good and few programs survived, but we’ll get there. 

In a final, kind of spooky, almost premonition-type decision the WB actually decided to air this pilot episode a whole week early on Yahoo!. Yeah, you remember Yahoo!, right? The search engine that briefly tried to have its own original streaming content and then we all abandoned it in favor of the monster that is Google? Yeah. This episode premiered online. I haven’t done enough research, but I’m gonna go out on a limb here and say this was probably one of the first ever TV shows to start on the internet? Weird to think that was a novel and innovative concept at one time. 

So this is it. This is the end of the era. Are we gonna get any more shows that last as long as this one did? Who knows. Are we as a culture gonna care at that point? I don’t know. Our TV habits have changed so much in the last few years that it’s hard to say how we’ll watch TV in the future. But credit where it’s due, boys. Nice huntin’. 

#Supernatural #season 1 #pilot #season 15 #Sam #Dean #Winchester #Television #Quarantine Binging #CW #WB

[florrickandassociates]

TGF Thoughts: 3x08-- The One Where Kurt Saves Diane

I wrote this over the span of, like, a full year and it is not very interesting. I am posting it simply because I am committed to the idea of writing something about every episode of this series. I recommend that you go check out Evil instead of reading this.

I’m just not intrigued by the clips of news footage about some sort of “Unredacted Unspecified Report” that open this episode.

Diane doesn’t seem to be that interested either: she’s not watching and talks over it. 

More interesting (but, tbh, not actually that interesting to me either, because I’m losing interest in this season) is that Diane gets a letter of warning from a ~mysterious source~. 

Most interesting of all: Diane and Kurt have a normal morning together.

Kurt spots the letter first and opens it. STOP DIANE. THEY KNOW ABOUT THE HACK. So maybe it’s directed at Kurt. Or maybe it’s supposed to say, “Stop, Diane.”

I still haven’t warmed to Diane’s bedroom set, especially because it still feels like Diane lives in her bedroom and her home has no other rooms. 

Joy, Felix Staples has returned. All I have to say about this case is that the day this ep aired, basically what’s happening in this case happened in real life, because… Kings. 

Hello, it’s October now and I suddenly felt like returning to The Good Universe and writing. It’s been a while. 

My memory of this episode/arc is that Diane and Liz just did something uncharacteristically dumb and illegal, and this is the episode where Kurt secretly puts an end to the shenanigans without Diane even knowing. I remember this episode being satisfying, if only because it got rid of the aforementioned dumb and illegal plot. Let’s see how good my memory is. 

Wait why don’t I remember Roger Bart being on this show and why didn’t I note it earlier?! How could I let George The Killer Pharmacist go unmentioned?! 

On that note, how did I not use the opening scene of the season (Diane saying “I’m happy” as an excuse to ramble about how weird it is to experience happiness on a personal level in today’s world?) (I was just watching 3x01.)

I’m actively not watching the case scenes so they don’t kill my drive to actually write this. 

Oh God, I’m going to have to deal with Blum again at some point. I had blocked out his bloviating. I think this is the last of the Blum/Maia free eps? 

The weird Lucca/British actor plot is still happening!!!! I didn’t miss it during all those months in which I wasn’t reminded of it. 

The joke about how these TV lawyers aren’t like other TV lawyers, except they are, was funny the first time. 

Always great to see how Lucca, who is the head of a department at this point, gets called into other cases frequently. Definitely how things work. 

Is it bad that I’m more interested in making a mental list of all the times TGF/TGW have filmed in this little park than this Marissa/Alan Alda scene? 

I can see why this is the episode that made me stop writing these for a bit. So far, this ep is all case and a subplot I don’t care for.

You know what else was funny the first time and has hit a point of diminishing returns? The thing where a main character’s love interest shows up in court and then they get thrown off their game and it’s CUTE FLIRTING!!! Find a new, unique way to signal interest, writers! 

This gag now involves literal gagging. I’m overjoyed. 

Lucca’s monologuing at a toilet about her crush. This plot is cute. It isn’t bad. It is watchable. BUT! I know it’s a novelty, so I’m just not that excited by it or invested in it. It’s not really deepening my understanding of Lucca. 

Lucca picturing everyone in court in their underwear is just unnecessary and honestly not funny??? 

Kurt leaves the warning note out for Diane to see. He confronts her about it and she asks for a drink.

The credits are at 19 minutes in. I do love them. Have any of you watched Evil yet? I watched part of the first episode (I intend to go back to it, I’ve just been busy) and the credits resemble the TGF credits. (Update as of March 2020: I watched all of Evil and you should too.)

Diane tells Kurt about Book Club or #Resistance or whatever I was calling it. Even though Diane doesn’t tell him the full story (mostly for his own protection, and she makes it clear she’s omitting stuff), I do appreciate that Diane and Kurt don’t keep secrets from each other, and if/when they do, they talk about it openly and calmly. I love them. 

(I have blocked out Kurt/Holly almost entirely. I know it’s canon, but I still don’t believe it was anything other than a plot device to motivate some unnecessary drama in the TGW finale. God, that finale was bad. Ghost Will? Kurt cheating? GENEVA and Peter? GHOST WILL? Even the slap, which is one of my favorite parts, is more powerful as a symbol than as an actual plot development, since (1) Alicia betraying Diane is something Pilot!Alicia would’ve done to any friend to protect her family and (2) it stems from the nonsense about Kurt cheating and Peter tampering with evidence. What a letdown of a finale. The Kings are lucky they got to redeem themselves with TGF.)

(As anyone who’s had a one-on-one convo with me about the TGW finale at any point in the last three years will tell you, I will NEVER tire of discussing it, even if it means rehashing the same points over and over and over.)

I forgot about the thing where it wouldn’t stop storming in season 3. 

Don’t have much to say about Kurt devising a plan to help Diane get out of trouble, but I do find it very fun! 

OOOOH this is the episode about censorship that got censored!!! If you haven’t already, do read Emily Nussbaum’s piece about the behind-the-scenes drama of this episode. I thought the “this content has been censored” screen where the short would have been was a joke… but it was actually censored. That may be the most interesting thing about this episode.

I want more character-driven plots. I want more Liz and Lucca. I have nothing to say. 

Book Club still believes the con artist who brought them together is something other than a con artist. Book Club is not that smart for being a collection of very smart people. 

“So the whole group is bullshit?” Liz asks when Diane loops her in. Yes. But also, like, this is what happens when you do illegal shit with a group formed by a literal con artist. Liz may have an excuse for trusting the group (Diane brought her in), but why does DIANE trust them? 

“My life is simple, Diane. I have a son. I have a mortgage. I have my job. And I go from home to work and work to home. So this stuff is, this bullshit intrigue… I’m done. Too much drama,” Liz laments, about a week too late. Where was this last week when Liz was like YES LET’S DO CRIMES? 

One of my problems with the whole Book Club arc is that it makes very little sense that Liz would get involved in the first place. I understand why she would be sympathetic to their cause and willing to look the other way on their methods… if she were watching a news report about them on TV. She’s too practical, and has too much to lose, to get involved with a group like this. 

An NSA nerd is back!! He’s the one warning Diane! 

Okay, picking this back up in March 2020 because *gestures at the world* I have time. Like, I have so much free time I’ve finished 9 books in the last 14 days AND finally made it to the episodes of The Sopranos with JMargs. I began watching The Sopranos in 2017.

As I write this, I have no idea if TGF is coming back on April 9th as planned or not. Unless there’s something in the works for season 4 that can’t possibly be left unfinished or air today, I think they should air whatever they have now. TGF is always timely, and while scenes set in an office are suddenly feeling weird and implausible, they’ll probably play better now than in six months. And we’d all forgive the writers if they had to wrap up the arcs through an animated recap song. 

It’s been a while since I’ve seen the TGF credits so I rewound to watch the credits. I went to 2 minutes into the episode, then remembered… they’re 20 minutes in.

Y’all. They blow up a purse with hand sanitizer in it. Did they predict this?! 

I wrote that preamble and then stopped writing. But now we know that TGF is really coming back on April 9th, which means I have to stop watching The Sopranos and write these things! 

Ah, Felix Staples. I haven’t missed you! 

Case stuff happens. Really riveting episode, this one. (It is an interesting case, though.)

Kurt saving Diane is pretty fun. But I don’t have anything to say about it and to write about it would just to be to give a half-assed play by play… and why?

Oh WOW, Lucca and Downton Abbey guy is still happening?! 

Getting to see Kurt be really competent and caring is the best thing, by far, about the Book Club arc.

Wait, I take that back, Liz’s speech about voter suppression is also pretty high up there-- as long as you ignore the context. 

V excited (!!) to get back to Maia’s bullshit in the next few episodes, not because I want to watch it but because if there’s one thing I’m actually motivated to write about, it’s how the show has handled Maia Rindell. Also, they handle the next few episodes well for her. 

Oh RIGHT Liz tells ChumHum about her dad’s sexual harassment issues! And Adrian and Liz are finally going to tell the press! It may mean losing Neil Gross, though. 

Book Club is over! Wooooooooooooooooooooo! On to more interesting things!!!

Also gone? Downton Abbey guy, who gave an interview about something new and exciting in his life. Lucca thought he was talking about her, and he was talking about some...personality test that sounds like a cult from the way he describes it? AAAAAND I Googled it and yup. It is. What a goofy ending to this arc I didn’t care about. Reminds me of the way the Marilyn arc ended (with a cameo from a celebrity who she was supposedly sleeping with). Glad the actor was so game to poke fun at himself, but is this the best we can do for Lucca? 

Diane thinks she took care of the hack and made it go away. Kurt lets her take the credit. 

The end! 

#the good fight #is coming back soon!!!! #tgfthoughts #yes i still check this thing

[brokenmusicboxwolfe]

I wrote this a while ago (4 months?) . Sorry it’s so long, but that’s the drawback of insomnia and no one to gush about a movie to...

Short verson? Unexpectedly I really liked an obscure old western called To the Last Man, basically because the romance at it’s center really connected with me. 

It’s interesting when a movie takes you by surprise.

I’ve been watching a a DVD set Pop fished out of a $5 bin a very long time ago. It’s one of those “20 movies crammed onto two discs, and how watchable the image and sound are doesn’t matter” kind of things. And geez, some of these look horrible. In the case of one movie there were times I couldn’t even tell which character was on screen. These are the sort of churned out discs where the just throw whatever they can get a hold of onto it, quality be damned.

 Not being a huge western fan, and having recently endured a similar set of early John Wayne films Pop had * I wasn’t looking forward to it at all. Still, it was the last of the unwatched movie DVDs so I figured I might as well play them.

Turns out they have been a facinating variety of westerns, covering at least 40 years. For instance one film was a a spaghetti western that actually involved a circus ** and a film next to it was a pilot to a 1970s tv show set in 1914 with the heroes traveling the west in a car. 

Which leads me to the biggest surprise so far, a barely movie length film from 1933 called To the Last Man. 

Now I went into it expecting very little. It was one of those movies so short it wouldn’t be considered feature length now, a western staring Randolph Scott who always seems to fade from my memory as soon as I finish a film. *** Even after it started it seemed to be a Hatfield and McCoy style family fued migrating west, with an already old fashioned silent era quirk of putting the names of the character and actor on screen when they first appeared. And then they added a Romeo and Juliet to the story…

Again I had low expectations, When they introduced the girl, daughter of the baddie family, I thought I knew exactly where it was going. Once out west the girl is a bronco busting, sometimes trouser wearing despite being the 19th century, kind of gal. I liked her, which made me dread the romance ahead.

See stories have traditionally had problems with romances involving  non-traditional women. 

In some stories the woman will be there for the fella, saving his life or something like that, but whatever affections he may have for her the love will be unrequited. Sometimes she dies, sometimes she gets a supporting character love interest, but always the hero goes off with the traditional princess type girl.

 In the stories where there is dainty, aloof beauty for the hero to moon over instead, they go a different route. Those are the stories where women are tamed. The hero often mocks and teases the woman for her non-traditional ways, even outright bullying her and accusing her of not being a “real” woman. She goes through an awkward phase of attempting to be properly feminine, to humorous effect, before eventually transforming into what a woman is “supposed’ to be for the love of her man.

I hate those, both of them. With the first,  I find myself grumbling the gal is to good for him if he cares more about a proper bit of styling and pretty face than courage or kindness. With the second, it’s even worse. Love does NOT demand that the person you love deny their nature and remake themselves to satisfy your tastes. If they have to change into something else to earn your love then you don’t love them at all. 

Anyway, I was sure how this was gonna go, especially with references in the conversation between the father and his thug pal about her wildness. This was gonna be a taming. I liked her as she was, and they were going to break her…

But I was wrong! 

The initial “meet cute” involved her swimming (naked…it was1933) and being harrassed by the thug until the hero rides up and intervened. When afterwards they chatted I was surprised. Sure it was flirty and established their attraction, but in more authentic way than I expected. When he refered to her as a lady and she assumed he was mocking her, in most movies there would be truth in her belief. But not here. To be honest I was as thrown as she was by his sincerity.

Later she talked to one of her father’s men, trying to figure out how a lady would dress because she wanted to dress that way before heading out to find the hero. I thought, “oh no, here it comes”, but again I was wrong. The conversation was sweet as the guy used his mother as an example and offered to help the girl go shopping, only to have her say she couldn’t wait that long. The hero would be camping for the night nearby, so she would have to go find him wearing her usual ratty clothes. She did NOT do the comedy attempt to fancy up!

And then we get to the campfire scene.

They may have met while she was swimming, but he has a body too. She surprises him as he shirtlessly shaves, so there is a bit of admiring the male form, complete with her saying she would think he was “soft” (for shaving so often in her rough world) if it weren’t for the fact she could see his strong arms. Even now too many movies don’t do something as simple as this: Let the man be physically admired by the woman.

During their conversation after he dresses, for all her attraction she is also self conscious of her rough around the edges appearance. When he notes her bare feet must find the mountains painful, she is defensive, expecting it to be a slight. But he quickly reassures her that no insult was meant, and it’s true. He didn’t. Not once in that scene, or in any scene, did he ever belittle her or tell her that she is somehow wrong for being herself.

When he was ready to say goodnight she announces she is staying. While she does tell him he must treat her “like a man” for the night, it’s still a woman boldly telling a man she’s spending the night with him whatever ended up happening after the fade out.

Now next morning she fixes him breakfast. In most movies this would either be the comical “non-traditional woman inept at proper womanly skills” or it would be the “non-traditional woman embraces properly womanly role because of love”. It was neither. She fixed him breakfast, an affectionate gesture to be sure,  but no fuss was made of it. She cooked it skillfuly and he didn’t seem astonished. It was just….breakfast.

Naturally as they are now head over heels for each other, this is when they find out each other’s family names, with the expected emotional turmoil. Now you would expect a few hostile scenes between them before they get over the whole feud thing, but they actually get over it quickly. By the time he buys gifts for his reunion with his family, he buys one more gift for her. And sure, when he leaves it where she can find it she at first angrily tosses it in the fire…before fishing it out. The fact is they are still in love, family war or not.  

About that gift..yes, it is a dress, but it doesn’t feel like a judgement or a nudge but a gift given with love of something she desires. He doesn’t know that when her father got out of prison he commented on her shabby dress,which she explained was her only dress after the hard life she’d had to live. He does know she was self conscious about the dress she wore when they met. It feels like a thoughtful gesture.  

The next time they are together, her family has stollen his family’s horses and she is joyfully riding the horse his brother had recently given to him. This would be a  moment for a lot of shouting and protesting that their own families were in the right. Instead we see little of the encounter except from the viewpoint of the distant thug. Considering the couple kiss and he smilingly sees her off on what had been his horse, I really don’t think there was much shouting.

Naturally the thug, who has designs on her,  tells her father abouther romance. The dress she’d hidden away is dug out as proof. She defiantly says she intends to wear the dress at her wedding to the hero, and her father lashes her. It’s off camera but we see him swinging the whip, so whoa, horrible daddy there! 

Stuff happens with the feud, which I’ve almost totally ignored**** despite it being the main plot, which culminates in the thug engineering a rock slide. The only survivor of the men folk from both clans is, of course, our hero. As he staggers to the girl’s home he seems horribly injured and dazed almost to senselessness. There is no sudden miraculous recovery for the sake of love scenes, fights or plot.  This is convincing the way 99% of all action movies ever aren’t when it comes to traumatic injuries. He needs care..

So here comes the thug. The girl quickly hides the hero in the loft and goes to work to deal with the villian. She has to feign normalicy, then react as he would expect her to react, while he makes clear she is to be considered his property and she has to figure out how to play that considering she is trying to hide her beloved. The dazed hero can hear what’s going on, tries to aim his gun, and drops it. The villian know the hero is there, so it’s time for a fight scene..l.

And the fight is between the villian and the girl!! And this is no dainty girly crap like so many movies have thrown at us. 

Mom and I used to have this thing of yelling at the screen “Hit him!!!!!” whenever heroes and villians would fight and the love interest would stand by looking helpless. I mean, I dunno about you but if someone is trying to kill someone I love they are gonna find themselves fuckin’ fughting TWO people!

And here the girl was doing some serious full body, roll on the floor punching and biting fighting. This wasn’t damsel in distress “You brute!” thumps at the chest or gingerly smashed vases on the head. She fought like she was trying to save the life of someone she loved. Which should be expected, but isn’t when watching an old western.

Alright, so the hero does finally do in the baddie by dropping down with a knife…but now that I think about it maybe SHE was the hero of the movie anyway.

Well, maybe to me she was because she was my identification character. Most of these westerns haven’t had women I could relate to at all, and here was one I related to on some very deep level. I got her. 

Now my family was nothing like hers, not only in the lack of violence (with the ones exception of a relative you can guess) but that they were hardly uneducated (say hello to the ONLY relative I even know of that didn’t graduate college…that would be me BTW) Heck, Pop was a total sweetheart.

And yet I got her. 

An unconventional woman type myself, I never learned the girly stuff. Partly that was accidental and partly it was impractical for the life we lived. I did have to be willing to be rough and tumble, with no line between guy stuff and girl stuff. When I was a kid I was also the only girl in a neighborhood of boys where being a sissy was the worst insult and you had to be ready to fight. I was the girl that swam in the river and played in the woods. And for various reasons ( would take a while to explain) I’ve spent most of my life in worn out work clothes. 

Actually that’s an aspect that makes her resonate even more: clothes. 

I don’t dress like her, but I have my own version shabby woods girl going on. As I write this I’m wearing one of my father’s old t-shirts with holes in it, jeans worn at the knees, a broken hair barrette in my hair, and steel toed men’s work boots on my feet. 

Now there are reasons for all of these. The practicalities of farm amd woods life, being poor enough I’d have to choose between new clothes or things like books, a childhood trauma that gave me a lifelong desire to dress for fight or flight, not having a social life so 99% of the time no human sees me, living in a rural area with no credit card for onlinr ordering and, in the case of the boots, just the fact they are all I can find locally that work with the ankle braces my flat feet force me to wear.

But notice what is missing from all these reasons: fashion. I almost never get to wear clothes I actually like. I’d flip through catalogs or wander stores and imagine wearing this or that. I have strong feelings about clothes I like or don’t, but no real chance to express it. I actually fantasize about that, living the sort of lifestyle where even if you are adventuring you get to pick clothes you want to wear.

Somewhere along the line people started assuming I what I wear reflects my taste, or rather lack there of. I used to ask my cousin at Christmas to please give me something pretty. She couldn’t understand it as a request, but folks just never thought of me as wanting pretty things. What would it have been like, just once, to try to be pretty. 

Actually I’d probably have been laughed at, a comedy buffoon, the hideous lady trying to look cute, the ugly step sister. Just as well life never gave me a chance to try. 

So being self conscious about my appearance is normal for me. I know how I look to people. I also know from experience that people can be cruel, and have taken my share of insults and mocking. In her position I would have thought he was making fun of me too and reacted almost exactly like her. In fact, I have. 

Here is a heroine I can relate to, and she gets the fantasy too. The fella falls in love with her, and loves her as is, not as a fix it upper. He loves her and doesn’t tease her about things where she is sensitive. He gives her a gift of something pretty just because he thinks she will like it. She gets to admire him (and his strong arms). She even gets to fight the bad guy to save him! 

Geez, of course I ended up loving the movie!

Never saw that coming, a Randolph Scott film I will actually remember! But the question is, will I finally remember his face or just his arms?

*NOT  a John Wayne fan, and these were some sort of 1930s filler less than an hour formula stuff.

**I REALLY enjoyed this one, but of course I have a thing for circuses. Woody Strode as a trapeze artist gunfighter and Victor Buono as the big bad were nice bonuses.

***That’s always puzzled me. I usually have an excellent memory for faces from movies, but I forget his instantly.

****Also forgotten, Buster Crabbe, Shirley Temple and the rest of the costars. 

#Westerns #to the last man #movies #randolph scott

[thorinkingoferebor]

aaaand it’s done - some parting thoughts that didn’t fit into the live blogging behind the cut, oh boy i’m mad :)))))))))))))))))))))))))))))

the writing is so bad. so freaking bad. like i wouldn’t have thought this level of bad writing was possible without consciously trying to be terrible. see what i’m angry about (and i’ve mentioned this earlier) is not where all of this is headed. i’m ok with mad queen dany. i’m ok with cersei and jaime dying together. both of that hurts but i’m ok with it because it could have made sense (and i believe it will in the books) but it makes no sense in the show. not the way it’s done. you can’t show us dany for 8 years with not a hint of madness and then expect us to believe she flips within one episode at the freaking sounds of bells. you have to build this up and they didn’t. they mentioned targaryen madness several times but nothing dany has ever done falls into that category and this is coming from someone who really is not a big dany fan. she fucked up plenty of times, she’s got nasty traits but nothing so far suggests she would spend 40 minutes roasting children. then there’s cersei and jaime. because believe it or not: i love cersei/jaime! it’s fucked up and toxic and horrible but they are my original got pairing. thing is though as the story goes on, especially in the books, they change and at some point they just don’t work together any more and THAT’S A GOOD THING! grrm as confirmed it for the books and the entire jaime arc in the past 8 years of the show has lead us to a point where the next logical conclusion would be being with brienne. that doesn’t mean he doesn’t love cersei anymore, doesn’t mean he wouldn’t try and rescue her. and honestly, jaime killing cersei would be fucked in the show, especially if she’s pregnant. BUT THE SHOW DID NOT EXPLAIN A THING HERE! NO MOTIVATION! jaime’s just suddenly back with cersei and she’s just suddenly back with him and you’re just supposed to fill in the gaps like with so much else this season and it DOES NOT WORK. it’s sloppy. they’ve really, really messed this up with the whole SUBVERTING EXPECTATIONS! and i don’t get how that can happen. these people are experienced professionals and yet they forgot the key elements of storytelling! you can’t show one storyline consistently for years and then just go GOTCHA at the last minute. that’s not a plot twist, that’s bad writing! you can have plot twists that still follow a logical narrative (e.g. red wedding) but that requires work, that requires time and well-written dialogue so that you can go back afterwards and go “ohhhhhhhh!”. but apparently, that was too much so they just did a “whoopsy, we just all forgot about our character arcs” and then rocks fall and everyone dies

speaking of dying: i cannot get over how little i care about jaime and cersei dying. i always thought that would completely wreck me. those two together are stellar and heartbreaking and if you took that scene out of context and showed it to a younger, less bitter me, i’d be heartbroken. but all the shit they’ve pulled to get to this point has made me so numb. and that’s what will stick with me. not necessarily the bad plot or the abandoned storylines but the fact that they managed to make me care so little, that i barely felt a thing when my faves died...

What was the fucking point of Cersei’s baby???? Like it didn’t stop Jaime from leaving? It did nothing for Euron (he would have just kept trying anyway?). And it didn’t even matter to Jaime when he came back. WHAT WAS THE POINT OF THIS DUMB SUBPLOT AND WHY DIDN’T THE BABY EVEN SHOW A TINY BIT AFTER WHAT? 4 MONTHS??? 

i am utterly terrified because lena’s body double did some work for season 8 and we haven’t seen it yet. i hope it was for a cut sex scene with euron but if they start episode 6 with dany dragging dead and naked cersei and jaime through the street i will riot

What was the fucking point of Brienne/Jaime. Like I’m so angry about this. So fucking angry. I’ve mentioned that both show and book were always pointing towards brienne/jaime being endgame even if one or both end up dying but you know what’s even worse than not getting that in the show? What they did to Brienne. She’s basically just his little sexual adventure now and I swear to god if they show her pregnant next week I will lose it!!!!! (and let’s also remember that brienne never once said his name without the titles. not once. i’m so mad) But even if they don’t, they’ve damaged her beyond repair! Not only did she start her journey crying over a man she loved now she also ends it that way? And this time it’s worse because Jaime actually loved her back and she got to experience what mutual affection can be like? Not to mention she’s now “tarnished” in the eyes of her peers because she’s no longer a virgin (expected of a high born lady like her) and the guy she slept with is the freaking Kingslayer! How will she ever live that down? That will follow her for the rest of her life and she won’t even have the secret knowledge that he loved her?! Like the show won’t address this because I guess by next week she will have simply forgotten that Jaime ever existed but realistically she’s now LITERALLY the Kingslayer’s whore from the early books. I cannot believe this.

Where’s Yara? I guess she was busy and she probably forgot about her brother. Reek who?

It honestly boggles my mind how this could happen.  The show has been shitty for years now and everyone with book knowledge or some investment in the asoiaf world knows that BUT casual viewers still enjoyed it! I would have still been able to enjoy it if it went on like season 7. Sure it had massive flaws but it was watchable. All they had to do was not destroy the world they’d built for 8 years. i didn’t expect an in-depth answer to the mythical aspects (though tbh they could have just freaking asked GRRM! maybe it wouldn’t have made it into the show but at least they would have known the context and it would have made more sense then. it’s so obvious that they literally don’t have a clue about what to do with the supernatural elements) so all they had to do is bring it to the finish line. Instead, they all but bulldozed every single character arc into the ground to (pre-) season 1 state?????????? and while i do get a certain satisfaction from seeing it all crash and burn and seeing reviews and casual viewers finally realize what a shitshow got is, it still breaks my heart because i care about these characters and that’s probably the only adaptation i’ll ever see. so i wanted them to succeed despite everything, i wanted something that was watchable. instead i got this. something that has ruined years of character growth within two episodes. how can you fuck up this badly?!

WHAT. IS. THE. FUCKING. POINT. OF. BRAN? What did he do? Why is he still here? Why should I care? What did he tell us that Sam couldn’t have found in a freaking book? What was all that “you need to help us in the war Jaime you’re important” bs about?! Jaime did fuck all?!

For all their “this is not a fairytale” and “SUBVERT EXPECTATION!” bullcrap you know what? This ending is utterly predictable. With the exception of Dany now (who will die next week) who’s still alive, that isn’t either a Stark or hasn’t been morally righteous and good from their very first appearance onwards?! No one. Every bad or morally grey character is dead? Even SANDOR HAD TO FREAKING DIE FOR HIS FREAKING REDEMPTION ARC. For a show that’s been trying to tell us for years that the world is full of complex people it sure looks like they only ones getting out of this fight are the original sympathetic heroes. 

House Lannister deserved better. SO MUCH BETTER. I know, I know I’m biased here but come ON! Cersei is a fantastic character and what did they do to her? Not only did they hand her back to some creepy dude who forced his way into her bed no she didn’t even get proper screen time this season. Lena is absolutely stunning and this is what they give her???? jaime’s arc had to potential to be absolutely groundbreaking. he went from the most hated guy in episode one to a fan favourite. his arc is tragic and beautiful and represents the conflicts at the very heart of got and YET HERE WE ARE.  i honestly dread to think what they will do to tyrion next week. but great job turning him into the character with the best lines into a clueless idiot and killing the one person he loved :))))))))))

#text posts by thea #thea watches got #got spoilers #god i'm angry

[halloweendailynews]

A new Halloween movie is finally upon us, and it was well worth the nine-year wait, as director David Gordon Green and his co-writers Danny McBride and Jeff Fradley have delivered one of the best horror sequels ever made, in a timely story of unresolved trauma and the return of The Bogeyman.

I’ve watched Halloween 2018 three times as of this writing, and I enjoyed it more with each viewing, and so after a few weeks of thinking about it, it’s time to dive in to my full review. In this case, the following does contain quite a few spoilers, because, honestly, you’ve had almost a month to see the film. (If you’re reading this for my recommendation as to whether you should see the film, just know that I highly recommend you go see it right now. …And then come back here and read the following review).

Let’s start with the score, the most visceral link between this new film and director/composer John Carpenter’s 1978 original Halloween. Carpenter’s new score for the 2018 film not only brings updated versions of the classic themes we all know and love, but also channels all of the best parts of other classic Carpenter soundtracks. By the time Daniel Davies’ electric guitar first screams in the film, the hairs on the back of my neck stood up.

The first thing we hear over the studio logos is a dark, intensely foreboding intro. The revisited themes are all familiar but now have a new, relentlessly driving urgency, hurtling viewers toward an epic, inevitable climax.

My favorite track from the 2018 soundtrack, “Prison Montage” creates an atmosphere of complete dread for what’s about to happen, while on screen shots of Michael boarding the bus transporting the patients of Smith’s Grove Sanitarium are intercut with Laurie Strode seeing The Shape for presumably the first time in 40 years from a distance. And there’s the haunting voice of Dr. Loomis (voiced by Colin Mahan), not the voice of Donald Pleasence that we remember, but a more weary and hollow, distorted recording of the Loomis we once knew, absolutely resigned to the fact that “It has to die.”

From the opening credits to Laurie Strode’s eventual reunion with Michael Myers, the film does an amazing job of subverting our horror-ingrained Halloween-obsessed expectations while at the same time paying significant homage to the very tropes that the original Halloween created 40 years ago.

And how can fans not love all of the Easter eggs, so many loving references to the entire Halloween franchise?

P.J. Soles, who starred in Halloween ’78 as Lynda, has a classy off screen cameo as the voice of young Allyson Strode’s unseen high school teacher, and the devil costume worn by Oscar, played by Drew Scheid, is a callback to the she-devil costume memorably worn by Samantha, played by Tamara Glynn, in Halloween 5.

And Laurie Strode’s bedroom, where much of the finale takes place, is itself an exact recreation of the Doyle house bedroom where the first film ends.

We knew from the trailers that the Silver Shamrock masks from Halloween III would make an appearance, and it was indeed amazingly surreal to see, this being the first time that Season of the Witch has been acknowledged in any way since “Mrs. Blankenship” was featured in 1995’s The Curse of Michael Myers (Curse writer Daniel Farrands told me that “Mrs Blakenship” is “Minnie Blankenship” in this interview).

And of course Allyson’s asshole boyfriend Cameron Elam, played by Dylan Arnold, is the son of longtime Haddonfield asshole Lonnie Elam, who bullied poor Tommy Doyle in the first film and was last seen getting scared away from the Myers House by Dr. Loomis.

Those are just a few of the many shout-outs to past Halloween movies that are featured all throughout Halloween 2018, which only enhance the film’s re-watchability.

And speaking of doctors, let’s talk about Dr. Sartain, played by Haluk Bilginer, who we told you would be a new Loomis-like character following Nick Castle’s Q&A in February. I’d still say that Laurie is really the “new Loomis”, but Sartain serves as sort of an abbreviated, extreme version of what these new filmmakers see as likely happening to Dr. Loomis, at least to some level. Loomis was admittedly obsessed with Michael after just 15 years with him, and Sartain is certainly obsessed with him after (presumably) close to 40 years with him.

And while Sartain’s twist is definitely the biggest WTF moment of the film, even that in itself is a bit of an Easter egg too, isn’t it? Halloween is easily the crown jewel of all modern horror franchises, but it has a long history of WTF moments throughout the last four decades, some that have been eventually embraced over the years (Halloween III), and others not so much (The Man in Black), but Sartain’s WTF moment is not really that huge when compared to all of the others. And you have to admit, you did not see that coming. (We were all expecting Ben Tramer Version 2.0, right?)

On repeat viewings, you’ll notice more of how Sartain allows, almost urges, journalists Aaron and Dana to provoke his most notorious patient, and on the eve of his transfer to a new facility where the doctor does not want to think about Michael being. And there’s the odd coincidence that the transfer takes place on the night before Halloween. And you will rightly wonder just how much of what transpires next was part of Sartain’s plans all along.

This is my favorite portrayal of the Laurie Strode character ever put on screen. In a career-defining performance that more than anything honors the legacy of one of the greatest survivors in movie history, Jamie Lee Curtis has never been better. This is a heartbreaking portrait of a woman who has never fully developed into a whole person because of the horrific events that happened to her on Halloween night in 1978. And when it starts happening again, 40 years later, her worst fears, and at the same time a chance at rewriting her own narrative’s ending, are realized.

As Laurie’s granddaughter Allyson, Andi Matichak is very much the modern version of what Laurie was in 1978, instantly likable in her everyday manner, understandably questionable of both sides of her mother and grandmother’s strained relationship, looking beyond the today that her friends live in to try to find her place in a larger picture, very much on the verge of adulthood.

And The Shape? James Jude Courtney’s portrayal does exactly what he told me he did (read our interview here), channeling the space created by Nick Castle in 1978, inhabited by Dick Warlock in 1981 and all the other actors since, to tap into the essence of the simple, focused, violent existence, rather than humanity, of Michael Myers. It’s all there, from the head tilt to the walk, and when fused with Nick Castle’s recorded breathing and cameos behind the mask, it makes for a damn perfect portrayal of The Shape.

Michael has never been deadlier, creatively brutal enough to evoke memories of Rob Zombie-directed kills, and yet silently cunning, the trickster that creatively displayed the dead bodies of Laurie’s friends for her to find in 1978, who enjoys terrorizing his victims as much if not more than actually murdering them. And he’s back to being a random source of tragedy, the kind of tragedy that we see hitting random people every day on the nightly news in real life in 2018.

The subtle yet ever-present social commentary threaded throughout the film is another tribute to Carpenter, but also a testament to the decades old truth that horror always reflects the current fears of the audience.

The new mask, an aged update on the original, created by a team led by Christopher Nelson (read our interview here), Vincent Van Dyke, and Justin Mabry, is haunting, soulful, and creepy as hell.

Over the years, I’m sure the biggest criticism about this film will be that it is essentially a remake of Halloween H20 , which it is, though I’d say it is much more a third version of Halloween II, and in a franchise that has already done this disregarding of previous chapters, it’s yet another choose-your-own-adventure option to take following the first film. No matter where you place it in official canon, it’s undeniable that Halloween 2018 is one of the best sequels in the franchise, and I’d say one of the best sequels, period.

A totally entertaining tribute that honors 40 years of Halloween, Michael Myers is back, and Haddonfield has never felt more like home.

Halloween 2018 is currently in theaters.

[Read our interview with Rhian Rees on the fear and female power of Halloween 2018 here.]

[Read our interview with James Jude Courtney on playing Michael Myers in Halloween 2018 here.]

[Read our interview with Nick Castle on reprising Michael Myers in Halloween 2018 here.]

[Read our interview with Christopher Nelson on making Michael Myers’ mask for Halloween 2018 here.]

I think the new film will ignore everything after Part 1. Laurie is the new Loomis, claiming for 40 years He’s coming back. Then He does.

— Halloween Daily News (@HalloweenDaily) September 17, 2017

For more Halloween news, follow @HalloweenDaily.

'Halloween' 2018 Brings Michael Myers Back Home [Review] A new Halloween movie is finally upon us, and it was well worth the nine-year wait, as director David Gordon Green and his co-writers Danny McBride and Jeff Fradley have delivered one of the best horror sequels ever made, in a timely story of unresolved trauma and the return of The Bogeyman.

#Halloween 2018 #Michael Myers

[furederiko]

This is the LAST post for December, meaning it's also the FINAL post for the year. Anything special to publish in the conclusive day of 2017? NOPE. Just this... uhmmm, random ramblings. Ahahaha...

My internet went down completely for around 2 weeks since December 13th. The unexpected 'incident' (I apparently has burned my modem *sigh*) made me switched into my creative side and did genuine FUN non-internet related things instead. And I got all caught up by it... that I practically did NOT prepare anything for Tumblr.

Had a Random-News-Digest prepared for mid-December, but ditched it completely because the content would be highly outdated now. Wanted to do my monthly recap-view for "Kamen Rider Build", but haven't finished it so it'll have to wait until next month. The only thing I could pull off was the recap-views for "Uchu Sentai Kyuranger" last 2 episodes of the year. Though to be honest, that amazing show was part of my 'offline fun' as well. So yeah, unlike last year, there is no TOP 10 list this year. Didn't even publish anything for Christmas, because I completely FORGOT about it! LOL... (^^;)

Anyways, to make up for all of that, I've written a rough 'RECAP' of what went through my life this year. Entertainment-wise, of course, and not all but just some of the highlights. In list form! Why? Because I feel like it *grins*. Here goes nothing...

Movies, Oh movies...

- Watched even less movies on the theatre this year, and opted to wait several releases on home video. Only went to see the big guns, thus there isn't any disappointment. - Surprisingly, I loved the live action "Beauty and the Beast" more than the animated original. Dan Stevens' solo number "Evermore" is stuck in my head ever since. - Haven't seen "Coco", and really want to. Here's hoping the home video will be released soon. I guess I should see "Cars 3" first, huh? - "Dunkirk" was magnificent. War movie is usually not my forte, so I'm pleasantly surprised that Christopher Nolan managed to make me enjoy one. Was it the short duration, the all-out jerks of the army, or the non-stop intensity? Don't know. But if there's at least one thing I've gained from it: I disliked Harry Styles ever more now. No kidding. Poor French soldier... - I'm a visual guy so when I saw a disturbing scene, it usually stayed on my head for a good while. That bloody scene after the bomb explosion on "Stronger", for example? *sigh*. I hope Jake Gyllenhall receives an Oscar nomination for his work on this movie. - "Death Note" and "Ghost in the Shell"? Enjoyed the first one more, but both deserved better. - Tom Cruise's "The Mummy" was mediocre, but I'm among the minority who actually want to see more of Universal's Dark Universe. Even if just to see more of Russell Crowe going Jekyll. Charlie Hunnam's "King Arthur: Legend of the Sword" was the movie's kindred spirit, while "Kong: Skull Island" was the opposite. Kong will be meeting Godzilla in the coming years! - Comic book adaptations were generally top notch. Naturally the three Marvel Studios' releases; "Guardians of the Galaxy Vol. 2", "Spider-Man: Homecoming", and "Thor: Ragnarok"; would be my top picks. Don't ask me to choose which one is the best though! All three were amazing and marvelous in their own unique ways, so I'd gladly rank them in the same spot just to be fair. - I admit, "Logan" and "Wonder Woman" were great too, but I didn't like them as much as everyone else on the planet. Not sure why, I guess... none of them was my cup of tea? Let's just say, there were problems on each of them that I couldn't quite tolerate and it reduced my overall impression on them. - Don't ask about "Justice League". I'll wait until I can borrow a copy when it's out on home video. Not wasting my money on a poorly reviewed DC Films. For now, "The LEGO Batman Movie" remains to be the best DC release of the year. - "Kingsman: The Golden Circle" was just NOT as good as the prequel. It was fun, but it felt like it's repetitive yet also missing something and trying too much.

Show Must Go On...

- Just realized that I've seen MORE TV series this year! Both the currently in broadcast, or titles from previouse years like "Westworld". Oh WOW... - Both Marvel's "Iron Fist" and Marvel's "The Defenders" were genuine duds. Both TV series were underwhelming and disappointing, that I have lost any urge to see Marvel's "The Punisher". - Haven't seen Marvel's "Agents of S.H.I.E.L.D." 5th season as well, because I haven't been feeling it. Though that will change in the near future because I'm itching to see its 5th episode. Hey, my boy Fitz and Hunter are the star of that episode, right? THAT I just have to see! I wonder if seeing that episode would be enough to convince me to watch the previous four episodes... - Currently following Marvel's "Runaways", though this 1st season might be my first and last. Don't know why, but not feeling it either. I think CW's "Riverdale" was a more watchable show, and even that one have been dropped after Season 1. LOL. I guess teenage soap-opera is just NOT my thing. - The 5th and final season of "Teenage Mutant Ninja Turtles" was kind of... all over the place too. This show should've ended with Season 3, if you ask me. It had a bittersweet ending, akin to "Samurai Jack". But it also did not ended gracefully, and far less enjoyable to follow. - "Stranger Things" Season 2 was amazing. It had a somewhat different vibe compared to the 1st one, but equally enjoyable to watch. Poor characters whose name starts with 'B'... - I think the 3rd and 4th Seasons of "Voltron Legendary Defender" were initially meant to be one unit. The show's first two seasons were impressive, but these latter two were... okay? I don't know why, but it felt like it has waned a bit. - "Unbreakable Kimmy Schmidt" was somewhat similar. I had great time with Season 1 and 2, but Season 3 was a bit... uneven. Many of the jokes didn't quite hit, and some of the story development started feeling like a recycled trick. Still, I would love to see a 4th Season, and hopefully with better improvements. - Was expecting "Big Hero 6: The Series" to be as amazing as the Oscar-winning movie... but alas that didn't seem to be the case. Didn't quite enjoy the 2-episodes premiere as much as I wanted to. A complete opposite to "DuckTales", that hit all the right notes. The sole complaint I have about this reboot/remake, is that Scrooge McDuck's adventure isn't airing new episodes on a weekly basis! Aaaaargggh, the long wait is making me angry. - If you haven't seen "Thunderbirds Are Go", then what are you waiting for? I feel the 2nd Season had more and more amazing moments, to the point that I hope Season 3 will come sooner than later. - Comedies are taking my leisure time now! Have been following Seth McFarlane's "The Orville". It was mediocre to good, and desperately in need of improvements (hopefully in Season 2). Yet I keep going back and see it. Is it the star power of its guest stars? - Adam Scott and Craig Robinson's "Ghosted" is on my top priority watch. Sure, the quality has reduced a bit since the pilot, but the supernatural agents aren't going anytime soon from my house. - The same with Kevin Finn! Great goodness, I have only started watching "Kevin Probably Saves the World" since early this month (the benefit of NOT getting preoccupied by the internet LOL), but I'm already regretting why I didn't start sooner. Now I honestly can't wait to see more! Kevin is such an adorkable, likeable, and surprisingly relatable quirky lead. The kind of guy I would totally love to be best friends with in real life. Really though, the show is infectuous with its acts of kindness, heartwarming with its pleasant vibes, and also surprisingly engaging through its personal conflicts. If you hear me giggling, laughing out loud, or sobbing lately, you can probably thank Kevin, his guardian Angel, family, and friends for that! Seriously...

A Spoonful of Anime and Toku

- Turns out, "Kekkai Sensen & Beyond" wasn't the sequel that I expected to be. It's... 'different' than the first season. But when you get to see what the other members of Libra (even the team's butler) are doing in their daily lives, should one even be complaining? In the end it was indeed as amazing and fun ride as the first season, even if lead protagonist Leonardo Watch took a back seat most of the season. I'm already crossing my fingers to see more adventure of the team. But it likely won't happen in the near future, huh? Bummer... - "Ballroom e Youkoso" was a peculiar dance. I thoroughly enjoyed the first half, but after Tatara changed partner things got... hectic and irritating to follow? It was still good, but a rather uneven show if you ask me for honest impression. At the very least, it wasn't a wasted opportunity like "Kabuki-bu!" was. - "Houseki no Kuni" was of similar situation. Its animation was gorgeous, story was peculiarly engaging, and world building was great. But there were episodes that were undeniably better than the rest, and I didn't quite like how it ended. I guess that finale was teasing for more seasons? Hmmm... - It's been years since I follow a Pretty Cure series, and "Kira Kira Precure A La Mode" wet my appetite and got me back to the game. Unfortunately, while the design was interesting, and the sweets angle was neat, the story was somewhat weak. I have lost my initial enthusiasm after the first half, but I still watch it because it's going to end pretty soon. Not quite expecting a mindblowing finale though, especially if the animation quality is any indication. A common problem of TOEI Animation. Remember "Sekaisuru KADO"? - Dang it, what an impressive year it has been with Super Sentai. "Doubutsu Sentai Zyuohger" was kind of dull and boring last year, but had a great ending this year. And it was quickly followed by something even better. Yes, another show that has dragged me on a pleasant roller coaster ride is none other than TOEI's "Uchu Sentai Kyuranger". Since its premiere run on February, until its Christmas episode that wrapped up its 2017 run, I haven't been disappointed once with the series. Yes, I had an issue with the spin-off series of V-Cinema "Episode of Stinger", but that didn't count as the broadcast lineup. Though it's painful for me to soon say goodbye to this amazing season, I hope its last month will be memorable and a blast. Particularly because I'm currently having second thoughts about the 2018 season... - Just like its weekly storyline, "Kamen Rider Build" is still moving me back and forth. I'm honestly on the verge of dropping it completely, but I guess I'm going to check out several episodes from the next "Kamen Rider Wars" arc. I kind of feel it takes too long to get to this point when it could've been done earlier, but who am I to argue, right?

Name of the Game

- "Nintendo Switch" was a hit! Ever since its release on March 2017, the buzz and hype for this hybrid console only continue to increase. I wonder if I will be able to purchase one next year? Perhaps, just in time for the next Pokemon gen? - Speaking of Pokemon, the addition of Generation III from Hoenn region has made me go out and explore "Pokemon GO" again. The whole Raid Battle system and Niantic's handling of the Legendary Pokemon had disappointed so bad that I was close to give up on this App. Thankfully, now I have a horde of new reason to walk around the neighborhood. Problem is, can the same premise work in the long run? Niantic really need to consider new social features that enables players to engage with one another. - "Street Fighter V" had a weird set of DLC characters this year. The 2nd Season contained mostly new characters, that was a hit or miss with fans. Thankfully, things seem to be picking up next year with the Arcade Edition. Not just because my man Cody Travers is all dandy clean and returning to the game, of course. Question is, will I be able to play the game eventhough I don't have any plans to pick up a PS4? *giggles*. - I also haven't been able to play "Persona 5" due to the exact reason. LOL. Thankfully, "Persona 5 the Animation" has been announced to air next year. Sure, I'm a bit skeptical with the fact that A-1 Pictures and not Production I.G. will be doing the animation, but at least this will be my way of enjoying the game... WITHOUT actually playing it. - LEVEL-5 should do more of that worldwide Puzzle Quest! That was meant to be a prelude or some sort to "Layton's Mystery Journey: Katrielle and The Millionaires' Conspiracy", but I think the game developer should learn by now that it could work as a stand alone project. It made people come together in surprising way, and attracted fans to come back everyday to check out the new worldwide puzzle. Real FUN!

Oookaaay, that went A LOT longer than I expected. And I'm 100% sure that there are items that completely slipped my mind. As of writing this line, it's only just a few hours before the year ends! Aaaaarggggh *grumble*. Gotta publish this one soon then!

With that said, 2017 has been a difficult and challenging year. Particularly to a very discriminative and straight-out evil political atmosphere. One that allowed people to show their true despicable nature and selfishly trampled others for it. Last year I did say that "There's so many reasons to be hopeful about 2017", but reality had spoken differently as it turned out there were plenty more to discourage us throughout the year. Many people have even lost their fate in humanity this year.

But you know what? I'm going to say the same thing this day as well. There are SOOO many reasons to be hopeful about 2018. I don't know if it's because I'm currently caught up in the holiday spirit, or because I've been feeling extra thankful and blessed this month. One thing I can openly attest, is that things DO GET BETTER. So don't ever lose hope, and keep fighting the good fight in the name of just and goodness. I'm being lazy right now, so I'm just going to copy and paste my own words from last year: "Life can sometimes be hard, but all we need to do is stay strong, stay high spirited, and more importantly, keep moving forward! Happiness and blessings will surely find its way, in ways you might not imagine!".

And also this next one... because I'm going to be saying more or less the same kind of statements anyway: "Thanks to those who have been reading my blog all year long. I know I haven't spent much time (or any) to address you one by one, and heck, I might not even know you're there. But please know that I'll always be grateful for your presence, your time, kindness, and more importantly patience to walk through my long and sometimes pointless ramblings. What you've been doing means a lot for me, and I hope what I've been posting has and will somehow benefit back to you in return.". 2017 ends in just a few hours away, so let's enter and stride through 2018 with a hopeful and brave heart, the biggest and earnest smiles, the most sincere love and compassion for others regardless of their religion, race, or skin color. More importantly, let's make 2018 a year that we can be proud of. Where we take a stand for what's right and good! Where we become better human being than we are this year!

SEE YOU TOMORROW IN 2018!!!

#message #quotes #life quotes #wisewords #Just for Fun #random thoughts #movie #TV show #anime #game #review

[sleepykittypaws]

Last Christmas

Original Release Date: November 8, 2019 (theatrical) Where to Watch?: For now, only your local cinema

My favorite Christmas movie is Love, Actually. It is a film that engenders relatively strong opinions, and is loathed by as many as it’s loved. I admit it contains multiple manifestly disturbing and/or ridiculous elements, but, despite all that, and the fact I’ve seen it, roughly, 999 times, I still cry like a baby every single time.

I’ve never seen Game of Thrones (yep, we’re the ones), but I absolutely adore Henry Golding, believe he’s one of the most charming actors working today, and think A Simple Favor is egregiously under-rated. Plus, Emma Thompson is my imaginary celebrity BFF—the one I know I’d love in real life, were we ever to meet. 

I say all this as a preface to note how in the tank for Last Christmas I was, going in. And this was even after I saw the trailer in August and (as it turns out) correctly sussed out the movie’s twist, down to the last detail. Even with that, I was 100% on board with this British Christmas rom-com.

Now, I’ve seen it and…While I didn’t hate it, I didn’t so much enjoy it either. If, unlike me, you haven’t seen the movie, or already figured out the twist, be aware, there are spoilers ahead.

For a movie about a dashing ghost, featuring two incredibly charming actors with a great deal of chemistry, plus at least three ladies I’d consider legends (Thompson, Michelle Yeoh, and a brief Patti LuPone cameo), this was really boring. I felt like I just kept waiting for this story to get going.

Longing looks between Emilia Clarke and Golding can only get you so far—and it’s to their credit, really, that this is watchable at all. There’s so much time with these two spent staring into each other’s eyes, and that’s fine and all, but elements integral to movie’s plot are breezed over in a second, while Clarke walking through London in a fitted elf costume consumes a good 80% of the screen time.

And, for God’s sake, have your graphics department bother to do a Google, because Yugoslavia didn’t exist in 1999, despite this movie’s opening title card insisting otherwise. You can say Croatia. Or Serbia. Or Bosnia and Herzegovina. Or one of the four other countries the nation split into after it dissolved in 1992. Or, just say the name of the city. Even, simply, “Former Yugoslavia 1999,” would have worked. But you can’t say “Yugoslavia” seven years after the nation ceased to exist. 

That this infuriating gaffe opened the film did not give me great hope. Guessing they thought their audience might not get where they were talking about if they only listed an Eastern European city, or newly-founded (and at that point in recent history, frequently changing) nation. Which was really this film’s major flaw: it never trusted its audience to get it.

In the end, I would have liked to see more about the sister’s home life, and how she had to be the good one, while Clarke’s talent and illness garnered all the attention. The family dinner table scene, where Clarke’s character outs her sister in a spiteful snit, would have been a lot more impactful if we’d already known she’d been pretending her girlfriend was simply a roommate or, heck, even that, that character existed at all. Instead, we’re just as surprised as the parents who, in the end, don’t exactly seem like they have much of a problem with it. While we’re at it, I’d have liked a lot more time with the parents, too. 

While I’m not sure the very British Clarke, with her perfect posh accent, was completely plausible as an immigrant, the storyline about holding that status in today’s world held promise. Her insistence on using an Anglicized version of her name, the bus scene, and her conversation with her mom on the couch were all well done, with a killer kicker joke from Thompson in the latter. But the scene explicitly calling out, and even briefly explaining Brexit, couldn’t have been more annoying. We know. We live in the world.

The same can be said of the, mostly unsurprising, reveal that Golding’s Tom has been a ghost all along. The revelation in his apartment (ignoring the implausibility of reasonably-priced walkable housing staying empty in central London for a year) that he was her heart donor was decently done, but the extra scenes showing she was the only one who could see him were wildly unnecessary. We’ve all seen The Sixth Sense. Even those that haven’t, like my 12-year-old, are aware of it culturally (as I learned recently).

But the film can’t let that stand. Like I said, they didn’t trust their audience, and there’s little more off-putting as a movie goer. And that’s not even getting into the clunky, oh-so-literal take on the song that inspired the film. I mean, “Last Christmas I gave you my heart.” Are you kidding me with that? Anyone but Thompson (the film’s co-writer) would have been laughed out of the building at the pitch meeting, if not sooner. Not since the American finale of Life on Mars, have I seen such an absolutely gobsmackingly lazy ending.

I went into this movie with so much affection and genuine excitement, and left feeling…flat. I teared up at the twist, even though I saw it coming six months ago. (Did I mention what a sap I am?) The ending hit the emotionally manipulative Christmas beats that worked for me, George Michael’s catalog is firmly in my middle-aged-mom wheelhouse, and watching Golding dance and twirl through holiday-lit London streets can carry this Christmas-loving Anglophile quite a ways towards merry. But if this movie had been set in any other season, with any other stars, I think I might have hated it.

As is, I’ve spent the 12 hours since my viewing rewriting and reediting it in my head to make it the movie I wanted it to be. Almost wishing I’d only seen the effervescent trailer and could dream it was everything I’d hoped.

Final Judgement: Three generous paws up, but only cause it’s Christmas

[ofstormsandwolves]

Campbell Bain’s Looney Tunes

Part 4 of Bella and Her Boy

Modern day Campbell x Bella AU. Teen

When Campbell’s music teacher suggests a way to make him stand out from the crowd in his bid to get into music at college, he turns to Bella for help.

AO3

Campbell watched as Bella took some photos from across the Thames. He smiled to himself, and pulled his cigarettes from his pocket, putting one in his mouth and lighting it. It had been three months since he’d moved into Rylands House, and he and Bella had quickly become inseparable. Now, they were at the start of the summer holidays, and the pair of them mingled with tourists down on the south bank while Bella took photos on her battered old camera.

“They’re gonna look shit,” Bella complained, turning back round to face him. She stuffed her camera into her bag and hoisted it more firmly onto her shoulder.

“I’m sure they’ll be great,” Campbell insisted, holding out his cigarettes to her.

She took one and put it between her lips. He held the lighter out for her, and she bent down to light the cigarette.

“I’ve got a crap camera, Campbell,” she reminded him as she took a drag of the cigarette. “Plus I can’t even edit them because I don’t own a laptop to get editing software on.”

She began leading him away from the London Eye and back towards Lambeth.

“What about my laptop?” Campbell suggested. “Aye, it’s not great, but I wouldn’t mind you using it.”

Bella looked a bit pleased with that, but not overly excited.

“I’m not sure your old laptop can take it,” she admitted, only half teasing.

Campbell sighed.

“Aye,” he agreed, putting his cigarette to his lips again, “it’s on its last legs. I don’t want to say anything to Eddie, though.”

“Let me guess, he bought you the laptop too,” Bella smiled up at him.

“Aye.” Campbell nodded.

Bella snorted. “Fucking lucky git. I barely see my social worker. Yours buys you laptops and record players.”

Campbell shrugged, looking a little embarrassed at that.

“He’s not supposed to,” he reminded her, “so please don’t say anything to anyone. It’s just... Like I said, his partner Francine has a bit of a soft spot for me. Eddie, too, though he won’t admit it.”

“I won’t say anything,” Bella promised, and she looped her arm through Campbell’s.

They weaved their way through the crowds that were heading to and from Waterloo station, but once they’d been walking for a few minutes and had entered Lambeth, they were away from the tourists.

“I was going to ask your opinion on something,” Campbell said after a long time, not looking at Bella despite the fact their arms were looped together.

“Oh yeah?” Bella asked, grinning at him.

“Aye,” Campbell told her, jamming his hands deep into the pockets of his jeans. “I was thinking of starting a YouTube channel. My music teacher said it might be a good idea. It won’t get me any better grade in my GCSEs, but he said my running a YouTube channel centred on music might look good when I go to college.”

Bella was watching him carefully as he spoke, smiling softly at his nervousness.

“And what did you want to ask my opinion on?” she prompted gently.

Campbell let out a sigh, and shrugged.

“I... I don’t just want to record myself singing. I mean, my songs aren’t that good anyway-”

“They are, Campbell,” Bella broke in gently, eyes wide and pleading with him to believe her.

Campbell gave her a wry smile. “I’ll accept that when you accept your photographs are good.”

Bella bit her lip, and said nothing.

“Anyway, I don’t particularly want to just do a YouTube channel full of videos of me playing guitar. There’s loads of those channels already. I wanted to do something different. An’, an’ I was thinking of doing, like, a review show. For new CDs and songs. And maybe some older stuff too, like when there’s a resurgence. You know, Beatles, Bowie, stuff like that.” He came to a stop then, causing Bella to stop with him. “Do ye think that’s any good, Bella?”

“It sounds great,” she assured him happily, “I don’t think I’ve come across many channels like that.”

Campbell’s face fell.

“You mean people are already doing it?” he asked, wide-eyed and broken hearted.

Bella slipped her hand down to Campbell’s, tugging it out of his jeans and entwining their fingers.

“Well yeah,” she shrugged, “if you can think of it, there’s probably already a YouTube video for it. Loads of people do review videos. Not necessarily for CDs, or whatever, but they do already make them.”

Campbell frowned. “Well, I’m never going to get noticed, am I?”

Bella rubbed his arm soothingly. “We just need to... Change things,” she told him, although she wrinkled her nose as if to say she wasn’t entirely sure what to do. “Make it a bit more noticeable. Maybe do it like a vlog, instead? The vlogs are the things that get noticed most. Or, you could combine the two! Do some sort of music review vlog.”

“Isn’t that what I just said?” Campbell mumbled as Bella tugged on his arm to make him start walking again.

Bella smiled at him. “Yeah, alright,” she relented. “But like I said, we just need to shake things up a bit. We’ll think of something.”

~0~0~

Over the next few weeks, the pair of them worked on Campbell’s vlog. They were still working on it when the summer holidays drew to a close and they returned to school for their final year.

“Got a name for it yet?” Bella asked one day when they were in the park smoking cigarettes instead of going to school. They’d got into the habit of packing jumpers and jeans into the schoolbags so that they could get changed. They were hoping to pass themselves off as college students. Whether it worked or not was another story.

Campbell shrugged, and stubbed out his cigarette beneath his shoe.

“I’ve got a few ideas,” he admitted softly, and Bella realised he was embarrassed. “But nothing definite.”

“What are your ideas then?” Bella prompted gently, smiling at him.

Campbell sighed. “Well,” he told her, “when I say ‘ideas’, I mean just the one really. And I don’t even know if it works.” He suddenly went to his rucksack then, and Bella thought he was stalling for time, or something. But when he straightened up with a piece of paper in his hands, she realised that wasn’t the case. “I’ve got a few ideas for videos though.”

He handed the paper over to her then, and she looked down the list. There were several new albums and singles, notes written beside the titles in Campbell’s familiar scruffy handwriting, all points he wanted to make about the songs- the lyrics, the style, the music videos. There were also some older things- a few Bowie albums that were making a comeback, and an old Black Eyed Peas number.

“Bella?” he prompted nervously.

Bella blinked, and realised she hadn’t said anything. “It looks good,” she told him honestly. “Have you started filming yet?”

Campbell shook his head. “I was hoping you could help with that, actually. Can I even do it on my laptop, or will that look awful? I don’t want it to look awful, Bella!”

“We’ll work it out,” Bella assured him, and she wrapped his arm around his waist and gave him a squeeze. “It can’t be that difficult, right?”

~0~0~

By the end of September, they had the first video ready to go. They’d set up Campbell’s YouTube page, and while the editing of the video wasn’t great, it was at least watchable, and Campbell and Bella were pretty damn pleased with themselves.

“Chosen a name yet? Bella asked as Campbell did the final few tweaks to his YouTube page.

He gave her a slightly pained look, before adjusting his laptop screen so she could see it. He’d been filling in information for the video, which they were preparing to upload. And in the title box were the words ‘Campbell Bain’s Looney Tunes- episode 1’.

“Is it alright?” Campbell asked a little worriedly.

Bella grinned.

“It’s brilliant.”

And just to prove it, she gave him a kiss on the cheek.

#Bella and her Boy #teninch fic #Takin' Over the Asylum #bella and the boys #Campbell Bain #Bella

[junker-town]

5 reasons the 1st week of the NFL preseason is worth watching

Roster battles and brief glimpses of greatness — plus, hey, it’s football!

The 2018 NFL preseason kicked off last Thursday when the Baltimore Ravens fended off the Chicago Bears at the Hall of Fame Game. It was, uh, not especially good football. Neither the Ravens nor Bears gave their regular-season starting quarterbacks a single snap, and as New England Patriots head coach Bill Belichick put it: “17-16. It must have been pretty exciting.”

Right.

The good news is this week’s preseason action will supplement last week’s vacuum of quality with a rising tide of quantity. Each of the league’s 32 teams will take the field as the preseason begins in earnest, with 24 showing out on Thursday night. While that will make it difficult to watch reruns of Jersey Shore that evening, there are several promising storylines that threaten to make this preseason watchable or, even better, entertaining.

For better or worse, there are plenty of reasons to tune in Thursday night and throughout the weekend. Here are five that stand out to us:

1. The Bills will take the first step toward untangling the league’s worst QB situation

Buffalo’s current quarterback depth chart looks like this:

1A: Nathan Peterman, the player who threw five interceptions over the course of 14 passes in his first NFL star.t 1B: AJ McCarron, a career backup so underwhelming the Browns once tried to trade for him. 3: Josh Allen, a rookie who completed 56.2 percent of his passes while leading Wyoming to a 16-11 record the past two years.

That’s bad! This offseason, the Bills decided last year’s surprise playoff berth was enough goodwill to satiate their desperate fan base and tore down a nine-win team in favor of starting over from scratch. And while that could pay dividends — getting stuck with the 14th pick each season is a tough way to rebuild — it’s set the stage for a grim 2018.

All three have potential, but it’s unclear if Buffalo has a single long-term solution in its three-headed passing attack. Peterman is a lottery ticket, fifth-round pick project with solid mechanics, but he’s also a University of Pittsburgh QB grad not named Dan Marino, so the deck is stacked against him. Allen has an arm strong enough to throw a football over them mountains, but he lacks control and accuracy. In three career college games against Power 5 competition, he threw for 427 total yards and eight interceptions.

McCarron’s claim to fame is not imploding in a wild card game against the Steelers; he signed for just two years and $10 million during a year where teams leapt at the opportunity to throw money at QBs

One of them will have to start in Week 1, and that journey begins Thursday night against the Panthers. The winner of the QB race gets the opportunity to have Kelvin Benjamin throw him under the bus in two years.

2. By God, Andrew Luck is back (and other stars are returning from injury too)

Starters don’t play much in the preseason: It’s too big of an injury risk, and August is mostly for figuring out final rosters anyway. No one has to worry about Tom Brady making the cut, but not even a magical potion from his health guru can protect the 41-year-old from unnecessary hits in games that don’t matter (we think, anyway).

But most players, even the stars, get at least a series during the preseason. That’s especially notable considering how many prominent players are returning from injury after 2017 laid waste to, seemingly, half the league.

Arguably the most triumphant return this entire preseason will be Andrew Luck. Despite Luck’s, and the Colts’, continued insistence that Luck would bounce back from his shoulder injury and would play football again, there was serious doubt about it. It’s been 19 months (or 585 days) since he’s been on the field and the details of his recovery were always vague at best.

For anyone who fell into the “I’ll believe it when I see it” category with Luck, that time has finally arrived Thursday night. Luck will get some playing time — the entire first quarter — against the Seahawks. How will he look (besides unexpectedly jacked)? Will there be any notable difference in his arm strength? Accuracy?

Even if Luck is a little rusty, it’s a huge win to get him back on the football field again, something that even Luck himself wasn’t sure would happen.

Luck might be the headliner, but he’s not the only big name coming back from injury. Deshaun Watson will likely play Thursday night against the Chiefs, 10 months after the Texans quarterback tore his ACL in practice. Ryan Tannehill is also returning from an ACL tear and will see his first action for the Dolphins since December 2016 when they host an intra-state battle against the Bucs.

Vikings running back Dalvin Cook could also be back for this week after — yup, you guessed it — his ACL injury last season.

Even if he doesn’t play Thursday, J.J. Watt is expected to make an appearance this preseason. It’s less likely we see Aaron Rodgers, Odell Beckham Jr., David Johnson, or Carson Wentz until the start of the season, though. That’s OK too: As excited as we are to watch these guys play again, we can wait a little longer if need be.

3. The Browns have to piece together their receiver depth chart

After the draft, the Browns looked to have one of the top receiver groups in the league. Josh Gordon, Jarvis Landry, Corey Coleman, and Antonio Callaway seemed to be a strong quartet and for once, the Browns looked to have a steady supporting cast.

Well.

That all changed. Gordon is currently away from the team trying to get himself prepared for the rigors of another NFL season, Coleman was recently traded to the Bills for a future seventh-round pick, and Callaway was cited for marijuana possession over the weekend.

There might not be anything to worry about with Gordon, but until he actually reports with the team, the Browns are going to have to find another receiver to potentially get playing time with the first team (hello Dez Bryant?).

Rashard Higgins might be an in-house solution to their suddenly questionable receiver depth, but he has yet to show he’s a starting-caliber receiver in the league. Landry has a starting spot locked in; the Browns need to see some stability at the other receiver slots.

4. The Packers debut their revamped secondary

Green Bay’s biggest flaw last season, aside from the fragile nature of Aaron Rodgers’ collarbone, was a depleted secondary that struggled to meet the tone set by safety Ha Ha Clinton-Dix. The Packers ranked 23rd in passing yards allowed and 31st in opponent passer rating (102.0) last fall, meaning the average quarterback left a matchup against the green and gold a shade less efficient than 2017 MVP Tom Brady (102.9).

New general manager Brian Gutekunst took steps to rectify that. He shipped starter Damarious Randall (10 interceptions in three seasons with Green Bay) to Cleveland in exchange for a backup quarterback and spent the team’s top two draft picks on cornerbacks Jaire Alexander and Josh Jackson — just one year after former GM Ted Thompson spent the team’s top two draft picks on defensive backs Kevin King and Josh Jones. Gutekunst also brought 11-year veteran Tramon Williams back into the fold to help mentor these young charges.

We’ll get to see what that group can do against Marcus Mariota on Thursday, albeit briefly. Depending on Williams’ role, the Packers could wind up starting up to four first- or second-year players in their defensive backfield in 2018. While there’s a deluge of raw talent there — everyone but Williams was either a first- or second-round draft pick — that will be a volatile group with a large variance between great plays and rookie mistakes. This week’s preseason performances will help set the learning curve for a vital part of Green Bay’s revival.

5. Who’s the odd man out on the Jets’ quarterback depth chart?

Quarterback competitions are always the top story of preseason, and the Jets have one of the most interesting battles. The biggest difference, though, is that New York’s depth chart may affect another team.

For now, the Jets enter their preseason opener with their incumbent starter, Josh McCown, at the top of the depth chart ahead of free agent acquisition, Teddy Bridgewater. Then at the bottom is first-round pick Sam Darnold.

“We’re going to let them play,” Jets coach Todd Bowles said at a press conference this week. “And after the fourth preseason (game), sometime that week, I’ll make my decision and go from there.”

The best guess is that the depth chart will finish where it is now, but each has made a strong case to start Week 1:

"I’m told that some people at the Jets are so impressed with Bridgewater thus far that they are quote ‘obsessed’…They feel like they have three guys for once that they can go into battle with and succeed with." -- @MikeSilver on the Jets

— NFL Media (@NFLMedia) July 24, 2018

Sam Darnold “has a very fair shot” of winning Jets’ starting QB job for regular-season opener, per sources. He has to keep progressing, preseason will be critical, and he probably is a year away, when he turns 22. But Jets love what they see and he has a legit chance to win job.

— Adam Schefter (@AdamSchefter) August 6, 2018

Maybe it’s just training camp fodder, but the Jets seem to really think they have three starters. That sounds pretty great, but what it really could mean is that New York is in business if another team suddenly needs a starting quarterback before the regular season starts.

If any player gets traded, Bridgewater is the likeliest candidate. But the Jets’ preseason debut against the Falcons is our first chance to see if that trade scenario has legs. If it does, buckle up.

[zane49f47000-blog]

Sword Of Destiny (The Witcher Saga).

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