#Jake Eberts

[ccandd96]

This brand-new book is the perfect thing to pick up to cap off summer! Scars Publications just released the Down in the Dirt‘s May-August 2024 issue collection book “A Library of Collaboration”! This 422-page volume is a great way to stock up on issues if you didn’t buy all of the issues making this a GREAT deal! A listing of all the contributors and titles is available at Scars online, and authors are also listed in the description now online through Amazon throughout the U.S. and Canada. They can also be ordered in the U.K., all of Europe, and even Japan and Australia!

https://www.amazon.com/dp/B0DBDBH1HK

https://scars.tv/2024May-August-issue-collection-book/A_Library_of_Collaboration.htm

The contributors to this book (of writing and art) include A.R. Williams, Alan Ford, Alexandra Dark, Angela Carrozza, Anthony Thomas Voglino, April Fikstad, April Goodwin, Bill Tope, Binod Dawadi, Brenda Mox, Brian Beatty, Brian Connelly, Cailey Tin, Cameron D. Alexander, Camille Akers, Chitralekha Hore, Christopher Strople, Ciara M. Blecka, Clarence Allan Ebert, Clive Aaron Gill, Corey Smith, Corey Villas, Daniel de Culla, David J Tate, David Sapp, David Sowards, Debra Wilson Frank, Devin Sparkman, Dick Yaeger, Donald Reed Greenwood, Dorthy LaVern McCarthy, Doug Hawley, Douglas Young, Dr. Adyasha Acharya, Drew Marshall, DS Maolalai, Duane Anderson, Edward Michael O’Durr Supranowicz, Eleanor Leonne Bennett, Elena Botts, Eric Brown, Erik Priedkalns, George Beckerman, Gil Hoy, Greg Beckman, Hannah Ferris, Hasan Chaudhry, Helen Bird, Holly Day, Isabel G. de Diego, J. Ray Paradiso, Jackie Bayless, Jake C. Elliott, James Bates, James Nelli, Janet Kuypers, Jerry Guarino, Joan Mach, John F. McMullen, John Farquhar Young, John Grey, John Riebow, John Zedolik, Joy Myers, June Wolfman, Justine Fleming, Kassan Jahmal Kassim, Katarina Pavicic-Ivelja, Ken Weiss, Kris Green, Kyle Hemmings, Kyle Trenka, L. Sydney Abel, Latoya Kidd, Laura Bota, Lee Hammerschmidt, Madelyne Timmons, Mark Pearce, Mark Wolters, Marvin Reif, Matthew McAyeal, Megan Mealor, Michael Gigandet, Mike Rader, Mykyta Ryzhykh, Norm Hudson, Oleksandr Gorpynich, Olivia G. Benson, Olivier Schopfer, Paul Stansbury, R.T. Castleberry, Raha.M, ReLand, Richard K. Williams, Ronald Hernandez, Roseann Bauer, Rowan Tate, Roy N. Mason, Rykard Plaque, Salvatore Folisi, Sandip Saha, Sarah Das Gupta, Scott Taylor, Sean Meggeson, Shawn McMichael, Shontay Luna, Simon Kaeppeli, Steevie Karnes, Sterling Warner, Steven Grogan, Susie Gharib, Terry Sanville, Tom Ball, Toney Dimos, Tony Covatta, Vern Fein, and Westley Heine.

https://www.facebook.com/janetkuypers/posts/pfbid02X79WiLxMhVQRAjyUJdASt2iJ2LHeLrvTuYK2i1RmvSVzDMBcK7cPwCQbxzY67dkwl

[muppets-tonight-on-blu-ray]

They should make a movie where Cheech & Chong and Harold & Kumar and Bill & Ted and Beavis & Butthead and Ren & Stimpy and Abott & Costello and Tim & Eric and Sonic & Knuckles and Mario & Luigi and Finn & Jake and Siegfried & Roy and Simon & Garfunkel and Rosencrantz & Guildenstern and Timon & Pumbaa and Laurel & Hardy and Lilo & Stitch and Leroy & Stitch and Siskel & Ebert and Pride & Prejudice and Harold & Maude and Hootie & The Blowfish and Cow & Chicken and Harold & The Purple Crayon and Ms. Officer & Mr. Truffles and Cain & Abel and Naked & Afraid and Grim & Evil and The Fast & The Furious and Billy & Mandy and Mary Kate & Ashley and Belle & Sebastian and Oliver & Company and Hunter & Hunter and Will & Grace and Dharma & Greg and Hall & Oates and Sam & Kat and Plague & Pestilence and Sam & Max and Kane & Lynch and Wallace & Grommit and A Boy & His Blob and Fanny Mae & Freddie Mac and Blue Cross & Blue Shield and Bonnie & Clyde and Thelma & Louise and Cats & Dogs and Cats & Dogs 2: the Revenge of Kitty Galore and Pinky & The Brain and Chip & Dale and Robot & Monster and Ben & Jerry and Tom & Jerry and Heckle & Jeckyl and Dr. Jeckyl & Mr. Hyde and Batman & Robin and Ant-Man & The Wasp and Falcon & The Winter Soldier and Queen & David Bowie and Lewis & Clark and Martin & Lewis and Gilbert & Sullivan and Scooby-Doo & Scrappy Too and Shaggy & Scooby-Doo Get a Clue and Toejam & Earl and Tom & Huck and Key & Peele and Kenan & Kel and Drake & Josh and Melissa & Joey and John Boy & Billy In The Morning and Hoops & Yo-Yo and Hawk & Dove and Cloak & Dagger and Dungeons & Dragons and Earwig & The Witch and Garfield & Friends and Calvin & Hobbes and Barney Google & Snuffy Smith and Asterix & Obelix

[literaturereviewhelp]

He embarks on an investigative mission to find the author of the strange posting. Together with his friends Kenneth (Mark Duplass), Arnau, and Jeff, Darius actually believes that he can turn back the time and rectify old mistakes or change the past. The state of paranoia and naivety in the characters lead them to investigate a funny ad that Kenneth wrote (Ebert, 2012). In as much as everyone in the film has the determination to accomplish certain objectives, they have to contend with the notion that ‘safety is not guaranteed’ in their endeavors. In a bid to confuse or amuse more people, Kenneth asks for company so that his time journey can be a success. Although Kenneth reversed time only once before, he is confident that his efforts will bear fruits and help see and possibly correct past mistakes. Since he is not sure of the outcome, he gives the precaution to everyone who wants to accompany him that their safety will not be guaranteed. It causes confusion not only to the people who read the ad, but also to his closest friends who think that he is not in his right senses. Fortunately, the time travel journey becomes successful, to the astonishment of Kenneth’s friends, some of whom were ill prepared for the journey. The time travel gathers popularity within the scene in the sense that most of the characters in the film want to engage in the time travel (Ging, 2013).  With no guarantee to safety, Kenneth’s friends decide to take the leap into the future. At first, the ad promising an unguaranteed time travel excites the magazine writer. Jake Johnson decide to invite his friends including Darius (Aubrey Plaza), to witness the marvelous event that is about to take place. From the movie, it is evident that time the phenomenon of travel excites everyone. The producer and the director of the movie had the objective of appealing to the audience in a supernatural manner. It is so in the Read the full article

[figtrad]

All we know about the sequel Jake Gyllenhal

Amazon MGM Studios Rhodody Herrington's Road House, Rhodes House has an interesting pop cultural trip. When it hit the theaters 36 years ago, the incredible story of Dalton (Patrick Wwezce), the very requested bounce (with a Bachelor of Philosophy of Uuyork), which is recruited to clean up the once-successful Missouri salon, which has become a “kind of” sort of eyes “. Roger Ebert understood…

[gamistuff]

All we know about the sequel Jake Gyllenhal

Amazon MGM Studios Rhodody Herrington's Road House, Rhodes House has an interesting pop cultural trip. When it hit the theaters 36 years ago, the incredible story of Dalton (Patrick Wwezce), the very requested bounce (with a Bachelor of Philosophy of Uuyork), which is recruited to clean up the once-successful Missouri salon, which has become a “kind of” sort of eyes “. Roger Ebert understood…

[james-stark-the-writer]

a lesson in how important structure is to a thriller narrative.

My ★½ review of Wanderer on Letterboxd

[nicklloydnow]

“One of a series of films attempting to give a cinematic voice to the post-grunge Generation X scene, S.F.W. (So Fucking What?) hardly registered on the cultural landscape when released in 1994. This was around the time when Reality Bites – the more audience-friendly spin on the mini-phenomenon – was bringing in the crowds, but it wasn’t just cinemagoers who were indifferent to the film.

Roger Ebert was pretty unforgiving in his review, claiming the film qualified «Forrest Gump for a genius grant». It currently resides on Rotten Tomatoes with a 12% rating. Undoubtedly an uneven film, S.F.W is also an unfairly maligned one. Loose comparisons were made with Oliver Stone’s Natural Born Killers around the time of its initial release, and both films do share an irritating trait in their self-conscious need to be categorised under the ‘cult cinema’ banner. But underneath S.F.W’s subversive posturing lies a smart depiction of misplaced hero worship. The film’s Big Brother-style rolling ‘reality’ content and YouTube megastar/cult of non-celebrity premise looks increasingly prescient in hindsight.

(…)

Given the film’s central theme, it may come as little surprise to learn that Levy actually screened it for Kurt Cobain, a figure who was very much the real-world counterpart of Spab in regards to his unease at being appointed a sudden spokesperson for the 90s disfranchised youth (the director has claimed the Nirvana frontman “really connected” with the material). While S.F.W is unlikely to be mentioned in the same breath as the teen nihilism works of Greg Araki from that era, or even its cinematic slacker contemporaries, it remains a flawed but intermittently fascinating portrayal of an outsider trying to fathom his imposed celebrity. Spab himself would probably offer up his titular motto if he was told the film failed to connect with audiences upon release, and it’s difficult not to agree with him.

“Cliff Spab is no hero. He's just another loser, a kid just out of high school raised on TV and fast food, working minimum wage without a dream. S.F.W. (1994) could be dismissed as a cookie-cutter Gen X movie in the mold of Pump Up the Volume (1990) and subUrbia (1996), but for the fact that its critique on how the media trivializes and commodifies tragedy has, if anything, become stronger twenty years later in the wake of 9/11, reality TV, and alternative facts.

(…)

S.F.W. is grim satire: an indictment on the dehumanizing effect 24/7 media coverage has on real emotions, and a caricature of early-'90s Gen X culture. Cliff is an amalgam of apathetic icons Kurt Cobain, Christian Slater, and Beavis & Butthead; the soundtrack features a theme song by GWAR and tracks from Hole, Marilyn Manson, Soundgarden, and Suicidal Tendencies. Thankfully, terrorist group Split Image remain a colorless, domestic threat that's never explained, so international politics don't creep into the story. The point is more about how the media feeds on any pain as entertainment, and demands a hightened level of gore as viewers become numb to torture and murder.

S.F.W. is not a great movie, at times making its point about a careless media with after-school-special simplicity. But it's a damned entertaining glimpse into a bygone era of pre-internet America, where music videos reflected the culture of hopelessness felt by the emerging generation, dozens of cable channels broadcast pop culture junk 24/7, and violence was consumed like candy by a reality-hungry public. If only we could return to those innocent times.”

[fullmusicbardsquared]

jaws franchise ranking (final)

jaws <- excellent movie. has a song about it. hooper is there. c'mon its jaws we all love jaws jaws 3-d <- it's silly and has one (1) good scene (when the baby shark dies :( ). also the sign pointing at the baby's exhibit has the only jaws (1) callback that is funny in ANY OF THE SEQUELS. jaws the revenge <- MY BEST FRIEND JAKE IS THERE !!!!!!!!!!!!!!!!!!!!!!!!!!! um ellen and thea being grandmother and grandchild is cute. unfortunately it does not lean into the voodoo absurdity* and brody is dead :'( and michael has to be our protagonist because shawn dies :/ jaws 2 <- not to take roger ebert as a bastion of truth but he was right it is pure trash.

*in the jaws the revenge NOVEL it is explained that the shark was supposed to be under the control of someone who. is not in the movie? like legitematlly is not a character in the movie? so basically the shark is just a normal shark and voodoo is not a plot in the movie at all.

[biglisbonnews]

Jake Ricker’s Photographs Find the Extremes of Human Emotion on the Golden Gate Bridge Functioning as a tourist attraction and essential form of infrastructure, the Golden Gate Bridge is what photographer Jake Ricker refers to as a “strange paradise.” His ongoing series by the same name focuses on the lighthearted, alarming, and sometimes bizarre happenings that occur daily at the orange landmark. Ricker began the project in September 2017, and he’s since encountered a full spectrum of human emotion and experience during the hours he spends towering over the water. More Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Jake Ricker’s Photographs Find the Extremes of Human Emotion on the Golden Gate Bridge appeared first on Colossal. https://www.thisiscolossal.com/2023/02/jake-ricker-strange-paradise/

[sleepythug]

hey brian, I was wondering if you had any recommendations on film criticism/theory/reviews. are there any critics/thinkers you deeply admire that write well and have challenged your ways of seeing/thinking that you believe would help in better appreciating the medium?

i probably could have gone much longer on this five years ago but my brain did some sort of system reboot and lost all the memories ive had consuming film reviews, criticism, etc this ask makes me want to dust off that book i have of pauline kael capsules on my shelf lol anyways here's list of some fav critics/people to seek out if ur eager to dig deeper into cinephilia:

my most favs

ignatiy vishnevetsky (my fav)

jonathan rosenbaum

filipe furtado

dave kehr

david bordwell

j. hoberman

dennis lim

kim morgan

neil bahadur

nick pinkerton

xxx

james agee

miriam bale

richard brody

k. austin collins

fernando f. croce

manhola dargis

bilge ebri

manny farber

sean gilman

molly haskel

kent jones

pauline kael

peter labuza

matt lynch

adrian martin

calum marsh

adam nayman

nick newman

tony rayns

vadim rizov

jonathan romney

dan salitt

andrew sarris

scout tafoya

armond white

robin wood

ppl on letterboxd who's musings i enjoy

jake cole

max coombes

ryland walker knight

john lehtonen

willow maclay

luke mccarthy

matt mccracken

diogo serafim

arthur tuoto

ethan vestby

kurt walker

*also, i do like ebert but as i get older i realize i enjoy other lesser known critics a bit more+his taste in the latter years (21st century) is kinda wack tbh. 2007, one of the consensus last great years of american cinema, his best of the year was juno (i know, i know, it's an opinion but still lol) . cannot say he wasn't a formative figure, him being the most well known, most accessible film critic, and did the thing the best critics do in elevating, shedding light on artists they believe feel deserved of recognition/putting more eyes on their work.

**i think there's more people i could name-drop but i havent read enough, or been exposed to them as frequently, to go all-in on an endorsement of them/their work

[thegayhimbo]

☕ i dont really agree with the "only gay actors should play gay characters" discourse. I get that it may have good intentions but i just dont think its a necessary factor in casting someone for a role. At the end of the day the role should go to whoever can play the character best.

I agree with this to a certain extent. I've seen straight actors play gay characters and do an excellent job portraying them without reducing them to stereotypes and caricatures. Two of my favorite performances of gay characters in media were Nelsan Ellis as Lafayette Reynolds and Kevin Alejandro as Jesus Velasquez from the TV show True Blood. As far as I know, both actors were straight, but still did a fantastic job nonetheless.

That being said, I believe it helps to have LGBT+ actors/actresses play LGBT+ characters to help represent them better in media and to give those actors/actresses the same opportunities in Hollywood that straight actors/actresses get on a daily basis. I remember back in 2005 when Brokeback Mountain came out, and Roger Ebert mentioned on the Howard Stern show that while he liked the movie, he thought it would have been more bold and progressive to cast actual gay men in the lead roles. And while I believe both Jake Gyllenhaal and Heath Ledger gave great performances, I do agree with Ebert's opinion in this case.

[gashousegables]

Hello! So I saw that post you made a few days ago answering an ask about your twilight headcanons and may I ask for some too? But specifically about your highschool au. I love the fact that you made Alice trans and Jasper with his nails painted! I would absolutely love read some ""behind the scenes"" of them :))

Awwwww :)) You liked DITS!!! My first foray into twilight fanfiction after a decade away!!!! This became a long, rambling tangent so bear with me

Thaaank you :)) You didn't ask for this but I'm feeling like a yarn:

For me, DITS was just about exploring how I could shape the Cullens the way I wanted them, mostly because I was retroactively unhappy about the media I consumed as a teenager being so hegemonic.

Because vampires have always been about 'The Other' yknow? The fringes, the outside of culture. To me, in core vampire media it emphasizes aversion to danger, a threat to human normalcy. For twi-hards, the allure might be more in it's secrecy and the feeling of exclusivity.

And that's also what popularity is, so I thought it'd be fun.

But I was also starving for media that was More Gender, and I was at a stage in my life where I wanted something familiar, that my then-current stage of sexual and gender identity wasn't. It was new, it felt painfully secretive, it was embarrassing to be so invested. So I just did DITS and it's also why I will probably never go back to it. I've managed to grow since then, phew!

But if they had continued, I think they were suburban enough to persue college;

Academically, Emmett would have a 'C's get degrees' mindset, and I'm not sure he would manage to finish a degree. But if he flunked out he would have just worked, because you don't need a uni education to make a living. He ends up doing hostel work around the world - backpacking around and doing odd jobs. He falls in love with traveling, discovering new things and new places.

He's got a knack for languages, not because he is particularly good at them, but he's earnest and he tries, and he's confident enough in his skills in charades and the kindness of locals when encountering a lost tourist that it usually sees him through (unless he's in France) He starts a travel blog, with some short video films, to keep his friends n family updated.

THE HEADCANONS, AFTER THE EPILOGUE:

Edward does a bachelors, probably a Masters, probably does the broke orchestra, starving artist grind. (He and Jake don't last, they're drift until they realise there might not even be friendship between them.) He ends up getting a position in a sound production company, and got a couple gigs composing soundtracks.

Jake ends up getting a scholarship for creative writing. He found his niche in poetry focusing on his position as a non-straight first nations man. He gets published in his college journal first. He meets literati of the academic set. He fits in. He ends up becoming a college professor.

Bella studies journalism, she wants truth and she wants honesty. She ends up reviewing movies on her local paper. She goes viral on the internet for shitting over a few high-profile trash-heaps and gets a Rodger Ebert-level of respect, jk she's a woman so she gets an incel hatetrain and has to leave social media. But she stays a popular critic, with therapy and processes to deal with trolls n doxxing. Despite it all, she likes it.

Jasper doesn't bother with college, he gets a job as a gopher on movie sets, he finds that he's handy enough with some shitty opensource software to start editing equally shitty student films.

Alice pursues fashion design. She goes long-distance with Jasper, when he moves to LA. After she graduates, she ends up having Emmett come with her to her mother's home country. They do touristy things and they catch up after about 5-8 years of not seeing each other.

Rosalie ... drifts. She finishes college, get an office job, but her dad dies soon after she graduates. She doesn't take it well, but her mother takes it worse. (Her little brother Kenny ends up moving in with their paternal grandparents to finish high school, his own choice.)

She and Emmett travel down to Brazil after her graduation, to visit her maternal grandmother. But it's an awkward 2 weeks, and after they get back they have one of those heart-wrenching, sobbing break-ups that wounds both of them. She calls him 'the one who got away' but mostly because it annoys Edward. She and Edward end up living together for a spell, and they are both, to their chagrin, the best roommates each of them ever have.

Carlisle and Esme get together. Carlisle waits until he's officially an empty-nester, after the kids graduate high-school, to have her move in with him. It's a wonderfully ordinary wedding, one of the last times all the gang see each other.

Maybe a decade passes ... maybe more.

They meet again mostly by accident.

In his long and varied career, Emmett becomes assistant director on an arthouse film by some european company. The title of the movie is a poem that inspired the script. A poem by one Jacob Black.

Alice designed and made the costumes, but she was too removed from the project to know who else was involved. Except Jasper, who edits the film, since they'd eloped after they missed each other too much to be apart.

Edward scores the music, and he meets Emmett almost be accident during the recording of the score.

Rosalie is the main girl. Emmett had known exactly where a weird broke project could get a drop-dead gorgeous hard-boiled blonde. It's the first favor he'd asked of her since a ride to the airport after he let his American driver's license expire.

Bella reviews it with the relish of knowing exactly where everyone was. Maybe she wasn't the kindest to the movie itself, but her playful joy at naming each person involved almost made it glow.

They don't all attend the premiere, but they all end up seeing Bella's review, and seeing several familiar names, they end up converging onto Carlisle's house after years away.

It's not as though they all become famous in the entertainment industry, only Edward, Bella, Alice and Jasper continue to pursue any creative industry at all, but it's a moment where everything fell into place, and their connection were forged anew.

[if-only-angels-could-prevail]

roger ebert two thumbs up for jake shears’ new thirst trap on ig

[somedayholland36]

Info. "The Devil All the Time"

The Devil All the Time is an upcoming psychological thriller based on the novel of the same name by Donald Ray Pollock.

Directed and co-written by Antonio Campos and produced by Jake Gyllenhaal and Randall Poster, the film presents a joint cast like; Tom Holland, Sebastian Stan, Robert Pattinson, Tracy Letts, Mia Goth, Bill Skarsgard, Gabriel Ebert, Jason Clarke, Riley Keough, Haley Bennett, Harry Melling, Douglas Hodge and Jason Collett.

Set after World War II in the 1960s in Ohio, the film follows a nonlinear story of several disturbed people who suffer post-war damage. Netflix will release the film in 2020.

Premise:

In the 1960s after World War II in southern Ohio, extravagant, convincing and mentally disturbed people suffer the psychological damage of war.

Cast:

Tom Holland - Arvin Russell.

Sebastian Stan - Lee Bodecker.

Robert Pattinson - Pastor Teagardin.

Mia Wasikowska - Helen Hatton.

-To name a few...

Production:

The film was announced in September 2018, with Tom Holland, Robert Pattinson, Chris Evans, Mia Wasikowska and Tracy Letts in talks to star in the film. Antonio Campos would write and direct the film, with Jake Gyllenhaal as producer.

In November 2018, Mia Goth joined the cast.

In January 2019, Bill Skarsgård, Eliza Scanlen and Gabriel Ebert joined the cast, with Netflix now ready to distribute the film.

Sebastian Stan was chosen to replace Evans after his agenda conflicts caused him to leave and personally recommended Stan to assume his role.

In addition, Jason Clarke, Riley Keough and Haley Bennett were announced as part of the cast.

In March 2019, Harry Melling joined the cast of the film.

Filming began on February 19, 2019 in Birmingham, Alabama, Pell City, Alabama and Anniston, Alabama, and continued until April 15, 2019.

[haydnfleury]

NHL 2020 TRADE DEADLINE MASTER POST

ca. June 14 - February 24th, 7.30 EST

ANAHEIM DUCKS ACQUIRE:

Nicolas Deslauriers [MTL]

Erik Gudbranson [PIT]

Chris Mueler [TBL]

David Backes + Axel Andersson [TBL]

Kris Criscuolo [PHI]

Danton Heinen [BOS]

Christian Djoos [WSH]

Sonny Milano [CBJ]

Joel Persson [EDM]

Matt Irwin [NSH]

Andrew Agozzino [COL]

ARIZONA COYOTES AQUIRE:

Carl Soderberg [COL]

Phil Kessel + Dane Birks [PIT]

Vili Saarijarvi [DET]

Taylor Hall + Blake Speers [NJD]

Markus Hannikainen [CBJ]

BOSTON BRUINS ACQUIRE:

Ondrej Kase [ANA]

Nick Ritchie [ANA]

BUFFALO SABRES ACQUIRE:

Colin Miller [VGK]

Jimmy Vesey [NYR]

Henri Jokiharju [CHI]

Matt Spencer [TBL]

Michael Frolik [CGY]

Wayne Simmonds [NJD]

Dominik Kahun [PIT]

CALGARY FLAMES ACQUIRE:

Derek Forbort [LAK]

CAROLINA HURRICANES ACQUIRE:

Patrick Marleau [TML]

Anton Forsberg [CHI]

Gustav Forsling [CHI]

Erik Haula [VGK]

James Reimer [FLA]

Joel Edmundson + Dominik Bokk [STL]

Oliwer Kaski [DET]

Joey Keane [NYR]

Vincent Trocheck [FLA]

Sami Vatanen [NJD]

Brady Skjei [NYR]

COLORADO AVALANCHE ACQUIRES:

Kevin Connauton [ARZ]

Andre Burakovsky [WSH]

Jacob MacDonald [FLA]

Nazem Kadri + Calle Rosen [TML]

Antoine Bibeau [SJS]

Vladislav Namestnikov [OTT]

Michael Hutchinson [TML]

COLUMBUS BLUE JACKETS ACQUIRES:

Devin Shore [ANA]

DALLAS STARS ACQUIRES:

Ryan Hartman [PHI]

DETROIT RED WINGS ACQUIRES:

Adam Erne [TBL]

Alex Biega [VAN]

Brendan Perlini [CHI]

Robby Fabbri [STL]

Eric Comrie [ARZ]

Kyle Wood [CAR]

Kyle Brodziak [EDM]

Sam Gagner [EDM]

Dmytro Timashov [TML]

FLORIDA PANTHERS ACQUIRES:

Dominic Toninato [COL]

Scott Darling [CAR]

Gustav Bouramman [MIN]

Aleksi Saarela [CHI]

Jack Rodewald [OTT]

Ryan Haggerty [PIT]

Mason Marchment [TML]

Danick Martel [TBL]

Emil Djuse [DAL]

LA KINGS ACQUIRES:

Trevor Moore [TML]

Tim Schaller + Tyler Madden [VAN]

MINNESOTA WILD ACQUIRES:

Ryan Hartman [DAL]

Alex Galchenyuk + Calen Addison [PIT]

MONTREAL CANADIENS ACQUIRES:

Andrew Sturtz [OTT]

Marco Scandella [BUF]

Joseph Blandisi + Jake Lucchini [PIT]

NASHVILLE PREDATORS ACQUIRES:

Connor Ingram [TBL]

Steven Santini + Jeremy Davies [NJD]

Ben Harpur [TML]

Korbinian Holzer [ANA]

NEW JERSEY DEVILS ACQUIRES:

John Hayden [CHI]

P.K. Subban [NSH]

Nikita Gusev [VGK]

Louis Dominigue [TBL]

Kevin Bahl + Nick Merkley + Nate Schnarr [ARZ]

Nolan Foote [TBL]

Zane McIntyre [VAN]

Janne Kuokkanen + Fredrik Claesson [CAR]

NEW YORK ISLANDERS ACQUIRES:

Andy Greene [NJD]

Jean-Gabriel Pageau [OTT]

Jordan Schmaltz [TML]

NEW YORK RANGERS AQCUIRES:

Jacob Trouba [WPG]

Nick Ebert [OTT]

Julien Gauthier [CAR]

J-F Berube [PHI]

OTTAWA SENATORS ACQUIRES:

Nikita Zaitsev + Connor Brown + Michael Carcone [TML]

Artem Anisimov [CHI]

Ryan Callahan [TBL]

Vladislav Namestnikov [NYR]

Chris Wilkie [FLA]

Mike Reilly [MTL]

Aaron Luchuk [TML]

PHILADELPHIA FLYERS ACQUIRES:

Matt Niskanen [WSH]

Justin Braun [SJS]

Tyler Pitlick [DAL]

Nate Thompson [MTL]

Derek Grant [ANA]

Nathan Noel [CHI]

PITTSBURGH PENGUINS ACQUIRES:

Dominik Kahun [CHI]

Alex Galchenyuk + Pierre-Oliver Joseph [ARZ]

John Marino [EDM]

Andreas Martinsen [ANA]

Graham Knott [CHI]

Kevin Roy [FLA]

John Nyberg [DAL]

Jason Zucker [MIN]

Riley Barber + Phil Varone [MTL]

Patrick Marleau [SJS]

Conor Sheary + Evan Rodriguez [BUF]

SAN JOSE SHARKS ACQUIRES:

Tom Pyatt [VAN]

Trevor Carrick [CAR]

Nicolas Meloche [COL]

Anthony Greco [TBL]

Brandon Davidson [CGY]

ST. LOUIS BLUES ACQUIRES:

Dakota Joshua [TML]

Andreas Borgman [TML]

Justin Faulk [CAR]

Jacob de la Rose [DET]

Marco Scandella [MTL]

TAMPA BAY LIGHTNING ACQUIRES:

Marek Mazanec [VAN]

Mike Condon [OTT]

Devante Stephens [BUF]

Patrick Sieloff [ANA]

Blake Coleman [NJD]

Anthony Greco [FLA]

Barclay Goodrow [SJS]

TORONTO MAPLE LEAFS ACQUIRES:

Cody Ceci + Ben Harpur + Aaron Luchuk [OTT]

Tyson Barrie + Alexander Kerfoot [COL]

David Clarkson [VGK]

Jordan Schmaltz [STL]

Jack Campbell + Kyle Clifford [LAK]

Denis Malgin [FLA]

Max Veronneau [OTT]

Miika Salomaki [NSH]

Calle Rosen [COL]

Matt Lorito [NYI]

Martins Dzierkals [CHI]

VANCOUVER CANUCKS ACQUIRES:

Francis Perron [SJS]

J.T. Miller [TBL]

David Pope [DET]

Tyler Toffoli [LAK]

Louis Dominigue [NJD]

VEGAS GOLDEN KNIGHTS ACQUIRES:

Nicolas Roy [CAR]

Garret Sparks [TML]

Chandler Stephenson [WSH]

Alec Martinez [LAK]

Nick Cousins [MTL]

Robin Lehner [CHI]

Martins Dzierkals [TML]

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Radko Gudas [PHI]

Scott Kosmachuk [COL]

Brenden Dillon [SJS]

Ilya Kolvalchuk [MTL]

Daniel Sprong [ANA]

WINNIPEG JETS ACQUIRES:

Neal Pionk [NYR]

Dylan DeMelo [OTT]

Cody Eakin [VGK]

[jomalley-ferrisbueller-final]

A Closer Look at Ferris Bueller’s Day Off (John Hughes, 1986)

The 1980s was the time of the teen film, with a number of iconic teen films coming out during that decade. One that has become a staple of the classic teen film is Ferris Bueller’s Day Off (John Hughes, 1986). Ferris’ legendary day off has become a dream for teens then and now still being quoted today within the halls of high schools around the country.

Bueller didn’t hit the big screen in the summer of 1986 without its fair share of long and tedious production issues. Director John Hughes took a lot of his inspiration from his own life growing up. Raised in Chicago, this city becomes the setting for a majority of his films. In fact, there are even websites that pinpoint exact locations all throughout Illinois where Hughes shot classic movies such as Bueller, The Breakfast Club (John Hughes, 1985), and Home Alone (John Hughes, 1990). Looking at Buller specifically, a lot of aspects of the film reflect John Hughes. Ferris’s bedroom is created to look very similar to how Hughes’ room looked when he was a teenager, scenes for the film were shot in the hallways of his former high school, Glenbrook North and the character Ferris Bueller is actually based one of Hughes’ friends from his childhood with the same name. Edward McNally, a childhood friend of Hughes wrote an article for The Washington Post honoring the late director. As far as being named “the inspiration” for Bueller he is quoted as saying:

“…for years I was relentlessly pursued by a remarkably humorless Glenbrook dean about attendance, pranks and off-campus excursions -- and because my best friend was in fact named Buehler -- I've spent an inordinate amount of my life being unfairly accused of serving among the inspirations for Ferris Bueller.”

Looking at the production of the film, there were many different things that went into its creation. It only took three months to shoot the film between September 9, 1985, and November 22, 1985 which might not seem like a lot compared to how long shows or movies take to shoot today, but since a lot of their filming locations existed within miles of each other it was pretty easy to get everything shot in a short time. During the filming, John Hughes took some inspiration from Ferris on his impressive way to get the impossible done. The parade scene was shot during Chicago’s annual Von Steuben Day Parade. The float that Ferris is on was actually created for the film and was put in the parade route without the parade officials being aware of what was going on. With there being a real parade Hughes was able to get genuine footage of thousands of people enjoying a beautiful day in Chicago. When they needed to shoot more of the parade scene a week later, around 10,000 people showed up for the filming answering the call made on radio stations for extras to appear in a John Hughes film. In this scene, Ferris is featured lip-syncing the famous Beatles song “Twist and Shout” which came with its own set of issues. Paul McCarthy did not like the fact that Hughes had added the brass element to the song to make it seem as though the band was playing it at the parade. When John Hughes insisted on the Beatles song be used in the film, they ended up having to pay EMI $100,000 for the rights and allowance to change the song. While Hughes was adamant about some of the production decisions, they all proved successful in skyrocketing the film to one of the most fondly remembered films today.

The marketing for the film was very straight forward. There were a couple of articles written about the film in both the Daily News and well as The New York Times talking about the movie, giving an unbiased explanation of the film to promote it. There were also several 30-second commercials giving hints at Ferris’ crazy day off. Appealing to the teen audiences that Hughes is trying to relate to, the announcer narrates over scenes of the film saying, “it’s about life, it’s about liberty, it’s about the pursuit of recreation”. This phrasing attracts teenagers to the film because that is what they are looking for – freedom from the norm. 

Looking at the posters for the film it features many different slogans such as “One man’s struggle to take it easy”, “Because life is too beautiful a thing to waste”, “Leisure rules”, “While the rest of us were just thinking about it…Ferris borrowed a Ferrari and did it…all in a day”. Similar to the commercials, these phrases draw the teenager in because that type of thinking is really appealing to them. 

A teenager stuck in the rut of high school wants nothing more than to skip school and live out an amazing day with their best friends. This mentality is what brought teens to the theaters to live through Ferris.

The summer of 1986 saw a lot of hit films. Buller had some tough competition seeing films such as Top Gun (Tony Scott, 1986), Aliens (James Cameron, 1986), Star Trek IV: The Voyage Home (Leonard Nimoy, 1986), and The Karate Kid Part II (John Avildsen, 1986) all hitting theaters in 1986. In the United States and Worldwide Box offices, Bueller placed in the top 10 of both lists sitting in the number 10 spot for all 1986 films. The budget for the film was an estimated $6,000,000 and not only broke even but made money-generating $6,275,647 during their opening weekend of June 15, 1986. Bueller, made nearly all of its money from domestic box offices bringing it $70,136,369 and only $1,469 in international box offices. Looking at the reception of the film it is easy to see how it was in the top 10 films of 1986.

Roger Ebert was one of the top movie reviewers of his time up until his death in 2013 after losing an eleven-year battle with cancer. Writing reviews for The Chicago Sun-Times for over 40 years, he became the first film critic to receive a Pulitzer Prize in Criticism. In 1986 he gave a review of Bueller and is quoted as saying “Here is one of the most innocent movies in a long time, a sweet, warm-hearted comedy about a teenager who skips school so he can help his best friend win some self-respect.” He talks about the plot of the film and ends his review by saying “…the film's heart is in the right place, and "Ferris Bueller" is slight, whimsical and sweet.” With Ebert’s review coming out on June 11, 1986, it’s easy to see that Bueller won over the hearts of teens and adults alike wishing that they were able to have a day off like Ferris did.

The non-critical reviews of this film are all pretty similar, it is regarded as a film of the generation that holds against the test of time. On Rotten Tomatoes, of the 728,405 user ratings, the average audience score is a high 92%. One “super reviewer”, Brendan N. is quoted as saying

“Classic cult film and a must-see for all generations. John Hughes created a lot of the teenage angst or coming of age films in the 80s and Ferris was quite possibly his greatest creation. Watching this on the big screen last night was a dream come true but having a film like this remaining so timeless does not hurt. The film is full of heart and the charm of Matthew Broderick is what elevates this from becoming just your average teenage comedy. I wish they would make more fun and creative films like this; no one tackles such a fun concept without falling into clichés and crude jokes. John Hughes created something truly special here. 12/11/2018.”

Since its release in 1986, Bueller, has remained a pivotal teen film for multiple generations. In 2016, Bueller turned 30 years old and Chicago celebrated the only way they knew how to: with a Ferris Fest. People were able to visit his heavily decorated bedroom, recreate the scene where Ferris pretends to be Sloan’s father picking her up from school, and of course a recreation of the famous parade scene featuring Twist and Shout. While this is more of a high scale remembrance of the 1986 film, you can see other companies paying homage to Bueller. During the 2017 Superbowl, Dominos aired a commercial where they recreated the infamous scene of Ferris racing home to get there before his parents find out he skipped school. Stranger Things (Matt Duffer, Ross Duffer, 2016—) actor Joe Keery plays Ferris but this time he is racing home because his Domino’s pizza tracker just sent a notification to his smartwatch informing him that his pizza is about to arrive. When asked about the commercial the executive vice president of creative direction at CP&B said "This being an iconic movie we knew we had to pay homage to it and not deviate, not change it and put our own kind of spin on it outside of using Joe Keery and maybe making it a modern adaptation,".

Below you can see the original scene and then Joe Keery version. 

It can be agreed that this film has been relevant way past its release date. But why is that? Frances Smith looks to understand teen films as a whole and why they become so iconic. In her book Rethinking the Hollywood Teen Movie: Gender, Genre, and Identity, she explores this question and more. In Easy A (Will Gluck, 2010), the main character Olivia (Emma Stone) struggles to identify with the “hook up culture” happening around her within the high school hallways. She looks to the eighties to fantasize about a better life. 

Whatever happened to chivalry? Did it only exist in Eighties movies? I want John Cusack holding a boom-box outside my window. I want to ride off on a lawnmower with Patrick Dempsey. I want Jake from Sixteen Candles waiting outside the church for me. I want Judd Nelson thrusting his fist in the air because he knows he got me just once. I want my life to be like an eighties movie.” (138-139) 

To this Smith says:

This voiceover and the corresponding images reference Say Anything (Cameron Crowe, 1989), Can’t Buy Me Love (Steve Rash, 1987), Sixteen Candles, The Breakfast Club and Ferris Bueller’s Day Off, which is presented for its musical number. With the exception of Sixteen Candles, all of these films center on male characters who, though cheeky, are portrayed as sexually innocent. The gestures to which Olive refers are particularly telling. Having her life ‘directed by John Hughes’ appears to involve her engaging in ostentatious courtship rituals in which the female partner is the grateful recipient of male affection, however dubious the circumstances in which it is bestowed.

Olivia dreams of having the production that teen heartthrobs would perform for their love interests. This is one reason that Bueller has remained so relevant today. No matter how the culture changes, everyone wants someone who would be willing to show the world how much they love them.

Another reason that this film has remained so relevant today is because of the underlying theme within the film is something that will never go away. The drive to find yourself and get out of your small town to explore is something that will always be a shared feeling among teenagers. In Kimberly M. Miller’s Clueless Times at the Ferris Bueller Club: A Critical Analysis of the Directional Works of Amy Heckerling and John Hughes she says 

A fine example can be found in the response to the film Ferris Bueller’s Day Off, which received criticism for being too similar to Risky Business (Paul Brickman, 1983), as well as “lacking in irony,”10 and yet Ferris has become ingrained in the popular culture—even being ranked number ten on Entertainment Weekly’s “Fifty Best High School Movies” list (2012),11 in addition to being quoted by teens who see Ferris as a role model of “cool” despite the nearly thirty years that have passed since he took his day off.

Teens idolize him for doing what they have always wanted to do so they are able to live through him and his amazing day off.

Overall, Hughes has delivered a number of teen films that lasted well past their release date and will continue to be relatable in the future. Bueller is the perfect example of this because its underlying themes will never go out of style. Everyone wants to be a “righteous dude” and live their lives with the carefree regard for the rules that Ferris showed us back in 1986.