#trailer is here kiddies B)

[oh-stars]

Meticulous

B is for Bread

Ohstars Alphabet Prompts | G | 502 words | cw: grief

---

Eddie pulls his hair up into a tight bun and tugs the apron around his waist. It’s shorter on him than he remembers, the hem brushing against his upper thigh, but still long enough to cover the edge of the counter. It’s been too long. 

He takes a moment to look at the counter in front of him. Eddie’s a chaotic man, his head filled with too many ideas at once that just spill into every aspect of his day-to-day life, but not here. Not with this. It’s as if putting on that apron quiets down his brain in a way his guitar and writing can’t, like his mind is some wild stallion that music can’t break enough to take to kiddy riding classes. Everything is laid out before him, organized within an inch of his life, to the point that Nancy Wheeler would probably ask him for tips on how he did it. That is if she ever found out about this. 

Even though it’s the same bowls he had back at the trailer, the same utensils, the same pans, it all looks foreign in the same way it’s familiar. These are his mother’s things in a place she’ll never get to see, in a home he shares with a man she’ll never meet. He grips the edge of the counter, eyes squeezed shut, as he breathes deeply. 

He doesn’t have to say anything to her to know she’s with him now. 

When he opens his eyes, he gets to work. He combines his carefully measured ingredients together, starting with the dry ingredients before he slowly introduces the wet mixture together. He takes his time, making sure nothing gets spilled or added at the wrong time, as a dough forms at the base of the bowl. There’s not a recipe or a cookbook in front of him as he works, just the gentle words of his mother whispering in his mind as he lets the dough rise and then works it again. 

While it rises for the final time, Eddie cleans the kitchen back up. He’s not usually this thorough, much to Steve’s chagrin, but there’s something about using his mother’s kitchen rags and humming along to her old records that makes him put in the extra effort. It’s a little pointless, since he’s not quite done yet, but his Momma would be proud. 

Momma’s been gone longer than Eddie knew her. He’s baked this bread on her birthday every year more times than he made it with her. If he thinks too long on it, he can’t put it to words, can’t stomach the heaviness he feels or how unmoored it leaves him. It just means he has to take better care of the tools she left behind, to keep her here with him as long as he possibly can, and make sure he never forgets the original recipe. It’s stashed away in between the pages of a well-loved children’s book she used to read to him, along with a few pressed flowers from her hospital room, the last ones she ever saw. 

Steve comes in as Eddie’s pulling the bread out from under the kitchen towel. He doesn’t say anything, just drops a kiss to the side of Eddie’s neck, squeezes his waist. He gets it. Steve holds Eddie as he braids the dough and puts the few loaves onto pans to bake. His touch activates something in Eddie, much like the yeast in his bread, but Steve doesn’t offer any kind words or condolences. There’s no need. Eddie can feel it. 

Instead, Steve gently wipes away his tears and tightens his grip on Eddie’s waist. And once the bread is in the oven and the timer is set, he’ll gather Eddie in his arms, sway to Dolly’s words in the middle of the kitchen, and let Eddie let go when he’s ready. 

---

Thank you for beta reading @lady-lostmind!!!

Ao3 Link

#ohstars fic #stranger things #steddie #eddie munson #steddie fic #steve harrington #tw grief #ohstars posting challenge #alphabet prompts

[tenmillionwatervoles]

Do you have any OCs? feel free to talk about them if you do

What was the first piece of media you engaged with on the internet? Are you still interested in it?

What's something you made or did that you're proud of?

What's something that made you smile this month?

Thanks for the ask!

I’m not sure how far you could call them OC’s, but I do have some character concepts floating around in my head. None of them are particularly concrete or interesting yet, though.

The first piece of media I engaged with on the internet was probably Warrior Cats back when I was a little kiddie. I haven’t read one of the books in years but I still have a box full of them. Never know when you’re gonna need Firestar’s wisdom.

Something I’m proud of… I’ve managed to work pretty hard this year and get given some pretty cool opportunities as a result, which I’m quite pleased about. In less vague news, I’ve also finished my first fanfic, and I’m 60,000 words or so into the sequel. It’s Into the Spider-verse (of course) and focussed on Peter B. Parker reconciling with MJ, because that’s all that’s been occupying the inside of my head all year. I can’t speak to how good it is, but it is finished! Here’s the link:

And something that made me smile this month… many things, actually! Even months that are hard have laughter when you look for them. Snow has been nice! Across the Spider-verse trailer was nicer! I’ve been getting back into reading again. All good things.

Thanks again for the ask! Hope you have a good day.

#ask #fanfiction #fanfic #peter b. parker #into the spiderverse #Itsv

[love-and-i-am]

Holy Wood - Chapter 10

Feb 14, 2001 | MarilynManson.com | Archived by Nick Kushner at The NACHTKABARETT

It wasn't very difficult for Coma to find Adam's file that week. The casting storage room was like a mausoleum of never-to-bes and never-to-knows. The walls were lined with dusty stacks of half inch reel boxes filed by cut-out Polaroid faces on the bindings and larger b/w headshots on the lids. They were all marked REJECT AND HOLD. Everyone ended up here expecting to make it somewhere more special someday. No one ever did.

Adam has no idea that as he sits in the torn remains of his trailer inappropriately dressed for Celebritarian purposes, Coma White is staring at his photo and listening to the sterile rendition of the song he wrote right here for her. It was only "happy" that her birthday meant that she was finally a legal grey and free from this home. Even though she is incredibly smart, her idealism betrays her into thinking she would actually be allowed to leave here in any other way than a body bag.

Outside her window, klieg lights and a red carpet draw crowds of celebrating birthday mongers and the long legs of paparazzi, climing over one another for a shot of drama. FLASH!

Something shifts now like a cheap film flashback. The sound is reduced to the dubbed down rattle of a projector's plastic speaker. The voices sneak out through tiny holes from the past and Coma is just a little girl crying into the camera's P.O.V. It is the President's Bell and Howard Zoomatic, and although a fine photographic instrument it provides a somewhat grainy resolution. Her tiny, nine-year-old body is drowning in a white gown and an oversized platinum blonde wig as she is dressed like a kiddy-porn Marilyn Monroe. The handle-held cinematography is nauseating at times as the beautiful little girl dances like an adult.

"Sing," a voice off camera coaches her. "Sing for daddy." Her eyes are black waterfalls of mascara and her tiny nose drips down onto her her red smeared lips as she sings. "Happy birthday, Mr. President."

"The gun, baby." He whispers. The camera focus is disturbed and the sound of Mr. White's pants unzipping becomes quite clear, although it's hard to tell now if it's on the projection or in the room this very moment. The sound of her voice struggles to stay in synch with the image.

On the large screen in the President's private library, young Coma fellates the barrel of a shiny chrome revolver, gagging between syllables of Ha-ppy-Bir-day-to… The light from the projection reveals walls of film canisters where books might normally be. The President pinches a cigarette in one hand and his other has disappeared into the expensive cloth of his pants.

Through a crack in the door Mrs. White watches jealousy. Her reddened eyes seem more inclined to violence then self-pity though. This seems to be a scene she has stumbled upon in one form or another for the last time.

She turns away from the library and desperately searches her reflection in the halfway mirror for wrinkles or flaws. The 'mirror' is actually a video monitor in a frame that provides one with a more accurate assessment of one's looks, particularly on TV where it matters most. Mrs. White is no longer the fairest of them all. She grabs the phone sitting on the small stand beneath the TV monitor. "I need Child Safety here now! Do you hear me?"

The voice on the other line responds calmly, "Mrs. White with all do respect, we've been through this several times before. The President has sole authority over Coma and–"

She throws the phone against the wall and and runs to her room. Halfway down the hall she twists her ankle and splinters one of her high heels. This only makes her more determined.

In the Presidential suite there are separate beds on either side of the room. On the wall between them hangs a pristine lithograph of the same Family portrait Adam has hanging in his trailer. Mrs. White nervously reaches into her night stand. There is a Bible amidst thousands of pills resting peacefully in thin orange child-proof cylindrical coffins. She considers how sweet it must be to be as a pill, to live in such empty solitude. Sleeping softly, waiting one day to be swallowed and then digested in burning stomach acids eating you away into nothing.

She reaches for the bible instead, after all it is meant to answer any question and to solve any problem. She pulls it open and inside it is merely a hollow case containing a large black revolver. This is not a ritual handgun. This is simply used for killing.

She picks it up with both hands and sits on the edge of her bed crying.

•

Coma's bandaged arm reaches to rewind the reel of Adam's song once again. ADAM. She reads the name. This makes him real to her. The music is crude but makes her feel not so alone. If there were scientists to provide a logical explanation, they might say it contained the 'golden means' through with the human brain is satisfied, creating a feeling of completeness. To Coma it just sounded like someone who might be able to see this world like she did. It drowns out the "Happy Birthday, Coma!" chants from outside her window.

Her door is suddenly kicked in with half-assed drunken force and the President leans against the frame for support. He leers at Coma incoherently with a birthday cake in one hand. The candles make ugly shadows across his face. Coma tries to hide Adam's box and the music but her nightgown just comes open in the process. "What's that playing? That's not my song…" He loses his frame of thought for a moment staring at her pale exposed belly and thighs. "Are you too big to love daddy, now? You're all grown up my little princesss…let me see."

He stumbles toward her and with his free hand begins to grope her breasts. She resists, for what seems like the first time, and rips open his silk shirt. What she sees beneath is more disgusting than his pathetic molestation. His almost translucent skin is varicose and wrinkled. On his shoulders and chest he wears prosthetic pads that are snapped onto his skin with tiny stainless steel fasteners to augment his youthful, healthy shape. The material his fake muscles are made of looks wet and gelatinous like raw chicken meat. He is too drunk to be embarrassed, so he tears away the rest of his clothes stumbling toward her with some sort of elastic garter that holds his veiny erection upright. The cake with her face painted on it, smears down his leg onto the floor.

"Daddy, loves you. You know that's why we have to do this."

As he reaces for her arm, she pulls away and grabs a six inch tall marble statue of her father from her desk. With all her strength and eighteen years of resentment she smashes his across the forehead with it, breaking the statue and splitting open a large horizontal gash above his brow. He falls, bleeding and covered in cake. The gaping wound seems to frown above his closed eyes. She drops the statue, even though she knows he's still alive.

•

In the hallway to Coma's bedroom Mrs. White walks slowly and decisively choking back her tears with one manicured hand, carrying the black pistol in the other. When she pokes open the door with the barrel of the gun, she sees her husband sobbing pathetically. He is clutching Coma's torn nightgown and his atrophied torso is covered in his own drying brown blood. The white sheets of her bed have caught fire from the spilled candles and the bed has begun to burn behind him. The bedroom draperies flutter from an open window. Coma is gone.

It's quite obvious to Mrs. White what has happened as she enters the room. She grabs the gun with both shaky hands and points it at her husband.

"Who's going to get it up for you now?" She shrieks, looking at his still hard phallus, pinched off with a strap like a tourniquet. It twitches grotesquely in time with the short burst of blood that pulse from his head wound. "Don't come crawling to me. I married a goddamn star! Look at you now. You're just a shell. I wasted myself on you."

"Go ahead and shoot me," he taunts her, still sobbing. "I want you to. Then where would you be?" His crying is now a disgusted laughter. "You'd be nothing. You're old and worn out. You're ugly and it makes me feel dead just being near you. So do it!"

She is shaking more now and her strand of confidence is snapping. She starts crying weakly and he laughs at her, wiping the blood and tears out of his eyes.

"You're nothing, now you'll be less than nothing. Back to the ghetto for poor trash like you."

She stops the sound coming from her mouth abruptly with this realization. She opens her chapped, red lips into the shape of an 'o' and sticks the barrel in her mouth.

"You'll be worthless in hell too."

She pulls the trigger and fires. Her head explodes onto the perfect white walls. If the President had a frame of reference he would consider her blood splatter to be completely artless even by Jackson Pollack's standards.

Westmoreland and a few other secret service men arrive shortly after the gunfire. He seems more panicked than usual considering he has a neurotic personality to begin with. Valentine has accused him of being a homosexual but likes keeping him in charge because he's easy to push around. Today is no exception. When Valentine arrives seconds later, he shoves Westmoreland out of the way and start ascertaining the situation.

Valentine and Westmoreland ignore the fire and Mrs. White's corpse–the other mindless suits handle that–and they go directly to Coma's desk. Adam's reel is still spinning, although the tape has run out. Valentine notices the face on the box but doesn't bother to fill in his questionably gay counterpart out of sheer disrespect and possible plans for manipulation that could always arise for his own benefit. He stops the tape and puts it back in the box.

"What's the story here?" Westmoreland asks. He's not exactly stupid but not nearly as attentive as Valentine.

"Looks like daddy's little girl is taking this rebellion bullshit a little too far. How the fuck did she get this?" He shoves it in Westmoreland's face. "That's your job–security, you idiot. We don't need people hearing this. We give them one song. One leader. One path–Obey and consume."

Westmoreland looks over at the faceless body and the smoldering bed. "Well, what do we do about her?"

"Simple. Rebellious punk. Listening to some–what is this shit–some teenage music. She gets all fucked up over it." he's exaggeration, almost performing as he says this. "Kills mommy and runs away. Perfect. Classic even."

"I'll find this one." Westmoreland says, grabbing the tape. "Let me keep this for now." Valentine doesn't give it up. "Go do whatever you do."

Valentine walks over to the President and cleans him up like a baby with one of Coma's pink monogrammed towels. "Listen, your rating's always go up during a punk panic. Play the grieving widower. Grief is good, they love grief." He gives the President a pill. "Leave this to me. I'll get you a new daughter, the co-star you deserve."

"A pretty one?" he asks childishly.

The next day Mrs. White's funeral is held on a renovated motion picture lot still equipped with essential sound and lighting effects required for such a tragedy-inspiring media drama. This place is called the Holy Wood Memorial Cemetery and everyone is in attendance. The President wears his best mask of grief–Academy Award winning, in fact. He even adds a drop of glycerin to his eye before his eulogy. The best make-up artists available concealed his gash perfectly but a few more hours in the sun and it will get as the Gaelic say "Kennedy," which means, of course, ugly or wounded head.

Valentine cues, Infanta, the President's new daughter and she gives her best 9 year old salute as Mrs. White's coffin is lowered into an ersatz earth soundstage. After the ceremony, Valentine approaches the President.

Grief, everyone. Despair. Flash.

"We're going to need him to really take care of this little Coma situation." Valentine says matter-of-factly.

"Boniface?"

Valentine nods.

"He's such a fucking zealot. Do we have to resort to that?"

"That's just it. Religion is the best way to make people hate. And hate is what we need." Valentine makes sure no one is looking and grins, patting the President on the back. "Hate sells."

#writing #Marilyn Manson #Holy Wood #MarilynManson.com #unreleased #novel

[smugbugunderarug]

#sonic the hedgehog #sonic satam #sally acorn #bunnie rabbot #tails the fox #rotor walrus #uncle chuck #antoine depardieu #freedom fighters #snively robotnik #sea3on #robotropolis #crush 40 #johnny gioeli #trailer is here kiddies B) #4/24/2022

[demigodofhoolemere]

So I’d been bothered by the very end of the trailer because it’s very unlike MCU Loki and kind of creeped me out, though I had made myself feel better with theorizing that it’s an alternate reality version of him, which would be supported by what seems to be confirmation of multiple variations of him appearing in the series. Now? Now I am laughing my butt off because this is definitely an alternate iteration and I cannot wait for the context.

Someone in another post pointed out the throne in the back of this shot with the ‘L’ above it:

And I’m thinking, that definitely belongs to the suited Loki at the end of the trailer because the torn down red-and-white setting is the same.

Then. Then my sister points out the candy canes.

My first thought is jokingly that Suited Loki took over a Mall Santa throne. But then I started really looking at the other shots and it stopped being a joke.

Here we see some more torn down mall backdrop, complete with flickering lights. The goons around him seem to have scavenged the mall for their stuff; in this pic one guy has cutlery on his helmet, another looks like he took sunglasses from a kiosk.

This next shot, where do I even begin? There’s a guy with stolen license plates for armor. There are chairs and couches that 100% came from a mall catalogue; directly behind him is a chair with a foot rest next to it that he probably just rose from. There’s canned food on a tray by the couch. There’s an arcade game to the left. Behind them is some structure going up at a slant that seems to be an escalator railing (edit: it may be part of a bowling alley). On the far left and right of the screen are old lit up signs that look like they were a part of store fronts (the ‘B’ behind the arcade game, with the rest of it obscured, and the stars to the right above the couch). In the foreground is a big trash can and some bowling pins to the right of it (edit: actually the “trash can” seems to be a kiddie pool which is even better). Loki himself has tatters in his suit like he found it that way in a wrecked clothing aisle.

Here, a couple of the weapons raised to him are definitely from a hardware store; I see a gardening tool and a saw.

And where did they happen to film that one time we got set pics? Outside a mall, as also seen in a brief trailer snippet.

And oh look, it seems like a disaster happened.

A disaster caused by an alternate Loki? Or one that he simply took advantage of to... make himself king of an abandoned mall, for some reason?

There are other bits that are clearly taking place in stores (like Loki in a fight with someone in an aisle, and some guy with plants, who I’m wondering if he somehow accelerates their growth which would account for what looks like vines and stuff over-growing throughout various shots), though those are beside the point of Mall King Loki. I have no clue what’s going on but I’m now pretty positive this is an alternate version of him who’s taken over a mall for whatever reason and that is so so much funnier than the uncomfortableness that I thought this was. I so want to be right and I so want our Loki to see this and be utterly baffled.

#and if it’s not alternate then he’s playing a part which could also still be wild #marvel #marvel streaming #loki series #spoilers #marvel spoilers #loki spoilers #mall king loki #my tag for this insanity until further notice #and probably still forever and ever after that if i'm right #i really hope this post doesn't age poorly for me like my oldest ragnarok posts did

[twiststreet]

Hobbes & Shaw (2019): not great, but not as bad as I was expecting.  Acceptable-enough beer movie to see with friends.  I will never not be delighted that a franchise this ridiculous grew out of a minor B-movie about LA street racers.  However many years later, and it’s a movie about international spies (and whatever the Rock’s job is ... ???) fighting Black Superman, whose superpower is having a neat Airwolf motorbike, and The Rock is yelling about “Traffic on the intellectual dark web” or something.  (Joe Rogan’s podcast, up to no good).  It’s fun to me how things have devo-d to reach this point...

Or this movie keyed in that the only thing you really need to be a Fast & Furious movie is a scene where somebody pushes a button, and then the camera zooms at an engine and it’s like “oooh, nitrogen-- the gas of speed” or whatever... You put a scene like that in a gritty British drama about Gary Oldman being an abusive dad, and wallah, that Gary Oldman movie is fast as well as furious now!  (Those poor kids...)

I definitely don’t think whoever directed the last Fast & Furious movie understood the franchise-- they really misjudged things there.  Here, I guess that they figured out that all they really needed was just to have the Rock and Jason Statham just say ridiculous things to each other, and if the rest of the movie propped that up, they’d have a movie on their hands.    And I guess I was okay with that.  The action I couldn’t really get into though just because like... They made Mission Impossible: Fallout...?  This is just a little kiddie movie in comparison.  None of the action really sticks in the memory much, and some of it got pretty tiresome to sit through (it’s a little long for a movie where there’s nothing at stake, or no weight to anything, whatsoever), but I liked when it was the Rock and Jason Statham just talking shit on a plane or whatever... I like the White Men Can’t Jump of it all.

I mean, they didn’t have Justin Lin in there-- they had some other guy, and like, Justin Lin was the real poet of the franchise, I guess.  But.  You can tell nobody after him really cares as much, or certainly they haven’t hired anyone since who has his talent for action. Or in my memory of Lin anyways (been a while since he made a movie!), Lin knew how to be ridiculous and keep things fun, while still feeling like he was taking it maybe unusually seriously...?  They’ve lost that.  Or like, I think they were influenced by Michael Bay but just the comedy parts of the Transformers movies...?  Which.  Okay.  I guess.  That’s a choice.    

This one was about how family’s important!  

I liked the trailer for the new Chris Nolan movie-- I liked how it felt like an ad for a Hideo Kojima game; but was hoping it’d be a little longer than just a minute... 

#movies i saw in 2019

[stone-man-warrior]

November 27, 2020: 6:37 pm:

Here are some ramblings from my suspended Twitter account I wrote today. I write in the text box, cannot send the Tweet, the account is suspended, yet, there is daily feedback that comes as a result of what I wrote in a suspended account and, I write lengthy explanations of terror, way more than could be sent if the account was active.

My assessment of that is, that Twitter terror cell operatives don‘t need to actually send a Tweet in order to reach Twitter Command HQ. They can just open any text box, and begin to say what is going on where they are at.

(just raw this time, I am not going to correct the spelling or do any work that makes it easy to read like I usually do, so, here you go, raw Twitter rambling the way it was written, and, the way it copies to Tumblr without any adjustments.

=========================================

Or, we count the number of eggs the Easter Bunny hid at the 2007-2008 WH Easter Egg Role. That would work better than anything associated with vote counting. In other, local news: I went for a short walk a few minutes ago. Shit happens fast, so, details are sketchy at best, but, all signs point to not one, but two African Lions outside right now. One was in the creek in my yard, popped the head of someone hiding there, the other went into the garage at 445 Bell terror cell, and dragged someone out of there, to between the cars parked in the driveway. I observed from a safe distance. I was reminded that while in Boston, you don't park the car, you have to "pawk the caw" then, you don't go to the convenience store, you go to the Package Store... "The Packy" where you Pawk the Caw at the Packy to go get a bagel and a drink of wataw, fow a quataw. Then I returned to my house. no matter how often they bring those African Lions, it's always weird. I just cannot seem to get used to the idea that there will be an African Lion in the yard at least some of the time. I've never been to Boston. I hear it's nice there this time of year. Three Dee Communication at Monroe terror cell included: "Standing Dead", a statement made with a few dead manzanita trees that have been laying down horizontally for many months, were propped up, standing, at a place where I would have no problem seeing the "standing dead" terror comm. "Window sill & cripples at their post" was presented with a window sill and some cripples at a post, leaning, old, the house they are part of, nowhere to be found. There has been a telescope and a dining table style chair at that place where the standing dead statement was made, for quite awhile at the Monroe's. It's a real nice telescope too, is just sitting out in the weather on a tripod, usualy is pointed as if to look east, sometimes to the ground, sometimes toward the sky. It got turned around the other day, is pointing at my front door now, with the chair right there. For about three years, there was red Volkswagen Beatle parked there where the telescope is at now. The day the Volskswagen was taken away,is the day the telescope and tripod was put there. It's been about six weeks I supppose that the very nice looking telescope has been out in the weather near the fence at the Monroe's terror cell. I have yet to see anyone there using the telescope, it's there for reasons that are not clear to me. It changes direction, and altitude of view regularly, but only very small adjustments to the telescope view have been done until the thing turned completely around towards my front door a few days ago. That Volskwagen Beatle that was there had cameras inside and was a place where the Monroe terror cell could see that I was walking to the mailbox or just taking a walk, or was in my car to go to the store, so, the Beatle Cam was replaced with a telescope on the same day. That Monroe Surveillance Offensive Travel Trailer is still there, just moved from one place to another, is outside and in the weather now, it was partially beneath the pole barn. It's modern 40 foot long travel trailer that was put there by Walmart terror members that I recognised as Walmart terror cell members, about three years ago. It still is there, with a better view to my yard than before it was moved, has a reverse back-up cam on the roof pointed toward my yard and more window angle to my yard than before it was moved is also a result of moving over just about 30 feet for no appearant reason than to obtain a better view of my yard. Three airplanes buzzed my house today too, low and slow over head. When the people came to take that red Volkswagen away, it looked to me as a undercover police team of two people. One was a blonde woman. They also looked to have been set-up to go there to me. The clothes worn by the two who came for the Beatle, were matched by Sandy and Deb Monroe, so there were five people, three Monroes, two other people, and the Monroe's were mimicking the other two strangers. Jeff Monroe was there, he was very loud, and I never heard Jeff Monroe be loud before that day. I tried to warn the strangers, that they were at a place where federal agents are lured to and killed regularly, and that if they did not get out of there, the Monroe's will kill them and eat them. The two strangers heard what I said, and the is when Jeff Monroe started getting very loud with his speach. I stayed on my driveway, about 50 feet away from them, but spoke loud enough that the strangers could here me. I think they were federal agents lured to Monroe's by Local authorties. Moments before the two showed up, Deb Monroe ran to that red Beatle, opened the door, she had a hefty trash bag, and she went in there rummaging around with the doors of the car all closed. That was the last time I can say for sure that I saw Jeff Monroe. There has been one other time that someone who looked like Jeff was using a chain saw to cut some shrubs, but I'm not certain if that was him. I stay clear of people with running chainsaws around here. Fingernail Clipper Chain saw attack defense: Take out your fingernail clipper, as the chainsaw assassin approaches, he will lift it, revealing the soft white underbelly of the chainsaw beast. Carefully put your fingernail clipper into the chain blade perpendicularly as close to the motor housing as is possible. Hold on to the fingernail clipper. Apply pressure towards the chainsaw bar. The blade of the saw will stop turning when the clipper comes in contact with the motor housing, that is the time that you use your other fingernail clipper to defend against the chainsaw assassin.

========================

(someone at Centurylink ISP is continuously turning off my number pad on my computer keyboard. I have to keep pushing the button to turn it back on whenever I need to use a numeral. “Num Lk” button)

6:50 pm.

==================================

8:54: More rambling from my suspended Twitter account:

(this requires that you understand three different explosions that blew up buildings in Oregon, two times when the JoCo Sheriff Office exploded, and once when the OHSU hospital exploded)

I was saying about the Hans Carlson Bomb at the OHSU where the plunger was at the Wharf Campus and the roof exploded at the main campus, with the plunger that was put for random blow at the kiddie play area in the lobby at the Wharf. "Impromptu Remote Broadcast"

Imp + romper room + pt + u

Power take up

power take cup

runneth over.

Pacific Power style, they were there.

Same ingredients as the JoCo sheriff office when that blew up, twice, from Walmart remote broadcast at the automotive service department garage across the street from the sheriff office on F street.

Micheal Moore of Supersize Me was there both times the sheriff office blew up. Nathan Phillips was there both times. He used to live at 520 Jackpine next to my house.

Also is next to Myers at 560.

The exact same thing happened both times, I needed some transmission fluid, but the fluid is specific, the containers are not always clear about what vehicle the fluid works in, especially for older Dodge trucks, the containers of transmission fluid are not labelled such that you have confidence in choosing one over another, so, you have to ask the people at the front counter to look at their service information, but they direct you to the mechanic in the service area where the cars get worked on. So you go through the door to the garage there, and that is when you see that Micheal Moore wants to go in while you are going out, so, you hold the door open for Micheal Moore, then go into the service area, where there is a man with a back back talking to the same mechanic that you need to talk to about transmission fluid, then, across the street, the sheriff office blows up, every time you ask for transmission fluid specifications. "Impromptu Remote Broadcast"

Imp + romper room + pt + u

A PTO is a "Power Take Off", usually found on a garden veriety farm tractor for running implements on the tractor.

PT.

The U, is the O, with the top blown off of it.

Imp + Romper Room + Power Take Off with the Top Blown Off = Impromptu for the remote random broadcast when shit blows up.

Assholes. SAG are assholes. Micheal Moore

Might kill more

M Gilmore

M Gilmour

Da V'd Gilmour

upside down M = W = VV = V'd

David Gilmour

Top of the Pyramid.

Starring Gil Gilbertson as Sheriff.

Gil + Gil = more Gil = More kill = kill more = Gilmour

... bertson = hurtson [blow the bottom off of the b structure, make h, need 'c for' that, high C, Pope] = hertz donut's (the Police "Sting" "... a humiliating kick in the crotch...") ( Homer Simpson [holmes]: "Doe!")

That is "Text" style terror comm from the Vatican Choir.

Gilmour Hurts Donuts = Gilmour: Hurt's, Don't it?"

Top of the Pyramid is the top of the Pope's Pointy Hat. You need a special funnel to fill your transmission fluid reservoir with very specific grade of fluid, all of which is Synthetic.

Moog Music is a employee owned operation.

======

I suspect gears that don't mesh were present at the Vatican, so, the pinion gear exploded the planetary gear at the sheriff office, twice. Or vice-verse, or both. Along the Interstate 5 Freeway, from Shasta County and north of there, to Douglass County and South of there, is called "God's County". Some call it "The State of Jefferson", mostly those people are from Ashland Oregon (exit 19 = Cross it 19 = X 19 = 1019 = 119 because the 0 is silent), and from PBS Public Broadcasting Service. 119 is a Blues number, you play the turnaround and start over at the twelfth bar = 911 Emergency at Ashland all of the time. It's a Random Broadcast, nation wide.

8:59 pm.

====================================

10:19 pm:

Do math:

CBS knows, is watching, telling others of the reveal.

JoCo Sheriff was designed with a roof line based on the B-1 Bomber.

https://www.youtube.com/watch?v=47YAcpCa5dM

Josephine County Sheriff Office before the building exploded, this from Google map’s current layout of the town shows the Sheriff’s office as it looked from the air prior to both explosions:

B-1 Bomber design features put there at the Sheriff Office for the purpose of finding an Easter Egg to stop Vatican terror. Designed by yours truly while held captive, 1998-2002 ish. Many designs, but no one will look for the Easter Eggs that were put there for them.

The Sheriff Office does not look like that any more. It has changed a number of times, and now incorporates a attached jail that is also used for terror operations, is maintained and staffed by SAG actors in Deputy Jailer uniforms. Very dangerous place for everyone. Many hidden traps, snares, other dangers are there, it’s a killing field.

[allisonswrittenwords]

Or, “hey, look what my dad lets me do for his company!”

Previously, On Allison’s Written Words…

The booming home video market meant lots of smaller companies vying for those video store rental (and purchasing) dollars by releasing content through their own companies.  Major studios had major movies, and smaller companies released special interest and B-grade films (or worse).  However, those smaller companies had one thing over the major studios – their own children/family sub-labels.  During the mid-1980s, Children’s Video Library and Hi-Tops Video competed for the interests of kids who liked films and shows featuring their favorite licensed characters.  Both companies also had a hand in releasing “instructional” and “informative” videos.

Heck, they even shared a likable teen actor for those purposes.

Those companies, for a few years, were successful in their missions, but off in the corner, waiting to strike with its own content, was a company known for B-grade and soft core films…and its own children’s label.

The label even came with a child spokesperson of its very own.  If he was likable…well, that’s debatable.

From Soft Core To “Just For Kids!”

Businessman Noel C. Bloom founded several home video distribution companies during the course of the booming 1980s home video market.  Some of them are likely familiar to you – Artisan Home Entertainment (starting as U.S.A. Home Video in 1983, then International Video Entertainment in 1985, then LIVE Entertainment beginning in 1988), Family Home Entertainment (1980-2005), and Celebrity Home Entertainment. Celebrity had soft core adult films in its catalog, which was nothing compared to Bloom’s Caballero

It was this company through which a sub-label was created to distribute children’s films, both of the obscure and well-known kind.  You could say that Family Home Entertainment had the children’s market covered, but this was a market saturated with competition.  And besides, Celebrity was good for distributing obscure content, so there was a need for a children’s company to do the same.

Enter Just For Kids!

“The Name To Remember In Children’s Entertainment!”

Celebrity’s Just for Kids label was established in 1985, and distributed children’s programs and films, many of obscure nature, some international movies (including the Gamera movies, and many European and Japanese cartoons), and some very well-known content at the time, including Bravestarr, GI Joe: The Movie, COPS, and Filmation’s Ghostbusters.  the animated series capitalized on the live action show from the 1970s, which has nothing to do with the 1980s films and cartoons that are more commonly known and embraced.

Related: List of content released through Celebrity’s Just For Kids (it is a lengthy list!)

The “Just For Kids” videos were book-ended with segments featured Noel Bloom Jr., the son of Noel Bloom.  Beginning about 1987 or 1988, Little Noel (and his braces) introduced the video and reminded kids about how to adjust the tracking on their VCR for the best picture quality, and to stick around for the end of the program, so you – yes you – could find out how to receive a free “Just For Kids” videocassette!

Be jealous kids.  His dad owned a company made him the spokesperson for it before he was in his teens.  What were you doing at eleven years old?

But before all of that (including braces), there was…

Upload via EncoreEnterprisesLLC

This, my friends, is everything 1980s.  The furniture, the television, the clothes, the hair.  I remember watching this video during the earliest days of YouTube (about 2007), and was just…wow.  I was into nostalgia at that time, but it took years to fully appreciate what made certain aspects of it super special.

Everything about this is just top notch cheese, my friends.  Right down to the bang up acting.  I had no clue that the starting of a home video in the family VCR could have a tractor beam-type effect, but the 1980s were a different time.

This was about 1987-1988, and by 1989, the introductions with Noel started.  I’d say these probably went through 1990, 1991 at the absolute latest.  Content was released by Celebrity through the early 2000s, but the Noel Jr. intros seemed to stop by 1991 itself.

Marvel in the collected works of Noel Bloom Jr.!

Upload via cringevision

All of his girlfriends love Maxie’s World.  Remember that, kids.

I will say though, seeing this clip and him talking about The Noozles brought back memories of watching the show on Nickelodeon in the 1980s and 1990s.  Pinky was super annoying!

Hey Kids, Want A Free Video?

Well, yeah.  Who doesn’t like free stuff?

Noel’s promises of a free Just For Kids video could be yours, if you send in the Proof of Purchase from six of their videos.  From what I’ve gathered over the years, that “free video” is really a sampler of trailers for different Just For Kids releases.  So if you were figuring on getting a copy of GI Joe: The Movie, and bought a bunch of Gamera and Maxie’s World videos just to bask in the glory of a freebie…you would be very disappointed.

Image: Anime Hell

Admit it, you really want something with animated Little Noel on the cover.

But hey, here’s the address.

Because I wouldn’t be doing my best job ever without researching this PO Box, I Googled it.  Nothing comes up.  At all.  I mean, something about the UPS Store in Woodland Hills, California as a way to get a secure private mailbox comes up, but that’s pretty much it.

The videos were usually dubbed in EP, sold at budget prices, and were usually selected episodes of television shows, as well as compilation films of episodes.  Television series never saw completed releases.

Noel really should have taken up a complaint with his dad about that.  Kids don’t like to be left hanging.  Heck, his girlfriends (all of them!) don’t want to be disappointed!

Did “Just For Kids” Actually End?

Well, not really.  The parent company for Just For Kids, Celebrity Home Entertainment, filed for bankruptcy protection in 1991, but it didn’t officially close down until 2001.  To say that the Noel introductions pretty much went away by that time is accurate – Noel would have been 13-14 by that time, so I’m sure he wasn’t talking about Beverly Hills Teens and Maxie’s World and drawing in his “friends” with a opening logo tractor beam by then.

Celebrity Home Entertainment closed down for good in 2001, and Noel Bloom Sr.’s other companies – Artisan Home Entertainment (and its previous incarnations, as well as Family Home Entertainment), are all owned by Lionsgate as of 2003.  His company Caballero Home Video still operates today (and has since 1974, one of the oldest pornographic film studios still operating.  Another label, Monterey Entertainment (established in 1979, the second sub-label of his company) is now under the ownership of BayView Entertainment as of 2019.  This company originally was a home video distributor, but these days, has expanded into independent theatrical distribution, film festivals, and other venues including television, digital delivery and home entertainment markets

As for Noel Bloom Jr. played basketball, and coached a high school team in California, though there isn’t muuch to be found for him.  We’ll wish him well – he probably was a nice kid that was lucky enough to promote kiddie videos. Who wouldn’t want to be able to do that?

But Wait, There’s More!

I’ve tried (in vain) to find the full video of the Sampler Collection (60 minutes of glory!), but alas, it is no longer on YouTube.  However, this little collection of clips is basically that, but without the funny in between segments of 10-year-old Noel in a Lakers uniform.

Upload via Jangobadass

As for this video, this is from 1990 and clearly features an older version of Noel, trying to do his best British accent.

Upload via treadman28

*facepalm*

And Now, You!

Did you ever watch/rent/own a “Just For Kids” video?  Do you remember Little Noel and his braces, introducing the company’s offerings?  Or do you just remember that gloriously cheesy segment that was clearly filmed in a 1980s living room?

So, in the course of my research, I realized I would be remiss if I left our Family Home Entertainment – this was the OG of children’s home video companies.  And since it has an oh-so-special connection to Just for Kids, it will be next week’s heavily-researched article.

Exciting, right?

Until then, have a great day, and, um…bow before your Dark Underlord of Quality Children’s Entertainment!

"Hey, Look What Celebrity's Doing Just For Kids!" - The story of yet another children's home video company, in a sea of budget sub-labels in the 1980s! Or, "hey, look what my dad lets me do for his company!"

#1980s #Celebrity Home Video #Home Video companies #Just for Kids #Noel Bloom Jr.

[papermoonloveslucy]

Lucy's College Reunion

S2;E11 ~ December 16, 1963

Synopsis

When Lucy attends her college reunion, she and Viv get involved with the old college tradition of stealing the founder's statue from the bell tower. It all good fun until she learns her antics may get some students expelled and her own daughter barred from ever enrolling!  

Regular Cast

Lucille Ball (Lucy Carmichael), Vivian Vance (Vivian Bagley), Ralph Hart (Sherman Bagley), Candy Moore (Chris Carmichael)

Gale Gordon (Theodore J. Mooney) and Jimmy Garrett (Jerry Carmichael) do not appear in this episode.

Guest Cast

Roland Winters (Dean Bennett) was the sixth actor to play Charlie Chan and was the third non-Asian to play the role. He made his Broadway debut at age 20, eventually appearing in six shows, including the ill-fated musical Minnie's Boys (1970). His screen debut was an uncredited role - a newspaper reporter at Trenton Town Hall in the landmark film Citizen Kane (1941). In 1966, he acted in the play John Loves Mary at the Paper Mill Playhouse in Millburn, NJ. He died at the Actors' Home in Englewood, NJ in 1986.  

Lyle Talbot (Howard Wilcox) was a ‘B’ movie actor who made several films for Ed Wood, including what is considered one of the worst films ever, Plan 9 from Outer Space (1959). This is the second of his two appearances on the series, having previously played Mr. Sanford in “Kiddie Parties Inc.” (S2;E2). He returns for two episodes of “Here’s Lucy.”

The character was named for a college friend of writer Madelyn Martin. As a child, Lucille Ball once lived at Wilcox Apartments in Jamestown.

Carole Cook (Betty Jo Hansen) usually plays the role of Thelma Green, although she will also play Mrs. Valance in three episodes, as well as a variety of other characters. Lucille Ball took Cook as a protégé during the Desilu Playhouse years. Although she was born as Mildred Cook, Ball suggested she take the name Carole, in honor of Lucy’s great friend, Carole Lombard. Cook also went on to appear in five episodes of “Here’s Lucy.”

The character was named for a college friend of writer Madelyn Martin.

Florence MacMichael (1st Woman) was a Broadway performer who was a replacement for the role of Agnes Gooch in Auntie Mame, a role she also did on tour.  The week prior to this episode's initial airing, she appeared as Winnie Kirkwood on “Mr. Ed,” a role she would play until 1965.  

In the reunion scene, MacMichael is the woman who asks Lucy is she still remembers how to play the ukulele.

Dorothy Konrad (2nd Woman aka “Cuddles” Konrad) played Dorothy Boyer in two previous episodes and then will play a variety of other characters in three more episodes.

Norman Leavitt (Art McQuillan) had appeared in three episodes of “The Lucy-Desi Comedy Hour.” He first co-starred with Lucille Ball in 1950’s A Woman of Distinction and 1953’s The Long, Long Trailer. He was first seen in “Lucy is a Kangaroo for a Day” (S1;E7) and will also appear in “Lucy and the Countess Lose Weight” (S3;E21).

Vicky Albright (College Girl, below right) made her screen debut at age two in the film The Snake Pit (1948). She's the daughter of actors Hardie Albright and Arnita Wallace. She left acting in 1966 after playing Charlotte in The Trouble with Angels. She was a professional photographer for many years.

Tina Cole (College Girl, above left) is probably best known as Katie on the long-running series “My Three Sons” (1966-72). Her mother was Yvonne King of the King Sisters singing group who appeared with Desi Arnaz in the 1946 film Cuban Pete. 

Sid Gould (Bass Singer in the Alma Mater) was first seen in “Lucy is a Kangaroo for a Day” (S1;E7). He made 46 appearances on “The Lucy Show,” all as background characters. He also did 40 episodes of “Here’s Lucy.” Gould (born Sydney Greenfader) was Lucille Ball’s cousin by marriage to Gary Morton. Gould was married to Vanda Barra, who also appeared on “The Lucy Show” starting in 1967, as well as on “Here’s Lucy.”

Curiously, the actor who plays Bill Lancet in the reunion scene has a couple of lines but is not given screen credit or listed on IMDB.  

A dozen uncredited middle-aged men and women play the rest of the alumni.  

This episode was filmed on October 3, 1963.

The action is set a fictitious Milroy University, named after Zachary Milroy, its founder. Viv compares him to Leland Stanford, the founder of Stanford University in California. 

His life-size statue, however, more resembles Abraham Lincoln or Ulysses S. Grant. 

Chris says she will be attending Milroy in two years time. When Candy Moore is written off the series (in just one year's time), her absence will be explained by the fact that she went away to college.

For this episode, regular writers Bob Carroll Jr. and Madelyn Martin are joined by newcomer Ted Koch, in his only “Lucy Show” credit. 

Sherman mentions that he and Jerry will be staying at Uncle Ned's while Lucy and Chris attend the reunion. Originally, Viv was not going along, so it is unclear why the boys would need to stay with Uncle Ned.  The off-screen character of Uncle Ned was first mentioned in “Lucy and Her Electric Mattress” (S1;E12).  It was never determined if it is Viv's Uncle or Sherman's.  

Viv says she went to Kansas State, which garners a smattering of applause from the studio audience. In real-life, Vivian Vance was a native Kansan, but went to drama school in New York City. Lucille Ball dropped out of high school to go to New York City and pursue acting work.  

Viv's fear of heights kicks in again. It first came up in the first season episode “Lucy Puts Up a TV Antenna” (S1;E9).

This episode uses matte paintings to depict the Milroy campus and the bell tower with the statue of Zachary Milroy. Matte paintings were first used on the series in “Lucy Puts Up a TV Antenna” (S1;E9) to show the exterior of the Carmichael home.  

Callbacks!

At the reunion, Lucy plays “Has Anybody Seen My Gal?” on the ukulele. The 1920s hit was also heard as part of the Flapper Follies in “Ricky Loses His Voice” (ILL S2;E9) and “Little Ricky Gets Stage Fright” (ILL S6;E4). In both episodes Lucy also played the song on the ukulele.  

Fast Forward!

The statue (with a new paint job) later appeared on “The Andy Griffith Show” episode "The Statue" (1967) where it represented Andy's great-great grandfather Seth Taylor. “The Andy Griffith Show” was also filmed at Desilu Studios.

Blooper Alerts!

Sky Seam! In a medium shot of Viv wrestling with the statue atop the tower, you can clearly see the vertical join in the sky drop.

Diploma Dilemma! This episode has Lucy as a college graduate, but in “Lucy the Babysitter” (S5;E16) Lucy will say she only has two years of business college.  Her education status will be forgotten again in “Lucy Gets Her Diploma” (S6;E5), where she claims to be a high school dropout.  

A McGillicuddy Ain’t Here! Lucy says her maiden name is Taylor, but in “Lucy and John Wayne” (S5;E10) she will say it is McGillicuddy, just as it always was on “I Love Lucy.”  Taylor is also the surname of the young couple who move into the Ricardo’s NYC apartment when they move to the country. 

“Lucy’s College Reunion” rates 4 Paper Hearts out of 5

#Lucy's College Reunion #The Lucy Show #Lucille Ball #Vivian Vance #TV #1963 #CBS #Candy Moore #Ralph Hart #Sid Gould #Dorothy Konrad #Florence MacMichael #Carole Cook #Lyle Talbot #Norman Leavitt #Roland Winters #Vicki Albright #Tina Cole #University #Has Anybody Seen My Gal #Ukulele #The Andy Griffith Show

[nuclearblastuk]

MEMORIAM | SECOND TRACK-BY-TRACK RELEASED

Old school death metallers MEMORIAM are set to unleash their debut album, For The Fallen, on March 24th, 2017 through Nuclear Blast Records. Today, the band have revealed the second track-by-track video in which they talk about the following songs: 3. Reduced To Zero 4. Corrupted System Check it out here: https://www.youtube.com/watch?v=MyIb9Iq-Xvk ICYMI: Track-by-track part 1: https://www.youtube.com/watch?v=w7O6UVVbsUY Trailer #1: https://www.youtube.com/watch?v=RFWqw4L5_sA Trailer #2: https://youtu.be/MkId7obC_WI Trailer #3: https://youtu.be/wmM0FusaU2o Trailer #4: https://youtu.be/oirZe2PxstI Trailer #5: https://www.youtube.com/watch?v=kZjfgaVR9fs 'Reduced To Zero' (track Video): https://www.youtube.com/watch?v=Nmucoieg2Lc 'Surrounded By Death' (lyric Video): https://www.youtube.com/watch?v=cZPcMu0AyHw For The Fallen is also available for pre-order in various formats now: Limited Edition Digipack CD, Vinyl (both inc signed insert, while stocks last): (all inc signed insert, while stocks last): http://nblast.de/MemoriamFTFRS   Frosbite Blue &  Mirage Coloured Vinyl, Mail Order Edition (all inc signed insert, while stocks last): http://nblast.de/MemoriamFTFNBUK Pre-order For The Fallen now digitally and receive 'Reduced To Zero' and 'Surrounded By Death' instantly: http://nblast.de/MemoriamITFTF The album's impressive artwork was created by Dan Seagrave (BENEDICTION, DISMEMBER, HYPOCRISY, SUFFOCATION,...). For The Fallen - Tracklisting: DIGI 01. Memoriam 02. War Rages On 03. Reduced To Zero 04. Corrupted System 05. Flatline 06. Surrounded (By Death) 07. Resistance 08. Last Words LP Side A 01. Memoriam 02. War Rages On 03. Reduced To Zero 04. Corrupted System Side B 01. Flatline 02. Surrounded (By Death) 03. Resistance 04. Last Words MEMORIAM was primarily developed to fill the void that was left following the tragic death of Martin "Kiddie" Kearns, the drummer from BOLT THROWER, back in September 2015. BOLT THROWER subsequently placed all activity on hold for the foreseeable future which gave Karl Willetts an opportunity to develop a new project with friends that had expressed interest in forming a band for some time. MEMORIAM are an old-school death metal band, maintaining the high standards set by their previous bands, focusing on the themes of death, loss and war. Initially the band members got together to play covers of songs that had influenced them throughout their careers within the death metal scene, however it soon became apparent that the new songs that they created were of a superior standard. MEMORIAM are: Karl Willetts - ex-BOLT THROWER | vocals Frank Healy - BENEDICTION, SACRILEGE | bass Andy Whale - ex-BOLT THROWER | drums Scott Fairfax - ex-LIFE DENIED, BENEDICTION (live) | guitars --- More info: www.memoriam.uk.com www.facebook.com/memoriam2016 www.nuclearblast.de/memoriam

#Memoriam #For The Fallen #Nuclear Blast #album release

[destressjournal]

DCOM Rankings #87: Good Luck Charlie, It’s Christmas!

This one took a while to finish, and not for the reason that you think.

To preface, Good Luck Charlie came out as I was just phasing out of my Disney channel days (I think it came out 2010). So I have seen some episodes of the first season and it was tolerable but I didn’t care too much for it, but I know all the characters at least so I didn’t have to spend time learning about them for the movie. Not that I would anyway because that’s just extra work and i think for the rest of these movies I wanna go in blind.

The movie itself I’ve seen some clips of before, especially the part of the movie where Amy and teddy are “caroling” in the streets of Vegas, and I’ll get to that scene in a bit. But yeah if it was on I would watch for a few minutes than turn to something else. But I remember not thinking it was a terrible movie, just “too kiddy” for me.

So what do I think of the movie now about 10 years later?

Honestly, it was really cute! AND it is, as of now, in my opinion, the best christmas DCOM. BUT that isn’t really saying a whole lot considering there are only 2 previous Christmas DCOM’s and they were both pretty bad. T’was the Night is just the worst thing ever and TUCP is just a few steps up from that (again, sorry to those who love that movie). This movie was actually somewhat enjoyable. Does it have its problems? Sure, but they are definitely more minor than the other two.

So let’s just start with the problems shall we? Because that will go quick!

- I guess the whole concept of the show the movie is based on. when the show came out it may have been appealing to a younger audience with siblings that are toddlers or babies that might relate more to its content. This was mentioned in a video that I watched from nerdstalgic, who said that many Disney channel shows have some kind of gimmick on top of the normal sitcom trope, instead of just a normal sitcom with memorable characters. Drake and Josh was able to stand on its own because the main characters are just so enjoyable to watch. In the case of suite life, the boys are cute and funny but not nearly as memorable. It’s pretty much the same case here with GLC. The gimmick is the most unique and memorable thing about the show, but not the characters. To me it is a bit distracting when teddy does her video diaries in the movie, but I guess for the show it’s fine enough. Maybe it’s just a personal preference thing.

- The movie itself, had several cringey scenes. Especially the caroling in the street scene. I thought it was cute 10 years ago but now it’s just baddd. And also, I’ve been to Vegas...it doesn’t look like that. At all. Now I know the movie actually didn’t film in Vegas, everything was filmed in Utah. And probably wouldn’t want Disney channel filming in the actual city because of the colorful characters that pop up. So yeah I guess I understand that piece.

- the pregnancy reveal...I have mixed feelings about it. I think because Charlie was now a toddler instead of a baby, the show felt like it needed another baby. But the show is called good luck Charlie, so it just wasnt gonna work and it was cancelled after the following season anyway. BUT the reveal itself kinda added an extra layer to everything and wasn’t too distracting.

-And lastly there was this whole 3rd act that the boys had to go through some video game simulated paint ball tournament, that honestly, was cool and weird at the same time. At least it was different and unexpected. Maybe not exactly my cup of tea but at least it wasn’t boring to watch so I’ll give it that.

So now to the good things!

- I love stories that the main character has to go through all these trials just to get from point A to point B. like planes trains and automobiles. But a kid friendly version of that. And it was really entertaining to see teddy trying to find new travel modes just to get to Palm Springs. And how every single one just keeps failing yet gets them just a little bit closer.

-the B plot was cute! Not as entertaining as the A plot but once the B plot got to the third act it got a little more exciting at least.

- I love the lessons learned in this movie. Teddy is trying to prove how she can make adult decisions on her own (although the mom probably would have just taken over from the get go if this were MY mom) So she makes every single decision every time there’s a problem, as it continues to get worse and worse until their blow up in Vegas. Then they meet a poor girl who has no money and wants to go back home to her mom, and teddy gives her the extra place ticket because this girl needed it more than she did. Teddy learns that sometimes making adult decisions means sacrificing your needs for others. Not all the time obviously, but occasionally you can’t always get what you want, and that’s just life. I think that’s a great lesson to teach kids that want to be grown up’s but need to realize how hard it really is. Kids, please stay kids forever, you don’t want to be an adult!!

-i love the relationship between the mom and daughter characters. And how at the end when their just riding their bikes through the desert, they aren’t mad anymore and they just say merry Christmas to each other whole heartedly. Like that scene was so sweet. Many Christmas movies really try to do the whole “giving is better than getting” lesson but this is different. Christmas is really about just being with your loved ones, no matter where you are or what your circumstances are. The Garfield Christmas special also gets this right. “It’s not the giving, it’s not the getting, it’s the loving.”

-The actress who plays Amy is hysterical and so good at what she does. Everyone is a good actor in this movie really. But Amy just takes the cake. I think she’s in a few other DCOMs as well so I’m glad I’ll get to see her in other things! The toddler is pretty good too, Mia, I mean, for a toddler I guesss, lol.

I guess that’s it. This was a pretty simple story but it was entertaining and not TOOO weird or cringey except for that one scene. I was very pleasantly surprised by this. But now the question is, what grade do I give it...? I know I’m not giving it an A+, but is it still A range...?

Nah. B+ it is! It’s a high B+ though. Like I said. I may change my mind once I re-do my system but for now that’s where it’s staying!!

Okay this movie was REALLY it. Any movie after this I have never seen, or maybe have seen a trailer or a synopsis for. So buckle in guys, cuz here comes a movie that I am REALLY not excited to review. I know the synopsis and it just looks like a real kiddie movie. Idk we’ll have to see I guess! Look out for that!

[operationrainfall]

At the start of this week, I didn’t expect this to be a very exciting Smashing Saturdays. Sure, it would have the usual fun stuff, but nothing truly game-breaking. But then they announced a Nintendo Direct on Thursday, and boy did it deliver! So this is a special Smashing Saturdays, and it will gloss over the cool stuff revealed in the Direct, as well as having the usual character profiles, stage bios, music and more. So let’s get started with the stuff that happened prior to Thursday’s revelations.

While I’m not great playing as either Samus, I’m quite glad Zero Suit Samus is allowed to share the spotlight with her usual armored self. She’s as deadly as she is sexy, and in the right hands she is a devastating force of nature. Few brawlers are as acrobatic, fast or cruel as ZSS, and though it was cool watching Samus alternate between both versions, I’m glad they’re separate entities now. It was a bit too powerful to have strength and speed in the same package. Having said that, I’m more than ready to get my ass kicked by her in Ultimate.

I know, I know, they told us every stage was in Ultimate, but I’m still a little surprised Living Room made the cut. Not cause I hate it. It’s an adorable little stage, with the puppies and kittens frolicking about. What’s less cute is when I get beaned by falling blocks. Those selfsame objects can make it hard to smash foes off the screen, but I guess it’s not the worst stage. That would be a tie between Pac-Man’s stage and Balloon Fight. I can take adorable animals and blocks over those chaotic stages any day.

I like to make fun of Rosalina on a pretty regular basis. I call her things like Emo Peach and mock her as being a crappy divine entity in the Mario universe. But that’s mostly cover for my respect for how overwhelming of a force she can be in Smash Bros. She plays very distinctly from Peach, and definitely requires a lot of practice to master. But once you get a handle on using the Luma, she’s actually pretty fun. Though I didn’t play her much on my 3DS, lately I’ve had some decent luck using her. So maybe I will actually enjoy using Rosalina and Luma in Ultimate.

HOLY KRAPTRAP!!!

We all learned to respect the Klaptrap in the Jungle Japes stage. There’s few things as irritating as being dragged to a watery grave by the big mouthed Kremling. And now, he’s an Assist Trophy. Though this version won’t drag you to your death, he will chomp the crap out of anyone unlucky enough to get gobbled. Now, let’s move onto a quick recap of the fun stuff from the Direct!

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The Direct started with the reveal that Ken is coming to the game as an Echo of Ryu. Not surprising, also not that exciting. But then they revealed a new playable pokémon in Incineroar. I’m quite excited for the fiery cat luchador. He looks to play completely differently from Greninja, whom I detest playing, and looks utterly fierce. The fact he confidently poses when he damages foes is just beautiful. That wasn’t all, though, as they also confirmed that the roster of the game will be 75, and that we’re getting 5 DLC sets into 2020 with a new character, stage and music. The key thing to remember is that the 75th addition to the roster won’t be available until after Ultimate releases, and that’s a pretty strange character…

I’ve been saying for a while that I expected one more weirdo character in Smash Bros. Ultimate. And frankly, neither Ken nor Incineroar qualifies. But Piranha Plant certainly does! I was initially very confused by the reveal, but I wasn’t upset after seeing PP’s moveset. It looks to be a very tricky and unique fighter, spitting poison, shooting spike balls, lunging out of his pot and even using his leaves to helicopter around. Best of all is watching it crawl around inside his pot like a goofball. It shouldn’t work, but Sakurai is great at turning strange ideas into fascinating and playable concepts. The only downside is that Piranha Plant won’t be available until a couple months after the launch of Ultimate. But, if you register your game, you’ll get Bowser’s minion for absolutely free. Not a bad offer, considering the last time Sakurai tried something similar, we only got Mewtwo. Here’s hoping PP is much more functional and fun to play as.

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Less significant, but still cool, was that the Direct showed off some new Assist Trophies. The likes of Spring Man, one of the heroines from Maiden of Black Water, and even the devious Dr. Wily made the cut. Best of all, they confirmed that there will be 59 Assist Trophies in the game. I haven’t done a count of how many were revealed yet, but that’s still a great diversity of characters.

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Lastly, the Direct touched on the hidden mode that was previously glossed over by Sakurai. It’s none other than the Adventure mode, which is apparently called World of Light. It’s less story driven than Subspace Emissary, but it still looks quite cool. Some (angelic?) force has turned all the characters in the game back into statues, and morphed the other characters from their respective series into Spirits. These Spirits then possess the captured heroes, with one exception. Kirby escapes, and sets out to free his friends and defeat the force that caused so much chaos. As for how the mode plays out, it’s much more combat oriented than what we got in the 3DS and Wii U versions, which I’m happy about. The Spirits seem to replace the Trophies from the other games, though they also have a combat utility. You can equip Primary and Secondary Spirits to your character to empower them and give them various bonuses. When you fight your friends, you’ll need to satisfy special requirements to defeat them, and then try to capture their malevolent Spirit puppeteer. It all sounds fantastic to me, and I feel I’ll spend much more time in this Adventure mode than in previous ones.

A couple more updates before we move onto our Most Wanted Brawler this week. Both are Pokémon related. First, we have a new song from the series coming to Ultimate. It’s none other than Battle! (Wild Pokémon) from Pokémon Sun and Moon. It’s composed by Hiroyuki Kawada. The song is incredibly upbeat and cheerful, so it should make for interesting background noise.

Though I already touched upon Incineroar earlier, I felt we might as well post his awesome trailer! The feline champion hits hard, and uses his iconic moves Darkest Lariat, Cross Chop and Revenge, as well as another unnamed move where he tosses foes into the ropes and pile drives them. For his Final Smash, he activates his Z-Power and takes his foes into the ring with a devastating Max Malicious Moonsault. Though I haven’t had much success with other Pokémon brawlers, I’m going to enjoy learning to master Incineroar.

Now, don’t leave yet! I still have more for you in the form of a new Most Wanted Brawler this week.

Most Wanted Brawler Dixie Kong

I’m sure some thought I would no longer do the Most Wanted Brawler segment now that the 75 player roster has been revealed. But you know what? There’s still 5 unknown DLC characters on the horizon, so hopefully I’ll manage to speculate who one of those will end up being! After all, I kind of predicted K. Rool and Ridley, so anything is possible. And since King K. Rool just made it onto the roster, why not another character from the Donkey Kong series? Though I enjoy both Donkey and Diddy Kong, Dixie is just as important to the series. After all, she headlined a couple of her own games on the SNES.

Dixie is known for her golden locks, so it stands to reason her moveset would be based around them. For her Up B Special, she would hover upwards like a simian helicopter, slashing anybody in her path, then be able to gently hover towards the ground. For her Side B, I could see her grabbing items or characters with her ponytail, then hurl them to shatter on the ground. For her Neutral B, I could see her using her own Popgun to shoot bubblegum, like in Tropical Freeze. And for her Down B, perhaps she could twirl her locks in front of her face, deflecting projectiles. As for her Final Smash, I see it taking a page from Donkey Kong Country 3, and having Dixie team up with Kiddy Kong to put the hurt on foes. He could hurl her like a cannonball, then jump up and smash down on foes’ heads, and finally both Kongs would tag team their opponent into submission. I really think Dixie Kong could make the cut as a DLC character for Ultimate, and hope I’m right. We need more a bit more gender diversity in Smash Bros., and she provides the perfect opportunity.

Thanks as always for joining us today for Smashing Saturdays! We still have a few weeks left before the release of Ultimate, and will probably conclude that week. However there’s still a chance we’ll return to cover the upcoming DLC characters, so stay tuned to oprainfall!

Smashing Saturdays! Week 72: October 29-November 3, 2018 At the start of this week, I didn't expect this to be a very exciting Smashing Saturdays.

#2018 #Battle! song #Incineroar #Klaptrap #Living Room #Nintendo Direct #October 29-November 3 #oprainfall #Rosalina & Luma #Smashing Saturdays #Zero Suit Samus

[missboomissquick]

One of the film critics that I find most useful is, of all people, Leonard Maltin, the bespectacled, avuncular cinema scribe who has made a mint with his ubiquitous Movie Guide. This shallow, moralistic “critic” can always be relied upon to give many of my favorite movies a “BOMB” rating, or better yet, one-and-a-half stars out of four, the former at least raising his outrage to a certain dramatic pitch, the latter being merely dismissive and condescending. While he has given such arguable masterpieces as Salo, Querelle, The Driver’s Seat and Mandingo the BOMB, he reserves his one-and-a-half star designation for films such as Caligula, Star 80, Cruising, That Cold Day in the Park, von Trier’s The Idiots, Scorsese’s New York, New York, The Brown Bunny, The Killing of a Chinese Bookie and Andrzej Żuławski’s Possession. What most of these films have in common is what Maltin would describe as a “sordid” or “demeaning” representation of sexuality or, more accurately, investigations into morally ambiguous territory within the realms of fetish, sexual obsession and transgression. If Maltin gives it *½, you know it has to be good, or at least pretty damned interesting.

Looking for Mr. Goodbar (1977), one of Maltin’s 1.5 star specials, has to be one of the most audacious and fascinating movies of the seventies. Despite (or, more to the point, because of) its Restricted rating, as a teenager I snuck into the movie theater to watch it multiple times, and it rocked my world. It was the first movie poster I put on my bedroom wall (much to my parents’ consternation), spurring my sexual imagination, my budding homosexuality, and my identification with complex, unapologetically sexual female characters in a profound and lasting way. The film has a murky and somewhat mysterious reputation, praised at the time of its release for Diane Keaton’s fearless performance, and doing good box office, but dismissed in some circles (like Maltin’s) as tawdry and exploitative. I eagerly bought it when it was released on VHS, but astonishingly it has never been officially released on DVD or Blu-ray. Some sources attribute this to music rights (the soundtrack is stellar, including classic songs by Donna Summer, Marlene Shaw, Thelma Houston, and many more); others say that Tom Berenger has tried to keep it under wraps (a shame if true, as it’s one of his best performances). Whatever the reason, it’s almost fitting that such a complex and transgressive film has been suppressed.

What strikes me first about rewatching Goodbar (now available on YouTube!) is how practically experimental it is in form and narrative style, especially in comparison to contemporary Hollywood’s slavish capitulation to conventional narrative form and formulaic content. The opening montage of color street shots, including flash-forwards of Keaton in her milieu of porn theaters and seedy bars, is immediately followed by a black-and-white still montage (photos by Kathy Fields, daughter of the film’s producer, Freddie Fields) set to an overture of the soundtrack music, for the opening credit sequence. (Both Goodbar and Cruising, a kind of gay counterpart to Goodbar that came out two years later, had trailers composed of black-and-white still photo montages, something that would be unheard of today.) The director of the film, Richard Brooks, who also adapted the screenplay from Judith Rossner’s pulp novel of the same name, came out of the tradition of classic Hollywood (he directed such seminal films as Cat on a Hot Tin Roof, Elmer Gantry and In Cold Blood), but here he was clearly influenced by the deconstructive and fractured narrative and formal techniques of seventies Hollywood, which was influenced itself by underground and experimental cinema, B-movie chic, and even pornography, a genre that, after the sexual revolution, had a certain forbidden cachet. Goodbar veers between classic technique (rear-screen projection, artificial street sets and lighting – Manhattan as depicted in Goodbar at times almost looks like Kubrick’s studio recreation of it in Eyes Wide Shut) and more modern formal flourishes – location shots, jarring montage, fragmented images, achronological editing, etc. (Brooks’ excessive and highly symbolic use of mirrors in the movie almost gives Altman a run for his money.) The old and new schools of Hollywood clash in Goodbar, with spectacular and disturbing results.

What better actor, then, than Diane Keaton to portray Goodbar‘s main character, Theresa Dunn? (The novel and film are based on the true-life story of Roseann Quinn, a first-grade teacher of deaf children who cruised Manhattan’s dive bars seeking anonymous sexual partners and recreational drugs until she was brutally stabbed to death in her bed in 1973.) Straddling old-school Hollywood glamour as Woody Allen’s main muse and playing Al Pacino’s love interest Kay in The Godfather films (in Goodbar, Theresa reads The Godfather in one of the bars she frequents), Keaton also signified a new kind of female star, independent, liberated, and sexually assertive, wearing men’s clothes and putting her career first in Annie Hall, for example, released the same year as Goodbar. (In several scenes, like the one in which she accidentally drops the phone receiver into the toilet, Keaton actually becomes Annie Hall.) The film is told completely from Theresa’s point of view, showing us her fantasies and desires with dogged subjectivity (Keaton is virtually in every scene in the movie, save for several in which her murderer is introduced).

To say that Goodbar is an obsessive and symbolically overdetermined film would be an understatement: the film compulsively reiterates themes, visual motifs and parallel narratives, a relentless and repetitive reiteration of ideas that lends that film the aspect of a Freudian dream landscape, a baroque, Boschian sequence of fantasies, projections and illusions. (Fantasy sequences often start out as “false narratives,” initially perceived as a progression of the actual narrative, only to be revealed ultimately as merely morbid or sexually transgressive daydreams.) The first third of the film, before Theresa hits the bars in earnest, is slightly more conventional, but still plays with subjective and objective reality. The fractured fantasy motif is introduced when she throws herself in front of a car driven by the self-absorbed college professor who just jilted her (“I can’t stand the company of a woman right after I’ve fucked her,” he says, one of many memorable lines in the film), and then has her breast kissed by the emergency doctor (Brian Dennehy!) who tries to seduce her on the way to the operating table. Theresa gets sexually aroused when she visits her sex-kitten sister, Catherine (a deliciously self-referential Tuesday Weld, garnering her one and only Oscar nomination here) and finds her watching 16mm porn films as part of a swinging foursome. (“You like home movies? Let’s watch the kiddies play,” says Weld’s female companion.) Theresa smokes grass and marvels at the pornographic glass mobile hanging in her sister’s pad. (It later becomes the major symbol of her own pornographic imagination.) She moves into the dingy basement apartment below her sister, and begins practicing sign language in the bathroom mirror, then masturbating with a pillow. Her life begins its ceaseless tide between day and night, light and dark, respectability and licentiousness, morality and immorality: first-grade teacher for the deaf by day, with her hair pulled back and wearing glasses; unbridled, hedonistic adventuress by night, letting her hair down, sans glasses. As her future lover and cokehead gigolo, Tony (Richard Gere), will succinctly put it, “Teacher of little kids cruising crummy bars. Jesus Christ, no wonder this country’s all screwed up!”

But the film is not judgmental of Theresa’s sexual voraciousness and pursuit of altered states or reality. Quite the contrary, it celebrates her libidinous drive and portrays her as happy and content with her life, except on the occasions when it starts to interfere with her day job. This has a lot to do with Keaton’s startling, orgasmic performance. For the only actor who refused to disrobe in the original Broadway production of Hair, Keaton certainly rises to the occasion here. Showing her breasts unselfconsciously, lifting up her skirt to expose her ass after she straddles her professor lover, she gives a performance of rare sexual frankness and sensuality. When the film really kicks in, following Theresa to a variety of smoky, crowded bars, scoring coke and dancing with the multicultural clientele, you get a genuine sense of the character’s carnal exuberance and exhilaration. (Novelist Rossner was reputedly not happy with this sanguine representation of Theresa’s sexual liberation.) All this is set in counterpoint to her strict Irish Catholic family life, with her father (Richard Kiley) constantly judging and berating her, the only part of the movie that tends to fall into cliché. (Her lower back scar from a congenital disease becomes the main symbol of her family’s dysfunction.) The scene in which she is confronted with an imposing nun in the subway sums it up neatly, although it’s not at all clear whether it’s intended as reality or a fantasy projection of her guilt.

In terms of reflecting the era and all of its sociological and cultural underpinnings, Goodbar is a unique document of the post-sixties sexual revolution, reconfigured as a neo-noir. Theresa Dunn, and Keaton’s interpretation of her, is undeniably feminist – living happily on her own, eschewing marriage, monogamy and reproduction (in one scene she tells a doctor to fix it permanently so she will never have kids). But the film also gently lampoons feminism, as per the scene in which Theresa does isometric exercises to increase her bust size (a trend of the era) while watching Women’s Lib protest footage on TV. Theresa’s idea of feminism is much more daring and politically incorrect than the traditional Second Wave: she fantasizes about being a hooker turning tricks on the street early on in the film, and later she is amused when she starts to inadvertently get paid by one-night-stands who mistake her for a prostitute. She makes no judgment when Catherine tells her she’s found a good “safecracker” (abortionist), and she takes full control of her own reproductive destiny to the point of rejecting it altogether. Quinn, the real-life Theresa, was murdered less than 10 years after IUDs and oral contraceptives became popular, which changed the course of female sexuality forever. New York City was also a completely different animal in the seventies, with an estimated 40,000 prostitutes working, three times as many murders as today, and a very high incidence of crack and heroin use. (Quinn’s apartment was only a couple of blocks from the infamous Needle Park, a shooting locale for junkies immortalized in Jerry Schatzberg’s 1972 The Panic in Needle Park, starring Al Pacino.) The scenes in which Theresa smokes grass and snorts cocaine are shot in a hazy, romantic style, capturing the sensuousness and pleasurableness of the drugs that makes them so popular in the first place. In one extraordinary scene, when Theresa is about to try cocaine for the first time, she asks Tony the Gigolo what it does to you. “It makes America beautiful,” he replies.

Although the film is undoubtedly weighed more toward a celebration of female sexuality and hedonism, inevitably Theresa’s pursuit of pure pleasure catches up to her, as it must in all Hollywood movies. However, the film doesn’t particularly moralize about her lifestyle, but rather presents an explanation for the forces that ultimately destroy her: the impotence, sexual repression, and, more to the point, homosexual repression of her male lovers. The film presents three main male figures in Theresa’s life: James (the great William Atherton), the good Catholic boy and welfare worker favored by her father who helps her get a hearing aid for a poor black deaf girl in her class; Tony (early vintage Richard Gere), the coke-fueled American gigolo with a mother complex; and Gary (a very sexualized Tom Berenger), the repressed homosexual hustler who ultimately murders her. Each one is presented as her potential killer, their psychoses developed in parallel narrative threads.

James, acting as a surrogate for her father, represents the ideals of family and normalcy, and yet he is also portrayed as having, like her father, a violent temper (in one scene he tears down her pornographic glass mobile in a rage): an impotent, sexually repressed monster of sorts. In order to get her into bed, he tells her a made-up story about how as a child he witnessed his mother humiliating his father for not being able to get it up, and him beating her for it, which is followed by the extraordinary scene in which Theresa, when she discovers he’s wearing a condom, laughs hysterically and blows it up like a balloon, asking, “Is this supposed to protect you or me?” She humiliates and rejects him for his conventional sexuality, resulting in him becoming her stalker. He finally confronts her with the traditional, moral point of view: “What’s here when you come home? Anything that means anything to you? Family, a dog, a cat? Friends? Do you have one woman friend you can talk to? Last election did you even fucking vote?” James’ reinforcement of the status quo and his likeness to her father repulses her. You can easily imagine that he could kill her for it, especially when she suggests that perhaps he isn’t even really into women sexually at all.

Richard Gere, as the hustler Vietnam war vet Tony, gives one of the most electric performances of the seventies, in the role that probably made him a star. Theresa meets Tony when she witnesses him trying to steal money from a purse on the bar (later Theresa herself starts to shoplift as part of her own rebellion), and subsequently takes him home for a one-nighter. In the scene that blew my mind when I saw the film as a teenager, Gere, wearing nothing but an open blue shirt and white jock strap, chugs from a bottle of champagne and does pushups, his muscular ass clearly visible. Then, clad only in the jock, he does a frenetic dance in the dark with a green fluorescent switchblade, which ends with him mock-stabbing Theresa, one of many foreshadowings in the film of her grisly demise. Later in the film, after Theresa rejects him, he simulates a premature ejaculation with a bottle of beer, symbolizing his sexual shortcomings. “You and my mother: the two biggest cunts in the world,” he tells her, his mother complex also suggesting sexual impotence. In another mind-blowing scene, Catherine rushes into Theresa’s apartment on New Year’s Eve with a masked companion who stabs her with a fake knife. “Your thing is limp,” says her sister, to which the man replies, “Story of my life.” Theresa also accuses another random trick of being queer after he takes her to a gay bar. “Me, queer?” he says. “Jesus, I’m a married man. I have two kids and a very expensive mistress!” All the men in Goodbar are putting up a front of being a prime specimen of heterosexual normalcy, a façade that Theresa sees through like a seer. (In Greek mythology, Theresa is the blind seer who warns Narcissus of his ultimate demise.)

As in the real-life story, Theresa is ultimately murdered by a gay male who is wracked with guilt and in denial about his homosexuality. Whether consciously or not, Tom Berenger plays the sexy murderer as a cross between Rocky in the Rocky Horror Picture Show and Helmut Berger in The Damned. In the scene in which he is bashed by a group of homophobes (that hop out of a hearse!) on New Year’s Eve, he violently careens around in a jock strap, blond wig and feather boa, blaming his sugar daddy for turning him into a faggot. When Theresa picks him up at a bar (she intends him to be her last trick, giving up her wicked ways as a New Year’s resolution), she doesn’t realize that he’s an ex-con with a violent temper, and a self-loathing homosexual. (“In my neighborhood,” he tells her, “if you didn’t fight, you were a fruit. In prison, if you didn’t fight, you spread ass!”) Like Narcissus, Theresa has finally found her Nemesis. (The film is full of double imagery, from the Dorian Grey drawing of herself that appears on her wall, to the constant mirror imagery, to the various dopplegangers that faux-stab her throughout the movie.) This time, when her love object can’t get it up and starts to masturbate furiously, she tells him he doesn’t have to prove anything. The consequences are fatal. “Prove? Prove what? I don’t got to prove nothing to you. You think I’m a flaming faggot!” What follows is one of the most harrowing, dark and disturbing rape/murder scenes ever to appear in a mainstream movie. In his rage, Gary inadvertently knocks over the strobe light that James had given her as a birthday present, turning the horrible act into a lurid, cinematic spectacle. (The symbolism couldn’t be thicker: earlier James had told Theresa he bought her the strobe because it reminded him of her: light and dark, on and off, now I see you, now I don’t.) In a gruesome display of the return of the repressed, he violently rapes her while plunging the phallic knife repeatedly into her chest. No matter how many times I watch the film, this visceral scene moves me to tears. Theresa, who has been portrayed as the strong, intelligent, liberated woman, has her light brutally extinguished by the forces of sexual repression that mangle and destroy the male egos of her lovers. It’s not so much a cautionary tale against female promiscuity and hedonism, but rather one against those who deny their own desires and project their rage and frustration onto the Other.

via Talkhouse //

#looking for mr. goodbar #bruce labruce #diane keaton #film #sexuality

[nuclearblastuk]

MEMORIAM | Lyric video launched for 'Resistance'; Digital single out now

Old school death metallers MEMORIAM are set to unleash their debut album, ‘For The Fallen’, on March 24th 2017 via Nuclear Blast Records.

Today, the band have revealed the lyric video for the song 'Resistance'. Watch the clip here: https://youtu.be/RXgS-JFFRcE

Karl Willetts states: "Memoriam are preparing for battle. As the War Rages On... As the forces strengthen...on the 24th March 2017 let the Resistance begin."

Pre-order »For The Fallen« now digitally and receive  'Resistance', 'Reduced To Zero' and 'Surrounded By Death' instantly or stream these songs:

For The Fallen is also available for pre-order in various formats now: Limited Edition Digipack CD, Vinyl (both inc signed insert, while stocks last): (all inc signed insert, while stocks last): http://nblast.de/MemoriamFTFRS

Frostbite Blue & Clear Vinyl, Mail Order Edition (all inc signed insert, while stocks last): http://nblast.de/MemoriamFTFNBUK

Pre-order For The Fallen now digitally and receive 'Resistance', 'Reduced To Zero' and 'Surrounded By Death' instantly: http://nblast.de/MemoriamITFTF

Check out the track-by-tracks videos:  Track-by-Track #1:  https://www.youtube.com/watch?v=w7O6UVVbsUY Track-by-Track #2: https://www.youtube.com/watch?v=MyIb9Iq-Xvk

The album trailers can be seen here: Trailer #1: https://www.youtube.com/watch?v=RFWqw4L5_sA Trailer #2: https://youtu.be/MkId7obC_WI Trailer #3: https://youtu.be/wmM0FusaU2o Trailer #4: https://www.youtube.com/watch?v=oirZe2PxstI&feature=youtu.be Trailer #5: https://www.youtube.com/watch?v=kZjfgaVR9fs

Also check out the first two singles, taken from the new album: 'Surrounded By Death' (lyric Video): https://www.youtube.com/watch?v=cZPcMu0AyHw 'Reduced To Zero' (track Video): https://www.youtube.com/watch?v=Nmucoieg2Lc

The album's impressive artwork was created by Dan Seagrave (Benediction, Dismember, Hypocrisy, Suffocation...).

‘For The Fallen’ - Tracklisting:

DIGI 01. Memoriam 02. War Rages On 03. Reduced To Zero 04. Corrupted System 05. Flatline 06. Surrounded (By Death) 07. Resistance 08. Last Words LP Side A 01. Memoriam 02. War Rages On 03. Reduced To Zero 04. Corrupted System Side B 01. Flatline 02. Surrounded (By Death) 03. Resistance 04. Last Words

MEMORIAM was primarily developed to fill the void that was left following the tragic death of Martin ‘Kiddie’ Kearns, the drummer from Bolt Thrower, back in September 2015. Bolt Thrower subsequently placed all activity on hold for the foreseeable future which gave Karl Willetts an opportunity to develop a new project with friends that had expressed interest in forming a band for some time. MEMORIAM are an old-school death metal band, maintaining the high standards set by their previous bands, focusing on the themes of death, loss and war. Initially the band members got together to play covers of songs that had influenced them throughout their careers within the death metal scene, however it soon became apparent that the new songs that they created were of a superior standard. MEMORIAM are: Karl Willetts - ex-BOLT THROWER | vocals Frank Healy - BENEDICTION, SACRILEGE | bass Andy Whale - ex-BOLT THROWER | drums Scott Fairfax - ex-LIFE DENIED, BENEDICTION (live) | guitars

 More info: www.memoriam.uk.com www.facebook.com/memoriam2016

#Memoriam #For The Fallen #Nuclear Blast #album release

[nuclearblastuk]

MEMORIAM | THE HELLFIRE DEMOS II OUT NOW FIRST FOR THE FALLEN TRAILER RELEASED

Old school death metallers MEMORIAM’s brand new EP; The Hellfire Demos II is out now. Order the digital version: http://nblast.de/HellfireDemosIT MEMORIAM are set to unleash their debut album, For The Fallen, on March 24th, 2017 through Nuclear Blast Records. Today, the band have revealed the first video trailer in which they talk about founding the band. Watch it here: https://www.youtube.com/watch?v=RFWqw4L5_sA The album's impressive artwork was created by Dan Seagrave (BENEDICTION, DISMEMBER, HYPOCRISY, SUFFOCATION,...). ICYMI: The first single from For The Fallen, 'Reduced To Zero': https://www.youtube.com/watch?v=Nmucoieg2Lc For The Fallen is also available for pre-order in various formats now: Limited Edition Digipack CD, Vinyl (both inc signed insert, while stocks last): (all inc signed insert, while stocks last): http://nblast.de/MemoriamFTFRS   Frosbite Blue &  Mirage Coloured Vinyl, Mail Order Edition (all inc signed insert, while stocks last): http://nblast.de/MemoriamFTFNBUK Pre-order For The Fallen now digitally and receive 'Reduced To Zero' instantly: http://nblast.de/MemoriamITFTF For The Fallen - Tracklisting: DIGI 01. Memoriam 02. War Rages On 03. Reduced To Zero 04. Corrupted System 05. Flatline 06. Surrounded (By Death) 07. Resistance 08. Last Words LP Side A 01. Memoriam 02. War Rages On 03. Reduced To Zero 04. Corrupted System Side B 01. Flatline 02. Surrounded (By Death) 03. Resistance 04. Last Words MEMORIAM was primarily developed to fill the void that was left following the tragic death of Martin "Kiddie" Kearns, the drummer from BOLT THROWER, back in September 2015. BOLT THROWER subsequently placed all activity on hold for the foreseeable future which gave Karl Willetts an opportunity to develop a new project with friends that had expressed interest in forming a band for some time. MEMORIAM are an old-school death metal band, maintaining the high standards set by their previous bands, focusing on the themes of death, loss and war. Initially the band members got together to play covers of songs that had influenced them throughout their careers within the death metal scene, however it soon became apparent that the new songs that they created were of a superior standard. MEMORIAM are: Karl Willetts - ex-BOLT THROWER | vocals Frank Healy - BENEDICTION, SACRILEGE | bass Andy Whale - ex-BOLT THROWER | drums Scott Fairfax - ex-LIFE DENIED, BENEDICTION (live) | guitars --- More info: www.memoriam.uk.com www.facebook.com/memoriam2016 www.nuclearblast.de/memoriam

#Memoriam #Nuclear Blast #Metal #News #For The Fallen