#Clemon Leader.

[serious2020]

RALLY 2 FREE MUMIA

[billboard-hotties-tourney]

Prince (1958-2016) solo, leader of The Revolution Songs: "I Wanna Be Your Lover," "For You" Defeated Opponents: Donovan, Miles Davis, Marvin Gaye, David Byrne, Al Green Propaganda: "His music sounds like no one else's. He was able to make a guitar sound magically different to how guitars are supposed to sound. And his voice. He could go from squeaky, almost childish sounding, to a soulful, balladic powerhouse performance all while making it look easy. He was one of the greatest singular performers and musicians ever. And he was a short king to boot." "Most photos of Prince don't really do him justice because, like Jimi Hendrix, he was at his hottest when he played guitar, and to me that's something you have to actually hear to understand. Also he had a great, super energetic stage presence, which is also extremely sexy and hard to convey in pictures alone. What I'm trying to say is that everyone should just watch his Superbowl halftime performance and I dare you to tell me that he wasn't the sexiest man alive that night." "Prince was the only guy who could show up at your party, in frills, and steal your girlfriend. Then steal her clothes, then steal someone else's girl in your girlfriends clothes."

Clarence Clemons (1942-2011) The E Street Band - saxophone Songs: "Jungleland," "Badlands" Defeated Opponents: Keith Richards, Bob Marley, Cab Calloway, Russell Mael, George Harrison Propaganda: see visual

Visual Propaganda for Prince:

Visual Propaganda for Clarence Clemons:

[lboogie1906]

Albert Cornelius Freeman Jr. (March 21, 1934 – August 9, 2012) was an actor, director, and educator. A life member of The Actors Studio, he appeared in a wide variety of plays, ranging from Leroi Jones' Slave/Toilet to Joe Papp's revivals of Long Day's Journey Into Night and Troilus and Cressida, and films, including My Sweet Charlie, Finian's Rainbow, and Malcolm X, as well as television series and soap operas, such as One Life to Live, The Cosby Show, Law & Order, Homicide: Life on the Street and The Edge of Night. He was born in San Antonio to Lottie Brisette (née Coleman) and Albert Cornelius Freeman, a jazz pianist. Taking a hiatus from college, he enlisted in the Air Force in 1951 to serve in the Korean War. He starred in The Detective, before taking his most recognized acting role as police captain Ed Hall on One Life to Live, he won a Daytime Emmy Award for Outstanding Lead Actor for that role in 1979 and was the first actor from the show as well as the first African-American actor to earn the award. He appeared in Down in the Delta. His Broadway theatre credits include The Hot L Baltimore and Look to the Lilies, a musical adaptation of Lilies of the Field. The show ran for 25 performances and 31 previews. His portrayal of Elijah Muhammad, the Nation of Islam leader, in the film Malcolm X earned him the NAACP Image Award for Outstanding Supporting Actor in Motion Picture. He played Malcolm X in Roots: The Next Generations. He had a recurring guest role as the manipulative Baltimore deputy police commissioner James Harris in Homicide: Life on the Street. He joined the Department of Theatre Arts at Howard University and served for six years as department chairman. He married Sevara E. Clemon (1960)​. #africanhistory365 #africanexcellence https://www.instagram.com/p/CqDHiMGMPqS/?igshid=NGJjMDIxMWI=

[smokeybrandreviews]

Monster Mash

The final episode of Monarch: Legacy of Monsters is in the books and it has been one hell of a ride. This show had no right to be as good as it was. Seriously, Monarch was a solid, refreshing, little entry that squeaked in just before the end of the year and I’m glad it did. Obviously, it’s not highbrow, intellectual fair but it is very well written, with strong characters, great performances, outstanding effects, and a whole ass realized world. I have my issues, of course. Off the top, I don’t like any of the original monsters being introduced by the Monsterverse. These things suck balls, every last one of them. Admittedly, this is an overall Monsterverse thing, not just a Monarch show thing. The US is just so uninspired with their kaiju design, always has been. Ren Watabe is kind of awful and doesn’t have the acting ability to carry such an emotionally involved role. Also, this thing just blows open gaping plot holes and raises so many questions about all of the content which came before. I like a lot of the “revelations”, I just wish they were integrated with the established lore better. There’s only a handful of films. You can’t be f*cking up that narrative like this so soon. Those are minor gripes, of course, because Monarch has been a beacon of what streaming originals can be and it has found a pretty broad audience because, and this is kind of the point of this essay, the lead is a lesbian Japanese woman and no one seems to care.

You would be forgiven if you thought this was Kurt and Wyatt Russell’s show, the marketing pushes that narrative strong, but you would be wrong. This show is about the Randa siblings, Cate and Kentaro. The aforementioned disappointment, Ren Watabe plays Kentaro but, in direct contrast to his flaccid performance, Anna Sawai plays his half-sister Cate, and she is the engine that makes this show go. You watch Cate’s character develop, spend so much time with her, learn so much about it. This is HER show and it never she’s away from who she is, which is kind of remarkable because Cate kind of checks every box of diversity bingo. Woman? Yessir. Japanese? You betcha! Lesbian? Check. Overtly carrying romantic feelings for Kiersey Clemons’ bisexual May? Check, again. Also, May is black. Just wanted to throw that in there for reference. Oh, and she basically left Kentaro FOR Cate, too. You’d think having a queer relationship presented front-and-center in the middle of A-spec Goji content would get all the neckbeards in a tizzy, but I haven’t heard a single peep. But the representation doesn’t stop there. The leader of Monarch is a woman. Mari Yamamoto plays the Randa siblings grandmother, Keiko, and she’s also a founding member of Monarch, itself. Michelle Duvall, Sandra Brody’s sister, is this bad ass Monarch operative who goes rouge with Lee Shaw, eventually taking over his band of defectors after the good Colonel goes missing for the second time. This show is riddled with POC, queer, and female representation. By all means, it’s woke as f*ck and no one has said a word. Why? Because it’s f*cking good.

I will dies on this hill, man. There is no such thing as “Go Woke, Go Broke.” There is not Superhero fatigue. The issue is that this stuff is poorly written. Identity politics can encapsulate your entire goddamn narrative, as long as you write it well. Your lead characters can be two, gay ass, men, as long as the character work is there to make those aspects part of who they are, not define them as a whole. I’m speaking, specifically, about The Last of Us. They did that sh*t twice, actually. Nick Offerman’s episode as some of the strongest television I have ever seen in my entire goddamn life. It was beautiful It was tragic. It was inspired f*cking television. That’s how you do representation and identity on television for the wide audience. That’s what Monarch has done with Cate and May. That’s what we need to see more of out of Disney, Lucasfilm, and the MCU. There has to be nuance when developing these characters and stories. They have to feel real, not just performative checkboxes for Xitter clout. You’re always going to have Neckbeards upset that The Force is Female, but don’t feed the trolls with more lazy characters like Rey. Write better ones who line up closer to Ahsoka and Dr. Aphra. Interestingly enough, Chelli is also a queer woman of visibly Asian descent. An just like that, we’ve come full circle! Monarch: Legacy of Monsters is a great show. It’s probably the best thing The Monsterverse has produced to date, and it did so while incorporating a ton of diversity, without alienating the entire audience. That, alone, I think, is worth a watch. And, more to the point, worth the entirety of Hollywood taking note. We need more shows like this, Atlanta, Beef, Reservation Dogs, and The Brothers Sun. It’s not hard to write “Woke” content for the masses, as long as what you write is organic and true to the characters. No one wants to be preached at or pandered to. Monarch towed that line beautifully and every follow it’s example.

[smokeybrand]

Monster Mash

The final episode of Monarch: Legacy of Monsters is in the books and it has been one hell of a ride. This show had no right to be as good as it was. Seriously, Monarch was a solid, refreshing, little entry that squeaked in just before the end of the year and I’m glad it did. Obviously, it’s not highbrow, intellectual fair but it is very well written, with strong characters, great performances, outstanding effects, and a whole ass realized world. I have my issues, of course. Off the top, I don’t like any of the original monsters being introduced by the Monsterverse. These things suck balls, every last one of them. Admittedly, this is an overall Monsterverse thing, not just a Monarch show thing. The US is just so uninspired with their kaiju design, always has been. Ren Watabe is kind of awful and doesn’t have the acting ability to carry such an emotionally involved role. Also, this thing just blows open gaping plot holes and raises so many questions about all of the content which came before. I like a lot of the “revelations”, I just wish they were integrated with the established lore better. There’s only a handful of films. You can’t be f*cking up that narrative like this so soon. Those are minor gripes, of course, because Monarch has been a beacon of what streaming originals can be and it has found a pretty broad audience because, and this is kind of the point of this essay, the lead is a lesbian Japanese woman and no one seems to care.

You would be forgiven if you thought this was Kurt and Wyatt Russell’s show, the marketing pushes that narrative strong, but you would be wrong. This show is about the Randa siblings, Cate and Kentaro. The aforementioned disappointment, Ren Watabe plays Kentaro but, in direct contrast to his flaccid performance, Anna Sawai plays his half-sister Cate, and she is the engine that makes this show go. You watch Cate’s character develop, spend so much time with her, learn so much about it. This is HER show and it never she’s away from who she is, which is kind of remarkable because Cate kind of checks every box of diversity bingo. Woman? Yessir. Japanese? You betcha! Lesbian? Check. Overtly carrying romantic feelings for Kiersey Clemons’ bisexual May? Check, again. Also, May is black. Just wanted to throw that in there for reference. Oh, and she basically left Kentaro FOR Cate, too. You’d think having a queer relationship presented front-and-center in the middle of A-spec Goji content would get all the neckbeards in a tizzy, but I haven’t heard a single peep. But the representation doesn’t stop there. The leader of Monarch is a woman. Mari Yamamoto plays the Randa siblings grandmother, Keiko, and she’s also a founding member of Monarch, itself. Michelle Duvall, Sandra Brody’s sister, is this bad ass Monarch operative who goes rouge with Lee Shaw, eventually taking over his band of defectors after the good Colonel goes missing for the second time. This show is riddled with POC, queer, and female representation. By all means, it’s woke as f*ck and no one has said a word. Why? Because it’s f*cking good.

I will dies on this hill, man. There is no such thing as “Go Woke, Go Broke.” There is not Superhero fatigue. The issue is that this stuff is poorly written. Identity politics can encapsulate your entire goddamn narrative, as long as you write it well. Your lead characters can be two, gay ass, men, as long as the character work is there to make those aspects part of who they are, not define them as a whole. I’m speaking, specifically, about The Last of Us. They did that sh*t twice, actually. Nick Offerman’s episode as some of the strongest television I have ever seen in my entire goddamn life. It was beautiful It was tragic. It was inspired f*cking television. That’s how you do representation and identity on television for the wide audience. That’s what Monarch has done with Cate and May. That’s what we need to see more of out of Disney, Lucasfilm, and the MCU. There has to be nuance when developing these characters and stories. They have to feel real, not just performative checkboxes for Xitter clout. You’re always going to have Neckbeards upset that The Force is Female, but don’t feed the trolls with more lazy characters like Rey. Write better ones who line up closer to Ahsoka and Dr. Aphra. Interestingly enough, Chelli is also a queer woman of visibly Asian descent. An just like that, we’ve come full circle! Monarch: Legacy of Monsters is a great show. It’s probably the best thing The Monsterverse has produced to date, and it did so while incorporating a ton of diversity, without alienating the entire audience. That, alone, I think, is worth a watch. And, more to the point, worth the entirety of Hollywood taking note. We need more shows like this, Atlanta, Beef, Reservation Dogs, and The Brothers Sun. It’s not hard to write “Woke” content for the masses, as long as what you write is organic and true to the characters. No one wants to be preached at or pandered to. Monarch towed that line beautifully and every follow it’s example.

[recentlyheardcom]

LAS VEGAS (AP) — One of the last living witnesses to the fatal drive-by shooting of rapper Tupac Shakur in Las Vegas was charged with murder Friday in the 1996 killing, a long-awaited breakthrough in a case that has frustrated investigators and fascinated the public.A Nevada grand jury indicted Duane “Keffe D” Davis on one count of murder with a deadly weapon, Clark County Chief Deputy District Attorney Marc DiGiacomo announced in court Friday.Davis has long been known to investigators and has himself admitted in interviews and in his 2019 tell-all memoir, “Compton Street Legend,” that he was in the Cadillac from which the gunfire erupted during the September 1996 drive-by shooting.DiGiacomo described Davis as the “on-ground, on-site commander” who “ordered the death” of Shakur, who was killed at 25. Homicide Lt. Jason Johansson called Davis the “leader and shot caller."“For 27 years the family of Tupac Shakur has been waiting for justice,” Clark County Sheriff Kevin McMahill said at a news conference Friday. “While I know there’s been many people who did not believe that the murder of Tupac Shakur was important to this police department, I’m here to tell you that is simply not the case."After Davis’ 2018 interview, Johansson said the police department “knew this was likely our last time to take a run at this case to successfully solve this case and bring forth a criminal charge.”The charges were revealed hours after Davis, 60, was arrested this morning while on a walk near his home in the Las Vegas suburb of Henderson, according to DiGiacomo.In mid-July, Las Vegas police raided Davis' home. They were looking for items “concerning the murder of Tupac Shakur,” according to the search warrant. They collected multiple computers, a cellphone and hard drive, a Vibe magazine that featured Shakur, several .40-caliber bullets, two “tubs containing photographs” and a copy of Davis’ memoir.“It has often been said that justice delayed is justice denied,” District Attorney Steve Wolfson said after the hearing in a brief comment to the AP. “In this case, justice has been delayed, but justice won’t be denied.” A grand jury has been hearing evidence in the case for several months.On Friday, Clark County District Judge Jerry Wiese denied Davis bail.It wasn’t immediately clear if Davis has an attorney who can comment on his behalf. Davis hasn’t responded to multiple phone and text messages from The Associated Press seeking comment since the house raid.Messages left Friday for his wife, Paula Clemons, also weren’t returned.On Sept. 7, 1996, Shakur was in a BMW driven by Death Row Records founder Marion “Suge” Knight in a convoy of about 10 cars. They were waiting at a red light near the Las Vegas Strip when a white Cadillac pulled up next to them and gunfire erupted. Shakur was shot multiple times and died a week later.The rapper’s death came as his fourth solo album, “All Eyez on Me,” remained on the charts, with some 5 million copies sold. Nominated six times for a Grammy Award, Shakur is still largely considered one of the most influential and versatile rappers of all time.In his memoir, Davis said he was in the front passenger seat of the Cadillac and had slipped the gun used in the killing into the backseat, from where he said the shots were fired.Davis implicated his nephew, Orlando “Baby Lane” Anderson, saying he was one of two people in the backseat. Anderson, a known rival of Shakur, had been involved in a casino brawl with the rapper shortly before the shooting. Anderson denied any involvement in Shakur’s death. He died two years later.After the casino brawl, “Mr. Davis formulated a plan to exact revenge upon Mr. Knight and Mr. Shakur” in his nephew’s defense, DiGiacomo said.Emails seeking comment from two lawyers who have previously represented Knight were not immediately returned. Knight was grazed by a bullet fragment in the shooting but had only minor injuries. He is serving a 28-year prison sentence in California for an unrelated voluntary manslaughter charge.

In his memoir, Davis revealed that he first broke his silence in 2010 during a closed-door meeting with federal and local authorities. At the time, he was 46 and facing life in prison on drug charges. He agreed to speak with them about Tupac’s killing, as well as the fatal shooting six months later of Tupac’s rap rival, Biggie Smalls, also known as the Notorious B.I.G.“They offered to let me go for running a ‘criminal enterprise’ and numerous alleged murders for the truth about the Tupac and Biggie murders,” he wrote. “They promised they would shred the indictment and stop the grand jury if I helped them out.”Shakur was feuding at the time with rap rival Biggie Smalls, who was fatally shot in March 1997. At the time, both rappers were in the middle of an East Coast-West Coast rivalry that primarily defined the hip-hop scene during the mid-1990s.Greg Kading, a retired Los Angeles police detective who spent years investigating the Shakur killing and wrote a book about it, said he's not surprised by Davis' arrest.The former Los Angeles police detective said he believed the investigation gained new momentum in recent years following Davis’ public descriptions of his role in the killing, including his 2019 memoir. “It’s those events that have given Las Vegas the ammunition and the leverage to move forward,” Kading said. “Prior to Keffe D’s public declarations, the cases were unprosecutable as they stood.”“All the other direct conspirators or participants are all dead,” Kading said. “Keffe D is the last man standing among the individuals that conspired to kill Tupac.”

[moneypreserve]

Wilson Bank and Trust Login, Enrollment, Branch/ATM Location, Customer Support

Wilson Bank and Trust: Wilson Bank & Trust was founded on 5 May 1987 by a group of local business leaders led by founding CEO Randall Clemons. The first office was located in this tiny house located in Lebanon, Tennessee. Since then, we have grown significantly with 29 offices in nine counties, and we remain focused on our mission to serve and assist our customers. Read more…

[italylong]

Gifted lyrics

#GIFTED LYRICS FULL#

Me and BVA Reach out and seize the day We just changed everything. One motherfuckin' One motherfuckin' We're gifted in the way we flip that script Ain't boastin', feel like I gotta give that shit We're probably misfits but don't just use words that fit It's concentration, we're breaking off more than you can spit Cos we're gifted in the way we flip that script Ain't boastin', feel like I gotta give that shit We're probably misfits but don't just use words that fit It's concentration, we're breaking off more than you can spit This is more than some mythology I'll be what you wannabes wanna be Undergroud beneath the sea of Gs Go get your degrees I'll smoke some trees and still come sicker than a leper And come off just like his knees My policy is give a fuck what they all say It's all cock and ball play I'll do this the tall way Head high and purée Rappers like? and dig deep Some hearts and spades on my suits One of music's troops So I'm listening to anything I use it like medicine or fuel for my menacing If this was America you'd be chilling with the Mexicans Skip the border just ask Disorda We gets it in Coming with raps like a dealer Salute the beaver for sellin' weed Now all I'm sellin' is a leader I make the track aggy but me I'm a peacekeeper Cos it's on the record like the one they signed in Geneva We're gifted in the way we flip that script Ain't boastin', feel like I gotta give that shit We're probably misfits but don't just use words that fit It's concentration, we're breaking off more than you can spit Cos we're gifted in the way we flip that script Ain't boastin', feel like I gotta give that shit We're probably misfits but don't just use words that fit It's concentration, we're breaking off more than you can spit Verb T Yo. This track's called Gifted featuring Verb Twazzer. It does not store any personal data.Next up we've got the badman BVA on the ting from the new album. The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Other. The cookies is used to store the user consent for the cookies in the category "Necessary". The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". These cookies ensure basic functionalities and security features of the website, anonymously. Necessary cookies are absolutely essential for the website to function properly. Pre-Chorus: Ant Clemons Livin out my dream, my life is different (Different) If I want it, then Ima get it (Get it) Living every. Lyrics: Brian Burkheiser, Eric Vanlerberghe, Jon Eberhard, Steve Menoian & MYTH Got all these people saying, “Hey, look now you made it I find it ironic you just don’t get it now (Just don’t get it now) I’m not the type to talk, I’m the type that’ll cut you out You got nothing left to say, still you run your mouth Tried to keep me at a distance, now you can’t stay away Took the voices in my head, brought ’em straight to the massesĬompulsive more by the day, I’ll say it straight to your face I found a tear in the fabric, call me sociopathic Let ’em talk shit, let ’em run their mouth So I tell myself to breathe in, breathe out I’m starting to think I got you all figured out I find it ironic I’m what you care about (Care about) Just focus on you while I tally the body count

#GIFTED LYRICS FULL#

Now they’re countin’ down the seconds ’til I put you awayīut I was gifted from the start and now I’m full automaticĬome and see the master plan, watch it carried out (Carried out) Roddy Ricch Pre-Chorus: Ant Clemons / // Livin out my dream, my life is different (Different) / // If I want it. Long Live The King LyricsĪlright, that’s a hundred thousand voices, hear ’em screamin’ my name Long Live The King Lyrics by I Prevail, and From the Album “ TRUE POWER“, music has been produced by MYTH, and Long Live The King song lyrics are penned down by Brian Burkheiser, Eric Vanlerberghe, Jon Eberhard, Steve Menoian & MYTH. Gifted Lyrics Verse 1: The Weeknd All these bitches hate you This is something I know Because you're real enough to give it up There ain't nothing wrong with groupie love You're the only one I.

[quarkmaster]

RIktor Clemon

Clemon Leader.

Tyler Thull

[serious2020]

[billboard-hotties-tourney]

Clarence Clemons (1942-2011) The E Street Band - saxophone Songs: "Jungleland," "Badlands" Defeated Opponents: Keith Richards, Bob Marley Propaganda: see visual

Cab Calloway (1907-1994) solo, leader of Cab Calloway and His Orchestra Songs: "Minnie the Moocher," "St. James Infirmary" Defeated Opponents: Little Richard, Rory Gallagher Propaganda: none

Visual Propaganda for Clarence Clemons:

[lboogie1906]

Albert Cornelius Freeman Jr. (March 21, 1934 – August 9, 2012) was an actor, director, and educator. A life member of The Actors Studio, he appeared in a wide variety of plays, ranging from Leroi Jones’ Slave/Toilet to Joe Papp’s revivals of Long Day’s Journey Into Night and Troilus and Cressida, and films, including My Sweet Charlie, Finian’s Rainbow, and Malcolm X, as well as television series and soap operas, such as One Life to Live, The Cosby Show, Law & Order, Homicide: Life on the Street and The Edge of Night.

He was born in San Antonio to Lottie Brisette (née Coleman) and Albert Cornelius Freeman, a jazz pianist. Taking a hiatus from college, he enlisted in the Air Force in 1951 to serve in the Korean War.

He starred in The Detective, before taking his most recognized acting role as police captain Ed Hall on One Life to Live, he won a Daytime Emmy Award for Outstanding Lead Actor for that role in 1979 and was the first actor from the show as well as the first African-American actor to earn the award.

He appeared in Down in the Delta. His Broadway theatre credits include The Hot L Baltimore and Look to the Lilies, a musical adaptation of Lilies of the Field. The show ran for 25 performances and 31 previews. His portrayal of Elijah Muhammad, the Nation of Islam leader, in the film Malcolm X, earned him the NAACP Image Award for Outstanding Supporting Actor in Motion Picture. He played Malcolm X in Roots: The Next Generations. He had a recurring guest role as the manipulative Baltimore deputy police commissioner James Harris in Homicide: Life on the Street. He joined the Department of Theatre Arts at Howard University and served for six years as department chairman.

He married Sevara E. Clemon (1960)​. #africanhistory365 #africanexcellence

[spiderdreamer-blog]

SCOOB! (2020)

William Hanna and Joseph Barbera have a strange animation legacy when one thinks about it. On the one hand, roughly 75% of their output was cheaply animated dreck, designed to chase trends and fill airtime for advertisers. On the other hand, that remaining 25% has genuinely held on in the popular consciousness: Tom and Jerry, The Flintstones, Jonny Quest, Yogi Bear, Huckleberry Hound, Top Cat. And of course, Scooby-Doo, their biggest TV hit ever...that they proceeded to run into the ground with both endless incarnations and re-incarnations of the teen mystery format. Yet the damn thing has endured against all odds. It's still airing on TV, for one, and has an incredibly successful 23-years-and-running DTV film series. At its best, it's comfort food: a familiar formula that you know and love, but well-executed in its professionalism and still pleasantly surprising on occasion. At its worst, it's craven and opportunistic; there's a reason The Scrappy is an all-too-familiar and instantly identifiable trope. So we come to SCOOB!, the first theatrically released film in the franchise's history, a flashy CGI extravaganza that aims to launch a Hanna-Barbera Cinematic Universe. How does it stack up?

After a charming opening sequence of events reminiscent of A Pup Named Scooby-Doo where the members of Mystery Inc. meet as children, the film picks up in the present day as the group prepares to go professional with the aid of investor Simon Cowell (a very strange cameo even by this franchise's usual standards of celebrity drop-ins). But there's a snag: while he thinks Fred (Zac Efron), Daphne (Amanda Seyfried), and Velma (Gina Rodriguez) have what it takes, he's derisive of Shaggy (Will Forte) and Scooby (Frank Welker). They leave in a huff, drowning their ennui in food and bowling, but are soon attacked by robots. These turn out to be the minions of Dick Dastardly (Jason Isaacs), who wants to capture Scooby in order to unlock the Gates to the Underworld. The pair are rescued by Dee Dee Skyes (Kiersey Clemons), Blue Falcon (Mark Wahlberg), and Dynomutt (Ken Jeong). Thus the chase is on as they try to stop Dastardly's plan while the rest of Mystery Inc., feeling guilty, attempt to find their friends.

The prospect of a massive crossover party for various Hanna-Barbera properties is actually not as unique as it initially appears. The characters were rubbing shoulders and dropping in on each other as early as 1970s series like Wacky Races or Laff-A-Lympics, and as recently as series like "Mystery Incorporated" or "Jellystone". And there have been a smattering of others over the years: TV specials like The Jetsons Meet The Flinstones or Yogi Bear and the Magical Flight of the Spruce Goose (Yogi's actually been the MC for a lot of them, come to think of it), the surprisingly good Tom and Jerry/Jonny Quest DTV Spy Quest (if nothing else, a fair sight better than the strange halfway-adaptations of properties like The Wizard of Oz or Willy Wonka the pair keep finding themselves in), or the truly excellent comic series Future Quest.

SCOOB! taking this route does lead to some genuine pleasures, particularly Dick Dastardly's depiction. Everything about him is first-rate. Isaacs gives a snarling, hammy, yet occasionally poignant performance, the intimidating design and snappy animation is the best in the film apart from Scooby and Dynomutt's, and there's some fun self-awareness about his supervillainy, like a great gag where he narrates a flashback that is decidedly at odds with said narration. In terms of the other HB drop-ins, while superhero-as-overexcited-manchild is a tad played out as a gag for my tastes, Wahlberg commits to the bit as well as Falcon's insecurities about measuring up to his father, and Jeong has a good snarky sidekick energy going on, with Clemons as the level-headed leader type. There's even a cameo from Captain Caveman (Tracy Morgan, casting that works better than I initially expected) on an island with Jonny Quest-style pterodactyls. If anything, this kind of smorgsabord of deep cut nerd references that guys like me who grew up on endless Cartoon Network reruns mark out for is what the film should've leaned into more. There's not really a mystery to speak of beyond Dastardly's actual motivation, which does provide the best twist in the film, and there's little sense of any kind of gothic kid-horror atmosphere after the opening; even Cerberus' villainy at the climax feels more like a kaiju battle. I suspect the sequel will lean into this more if images in the closing credits are any indicator.

Indeed, it's Mystery Inc. themselves that feel a little strange in terms of their depiction and presence, and not just because of the controversial recastings (notably, it's one of the only times Welker has not also played Fred, a role he has held onto since the series began in 1969). I have several thoughts on this, but the short version is that I think level of fame shouldn't matter as long as you're right for the role, and this franchise is no stranger to celeb appearances and recastings, but this DOES feel like a marketing move. Of the group, Shaggy and Scooby fare the best since the script is primarily focused on their dilemma of feeling inadequate. While Forte is not as good as Matthew Lillard's current performance, he makes a clear effort to replicate the character's voice and attitude accurately and has good comic timing to boot. Welker, of course, is an old hand at this, the longest-running Scooby actor since the late Don Messick, and perfectly navigates the requirements of a goofy cartoon voice having to be sincere as well as funny.

Fred, Daphne, and Velma are a little more...mixed. Part of this is the script, which separates the group for far longer than it needs to even given the central conflict. I can't help but wonder if it might have landed better had Mystery Inc. wrestled with this potential schism as a team compared to the seemingly more-put-together Falcon Force. In practice, it often leaves the other three as feeling like afterthoughts. On the vocal front, Efron is good casting for original generation clean-cut himbo Fred on paper, and he's clearly putting in more effort than his voice performance in The Lorax (perennial "fuck that movie"), but something doesn't quite gel in the end. Between him, the design, and the writing, he's too straightforwardly jocky when the ideal energy is "student council president and/or youth pastor who is more than a little obsessive and has WAY too much free time". Seyfried fares a little better as Daphne, sweet and spunky in equal measure, but I can't say I liked Rodriguez's take on Velma at all. Part of that can be blamed on the writing, which weirdly makes her the techie of the group rather than the history nerd most of the time. But her tones are too low and deadpan for a character who, yes, can be snarky, but is as bright and eager to solve mysteries and catch monsters as the rest of these idiots.

Visually, the movie is on point, with Reel FX (The Book of Life) offering a bright, 'toony look, though I quibble with the designs of Fred, Daphne, and Velma being "prettier" and more doll-like than Shaggy or Scooby; there's a slight disconnect in the 2D animated version, sure, but not usually this stark. I got a kick out of the production design too, with touches like Dastardly's ship being based on his Wacky Races vehicle or some fun cameos in an arcade. Director Tony Cervone, a longtime Warner Bros. fixture/Scooby vet, keeps things clear even when they're frenetic and has a sure hand on the comedy beats. Really, there's nothing anything WRONG with it in terms of pure construction.

But perhaps that's part of the problem. The film is simultaneously too safe and too ambitious in equal measure, hemming things into a generic family film script structure while bursting at the margins with "look at this cool thing!". As a result, it lacks the genuine grandeur of series like "Mystery Incorporated", a sense of growing up that films like Zombie Island possessed, or the freewheeling creativity of crossovers like the truly excellent Batman: The Brave and the Bold movie (it probably didn't help this film by comparison that I watched that immediately beforehand). In the end, I liked enough of it that I'll watch the sequel, which hopefully might have a better control on its various tones and characterizations.

[disneytva]

Freeform Greenlights 3 New Adult Animated Series By 20th Television Animation: “Praise Petey” “SupaShawty Girls, Funkamatic BangBang” & “Wallflower”

Freeform has ordered 3 animated comedy series from Disney’s adult animation division: 20th Television Animation

Praise Petey Created By from SNL head writer Anna Drezen, who created the series, and exec producers including Monica Padrick, Mike Judge and Greg Daniels a series order.

Praise Petey follows Petey, voiced by Schitt’s Creek star Murphy, a New York City “it” girl who has it all until her life comes crashing down around her. As luck would have it, a mysterious gift from her father gives her a new lease on life: she’s going to lean into modernizing his small-town cult.

Cowboy Bebop star Cho voices Bandit, a potential love interest for Petey and a cult member since childhood whose mother was a high-ranking member. The Good Fight’s Baranski voices White, Petey’s mother, a magazine editor, Manhattan society woman and a terrifying perfectionist who’s never eaten, tasted or seen ketchup.

The Flash’s Kiersey Clemons voices Eliza, a bartender at the local bar and reluctant BFF to Petey, working at her new cult. Magnum P.I.’s Amy Hill voices Mae Mae, Bandit’s Southern mama oozing with Southern hospitality who happens to be the right-hand woman of a cult leader. Barry’s Stephen Root voices Petey’s loving father, a charming, homespun, stone-cold cult leader with some pretty unique ideas about meditation, space, jumping up and down in a field, and how his bloodline is necessary for the salvation of mankind. He may or may not be dead.

It is exec produced by Central Park’s Monica Padrick, along with Bandera Entertainment’s Mike Judge, Greg Daniels and Dustin Davis, and ShadowMachine’s Alex Bulkley and Corey Campodonico. The series is produced by 20th Television Animation, with animation by ShadowMachine.

SupaShawty Girls, Funkamatic BangBang: Created by newcomer writers and executive producers Adamme and Adanne Ebo, and exec producers Tiffany Haddish and Melanie Clark.

It follows Yeze and Tule when a freak laboratory accident turns the twin college students into dopeass superheroes, and they must learn to manage their brand new super-powered lives with the growing pains of adulthood.  Unfortunately for humanity, they’d actually rather kick it than kick butt & save the world.

Wallflower Created By Julia Edelman, Solar Opposites co-exec producer Danielle Uhlarik, and New Yorker cartoonist Olivia de Recat.It follows Ren, a quick-witted introvert who has the power to communicate with her houseplants. With the misguided help of her charming, but dysfunctional ensemble of greenery, Ren clumsily navigates the many anxieties of being in your twenties.

Praise Petey, SupaShawty Girls: Funksamatic BangBan & Wallflower will begin production in early 2022.

It comes as the Disney-owned network takes another crack at animation, having previously developed a number of series in this space. Freeform has dabbled in animation development before. In 2019, it was working on millennial comedy Betches, written by Rachel Koller and produced by Emma Roberts, and Woman World, based on a graphic novel, written by Aminder Dhaliwal and exec produced by The Guild’s Felicia Day. 

Neither project ended up going to series.Hunter expects these new projects to be the first of many. “We do have a slate of others that aren’t yet at the steps of animatics and artwork and we’re continuing to buy. The goal is for this to continue to be its own pipeline of Gen Z and millennial stories for the Freeform brand,” she said. “We’ve been very aggressive about going out to the town to procure more projects.”

[livingprophecy]

original character starter call:   this is a starter call specifically for my original characters. feel free to specify one or multiple, otherwise you will get a randomized muse! multimuses, please specify the muse you would like to receive the starter from as well. these will be one liner to short paragraph. for ease of navigation, under the cut you can find the list of my original muses and links to their biographies. you can also find them all in my full muse page here.  

cap:   no cap currently.   number of muses:   19. 

alexander chekhov   /   fc: finn jones   /   30, bisexual, police officer, tied to my novel redacted   /   biography.

alexis nazaryan / steel   /   fc: rowen blanchard   /   17, aromantic asexual, enhanced (forced) antagonist, fandomless   /   biography.

anna willingham   /   fc: paige turco   /   55, lesbian, revolution leader, tied to my novel redacted   /   biography.

biron smith   /   fc: nathan stewart-jarrett   /   27, bisexual, nurse/writer, modernized shakespeare   /   biography.

camden witmyer   /   fc: grant gustin   /   28, aromantic bisexual, detective, tied to my novel redacted   /   biography.

erika a’ashara   /   fc: ella balinska   /   50-60, bisexual, half elven ranger vigilante, d&d   /   biography.

eyan ellis   /   fc: kendrick sampson   /   29, gay, revolution leader, tied to my novel redacted   /   biography.

garret mckowan   /   fc: joel kinnaman   /   38, closeted bisexual, detective (antagonist), tied to my novel redacted   /   biography.

immanuel knight   /   fc: aaron taylor johnson   /   28, pansexual, enhanced assassin, fandomless   /   biography.

kade skinstone   /   fc: n/a   /   23, lesbian, silver dragonborn paladin, d&d   /   biography.

kenneth anders   /   fc: noah centineo   /   22, bisexual, revolution scout, tied to my novel redacted   /   biography.

melpomene   /   fc: tessa thompson   /   2400+, lesbian, high school choir/theater director, greek muse   /   biography.

muran sildar of easthaven   /   fc: anna diop   /   24 (2300+ physically, magically slept for ~2250 years), bisexual, battlemage vigilante, fandomless with eon altar inspiration   /   biography.

natalya gurzsky   /   fc: mihaela drăgan   /   35, bisexual, coven witch and librarian, x-mcu and mcu   /   biography.

nia wynfreda fraser fleet   /   fc: florence pugh   /   23, bisexual, student and werewolf in the scottish pack, bitten   /   biography.

noah asher levi   /   fc: ronen rubenstein   /   27, gay, second in command to casey willingham in his illegal import/export business, tied to my novel redacted   /   biography.

rhion murray fraser shaw   /   fc: ewan mcgregor   /   35, bisexual, alpha of the scottish pack, bitten   /   biography.

seleste pavia   /   fc: ana de armas   /   29, bisexual, enhanced empath and childhood therapist, fandomless   /   biography.

sloane gordon / the harrier   /   fc: kiersey clemons   /   25, lesbian, enhanced thief and illegal drag racer, fandomless with inspiration from the adventure zone: balance (petals to the metal)   /   biography.

[calamity-bean]

16 new horror films i’ve watched at random lately just cause i’ve been in the mood for horror

Been thinking about horror today, and fun fact, I’ve actually been fairly DEVOURING horror films of late! Sixteen new ones in the past couple weeks, in fact, according to the little list I’ve been keeping! New to me, that is, though they do all happen to be very recent releases (2016 at earliest). Horror is a genre with which I often like to pull up Netflix or Hulu and just pick at random some film I’ve never heard of and don’t know the first thing about; I feel like it’s a genre that depends so much on personal taste and that encompasses such a wide variety of tropes and approaches that I never entirely know whether I’ll like a particular film until I try it. It’s a gamble, sure, and sometimes it’s a dull or infuriating couple hours... But I love horror in general, and I feel like it’s a genre in which even terrible films often stir my imagination with the potential of their premise if not the brilliance of their execution. And you do find those hidden gems.

Anyway, since I love to hear myself talk, I thought I’d share my quick impressions of the ones I’ve watched lately, in case any of you are also in the mood to stream something new! These are (almost) all currently on Netflix or Hulu, so have at it. No specific spoilers; mostly just whether I liked it or not and why. I added a few content warnings where I remembered any elements that, to me, went beyond genre-standard levels of content or involved specific common triggers, but, I mean, they’re all horror films, so do your due diligence if necessary and do expect some level of violent or disturbing content in all of them. 

The sixteen films in question are: Sweetheart (2019); The Lodge (2019); Mercy Black (2019); What Keeps You Alive (2018); Cold Skin (2017); The Golem (2018); Rattlesnake (2019); We Summon the Darkness (2019); The Wretched (2019); They Come Knocking (2019); Pyewacket (2017); The Other Lamb (2019); The Silence (2019); Body at Brighton Rock (2019); Under the Shadow (2016); and Seven in Heaven (2018).

Brief descriptions and impressions and such under the cut!

Sweetheart: Survival/monster horror about a young woman who, after the boat she and her friends were on goes down in a storm, washes up alone on an uninhabited island… and then realizes she’s not entirely alone. Quite liked this one! Like almost any horror movie, it suffers from the fact that monsters are almost ALWAYS far scarier (and far less cheesy) before you actually see their CGI rendering chasing the protag, but that’s typical, we’re used to that. The protagonist is smart and capable, and the actress (Kiersey Clemons) has to carry so much of the film solo and often with very sparse dialogue. Warning for mutilated and decomposing corpses.

The Lodge: A woman who as a child was the only survivor of a cult winds up stranded with her new fiance’s two children in a remote, snowbound lodge. This one was pretty dark! I love themes of cold, isolation, and losing connection with reality, and I think the whole cast does a great job; the acting and production are overall high quality. Not sure it captured my imagination enough for a rewatch, but I did enjoy watching it. My fellow Barkskins fans will notice a few glimpses of our own Renardette. Warnings for onscreen suicide, pet death, and psychiatric/medical manipulation. 

Mercy Black: A young woman returns home fifteen years after, in her childhood, being involved in a disturbing act of violence inspired by an urban legend called Mercy Black. I like the concept behind this one, in terms of the urban legend, the protagonist’s relationship with it; I liked the overall film okay, but I found certain aspects a bit cliche or thinly sketched. Standard supernatural horror levels of violence and spookiness, imo.

What Keeps You Alive: For their one-year anniversary, a young couple vacation to a remote house in the woods, where the protagonist begins to learn some strange things about her wife. I really enjoyed this one. It might be my favorite on this list, and certainly one of the ones I’m more likely to watch again. It’s well structured, well made, with a strong, compact cast, and it’s gotten the song “Bloodlet” stuck in my head for weeks. However, you will probably not enjoy this one if, as I know is the case for some people, you would rather not consume content that depicts LGBT relationships that are unhealthy or LGBT characters who are villainous. I get where you’re coming from, but it means this one probably isn’t for you. It also isn’t for you if you would rather not see some quite brutal injuries.

Cold Skin: Okay, this is the only one that wasn’t actually on streaming, I checked this out from my local library. Set in 1914, a young man takes a post as a meteorologist on a remote island in the South Atlantic, inhabited only by the unfriendly lighthouse keeper… and the creatures that crawl onto shore at night. Gosh… How do I feel about this one? There are aspects that are cheesy, effects that don’t entirely hold up. But I liked it. I like the idea of it, and I like the themes of isolation and connection, and I like the protagonist and overall I think it’s a solid and interesting narrative. Sort of… The Terror meets Lovecraft. Warning for offscreen (but audible, and almost visible) sexual assault.

The Golem: Set in the late 17th century in a rural Lithuanian shtetl, a woman creates a golem to protect her community from the threats of Christians who blame her people for the plague. Thematically, this one centers largely around motherhood, which I think makes sense with how it’s done here, and I always like the supernatural elements of a horror film to have a very strong, personal thematic link with the protagonist’s emotional character arc. Stars Maman Brigitte from American Gods! Warning for mentions of miscarriage and themes of child death.

Rattlesnake: After a mishap on a remote highway, a woman unknowingly makes a deal with the devil in order to save her young daughter’s life. I liked this one as well; I found the protagonist enjoyable, the overall concept straightforward but engaging, and the hot, arid, rural setting — I think it’s supposed to be around Palo Duro? — an effective backdrop. Not spooky-scary, but nice tension throughout. 

We Summon the Darkness: Set in the 80s, three girls travel to a heavy metal concert despite the string of recent killings apparently committed by a Satanic cult. This one is basically a slasher flick — with a twist, yeah, but essentially the slasher model of teens plus extensive violence — and I think it’s a pretty decent one. And I liked the hair and costumes, ahaha. 

The Wretched: A teenage boy becomes convinced that his new neighbor has been possessed by something evil. I like the narrative and the characters in this one okay, but where I really have to give it props is in the overall visual presentation of the supernatural threats; it’s able to lean into uncanniness and human body horror that work well on film rather than presenting a creature created wholecloth (which, as I mentioned earlier, often doesn’t work super well).

They Come Knocking: On a drive into the middle of nowhere, a father and his two daughters hear something knocking on their caravan at night, asking to be let in. Okay, so… this one is a black-eyed children story (with a setup reminiscent of ye olde Anansi’s Goatman, too, in a way), and I have to admit that black-eyed children are one of those tropes that doesn’t work for me even as a creepypasta, it just strikes me as lame and dumb. And I did find the actual children in this film to be, well, cheesy and dumb-looking. But the human side of the narrative — the characters and their relationships and emotional aspects — is actually pretty well done! So I found it engaging enough in that regard.

Pyewacket: A teenage girl who has a difficult relationship with her mother lashes out by trying to summon a demon to kill her, only to regret the ritual right away. I think this one was well done, too, pretty dark, with a spooky forest setting and some genuinely creepy glimpses of the supernatural threat. I am also delighted to discover that Pyewacket is actually the name of a familiar spirit according to the confession of an accused witch in the 17th century. (Not delighted by the fact that this poor 17th century woman was tortured for being an alleged witch, but delighted that there’s a little historical inspo here.) Warning for a fairly graphic death by burning.

The Other Lamb: This one is not horror as in “scary” but horror as in thematically disturbing and a little eerie. A young girl who’s been raised in a cult — all female except for their leader, to whom all the members are either wives or daughters — begins to question her faith. Slow, quiet, and a bit surreal, with some slightly feral-woman themes that are up my alley; I think I enjoyed it? The cast is quite good, especially the protagonist (Raffey Cassidy) and cult leader (Michiel Huisman with, I gotta say, some truly lovely hair). Warning for onscreen but nongraphic (as in, clothed and not showing anything below the neck) sexual assault of a minor.

The Silence: A deaf teenager and her family struggle to survive amidst an apocalypse of deadly monsters that attack based on sound. No, I’m not talking about A Quiet Place. I do feel a bit sorry for this film, because I know that it was conceived of and began production well before A Quiet Place came out, only to essentially be doomed by its striking similarity to such a successful film… And honestly, it’s not as good as A Quiet Place; it’s cheesier, there are more plot and character holes, the ultimate main threat feels disconnected from the premise, and the core theme/character arcs aren’t as cohesive. But it’s not TERRIBLE. It’s more of a B-movie-esque monster/disaster flick, is all. And I like Stanley Tucci, so at least he’s always fun to watch.

Body at Brighton Rock: An inexperienced parks employee gets lost in the backcountry and has to spend the night watching over a (possibly murdered) body she stumbles across while awaiting rescue. This one… hm. It’s like, I didn’t hate it? But it was frustrating. It reused the same scares / fake-outs multiple times, and even by horror movie standards the protagonist was maddeningly careless. I think it was all the more disappointing because I do like the setting and premise but felt it could’ve been better. 

Under the Shadow: In 1980s Tehran, during the air raids and missile strikes of the War of the Cities, a woman begins to fear something evil is stalking her young daughter through their emptying apartment building. This is another top fave, and I think overall the most well constructed film on this list in an objective sense. Strong narrative, strong characters and acting, a really great atmosphere of claustrophobia and tension and dread, and an interesting and effective setting. Would absolutely watch again.

Seven in Heaven: At a house party, two teenagers enter a closet as part of a kissing game, and they exit into a parallel universe that is similar but different in striking ways. This one was, hm… okay? I felt like it could’ve gone so much farther with the potential of alternate universes, in terms of really making them weird and interesting, and although I don’t expect a film to spell out everything for me, I just thought that the whole underlying mechanism of what was happening was left too unexplained. Also, the background characters looked like they were played by actual high school-age teens while the main characters looked like your standard Hollywood 20-something “teens,” which created kind of a weird dissonance lmao. But it was okay.

Overall, I didn’t HAAATE any of these; most were fine, some I found less engaging or more frustrating than others, and some I really enjoyed. I did start and then not finish a few more as well... I watched about 20 minutes of Black Rock (2012) before deciding I wasn’t in the mood for where it was going, and I just barely started We Are What We Are (2010) but realized I was too tired and distracted by other things to pay enough attention to subtitles at the moment. On a not strictly horror note, but it’s still thriller so we’ll toss it in, I got a ways into The Killing of a Sacred Deer (2017) because that’s a helluva title and I wanted to see Barry Keoghan’s work outside Dunkirk (the only film I’d seen him in), but man, that’s a weird one huh, very slow, very odd style of dialogue. I’ll still likely finish some or all of those at some point, but I just wasn’t in the right headspace when I first tried. 

Anyway, this has been me telling you what movies I’ve been watching! I’m sure you’re enthralled. And please always feel free to talk horror movies to me or send me recs!