#Las Vegas is the obvious example but by FAR not the only one

[valyrfia]

The Sainz Effect on Media: What the Hell is Going On?

Last weekend, Carlos Sainz Jr. won the 2024 Australian GP, and subsequently, almost every single F1 media outlet has seemingly lost their minds. From the aramco power rankings giving him a perfect score (despite Max not getting one for a grand slam last weekend), to motorsport.com acting like a fan account, everyone is tripping over themselves to sing his praises.

F1 is a complex sport, it requires several different aspects to even get a car moving, even more to make it competitive, and even more to enable a championship fight. From driver line-up, to aero, from international politics, to tyre deg. There's no other sport like it. To truly be an expert in Formula 1, you have to have knowledge of how a track works, an understanding of combustion engines and aerodynamics, a grasp of interpersonal and sports psychologies, and a sense of international relations. This is why, even more so than any other sport, good journalism is vital to the sport's ecosystem. No one person can be expected to be an expert in all these areas, you need a team of people who are willing to pool their knowledge and resources before coming up with conclusions to disseminate to their audience.

But media also likes narrative, and media likes an underdog, that is undeniable. And you can create an excellent underdog narrative with Carlos. From losing his seat despite his teammate keeping his, to him having to get his appendix out in Jeddah, the circumstances are there to set up an underdog narrative. But the crux of the issue is this: anyone with any sort of F1 wheel knowledge understands why Charles was kept over Carlos (a better driver even in a car built away from his driving style, who is revered almost as a messiah figure amongst the traditional fans of the team), why Sir Lewis Hamilton is a much more desirable asset to a top team than Carlos (7x world champion, who brings in a massive draw for talent that will far outlast his stint with Ferrari). So what do you do with these characters who don't match the narrative that you want to push?

Simple. You discredit them.

Make no mistake, this is what we're seeing across every major F1 news outlet in the past week. A plain journalistic choice to choose narrative over integrity. There's all sorts of rumours whizzing around as to why that could be: from possible covert payouts from Sainz Sr, to possible misogyny towards Leclerc fans to pundits simply not being bothered to do their research. But the why of it, although important, doesn't matter nearly as much as the fact that however you look at it, these journalists are failing the sport they claim to love. What's even worse, is that it takes a simple glance at numbers to tell us that these media outlets are digging themselves a hole, and are going to have to backtrack or try and excuse their belief in this narrative in the coming months.

Let's take a common line that Sky Sports like to use as an example, "Carlos Sainz is driving for himself. How incredible would it be if Carlos could compete for the championship this year." Max Verstappen will likely win the championship this year, there are no ifs and buts about it. Red Bull are still developmentally leaps ahead of their rivals, and even if Ferrari were to catch them, Max is still at the wheel. And if Ferrari were to catch them, why would Ferrari prioritise Carlos over Charles? The only driver who has been proven to be able to beat Max in his current form at Red Bull on pure pace is Charles Leclerc, which he achieved in Las Vegas last year, and would've gone on to take the win at that same race if not for the safety car. The most likely championship fight this year is Max Verstappen vs. Charles Leclerc, and that's hinging on Ferrari matching Red Bull development. This outcome is blindingly obvious to anyone who knows how this sport works, and yet the current media angle seems to not be to explain how the sport works to the general public, but rather to double down on narratives that are certainly going to be proven incorrect in a manner of months, if not weeks.

Let's look at another common angle the media seem to like to take, "You have to ask, did Ferrari make a mistake swapping out Carlos Sainz for Lewis Hamilton?". Now, if you've been even near a TV showing F1 in the past ten years, it's pretty obvious this answer is of course not. Lewis Hamilton is likely the greatest driver of all time, his name in a lot of cases outshines the sport itself. No other driver on this grid even comes close to his level of acclaim. This reason alone is enough for Ferrari to sign him. Ferrari has not won a championship in close to two decades, the best and brightest engineers want to be working where they know the results are going to come from, and right now, as a stellar engineer, Red Bull or Mercedes or even McLaren would be a choice over Ferrari, which has the added hurdle of moving to Maranello (considering nearly all the other teams are located in the Midlands in the United Kingdom). Acclaim aside, Lewis Hamilton is still a very impressive driver. P3 in the championship last year to a Red Bull 1-2 is not something to be taken lightly, considering his teammate finished in P8 in the same car with only one more retirement. It does make pure racing sense to sign him over Carlos, who finished in P7, especially since Ferrari have an up and coming talent in Ollie Bearman, and what they need is someone with experience to fill that gap until Ollie can make it to Ferrari, and will likely happily step aside when that time comes at some point in the next five years.

However, has there been a single major F1 news outlet calmly and rationally explaining this thought process for those who may enjoy the sport but are not experts? No. Instead, what we get is Sainz sensationalism, and bias so explicit it tips right over into unprofessional. From The Race saying that a Sainz/Leclerc civil war is Leclerc fan hysteria, despite their own outlet running an article just months ago about tensions in Ferrari, to motorsport.com creating a CV for Carlos, and then proceeding to harass fans who ask why they are so keen to ignore facts. Every single F1 outlet seems to have lost their minds.

The sad thing is this will only backfire massively on Carlos himself. Charles will outperform Carlos, every metric from the past year indicates so. Ferrari may be in the running for the WCC by the midpoint of the season, but Carlos's win will fade into distant memory long before we reach Spa, and the average enjoyer will look back on all this crazy media hype and go "hm, well he didn't live up to expectations did he? He was massively overrated." And this too, will be the fault of F1 media.

In conclusion, F1 media sensationalism has failed Charles, Lewis, and Max, it will fail Carlos in the coming months, but most of all, it has failed the fans of the sport, by choosing to focus on far-fetched narratives, rather than deliver proper journalism and build equally compelling narratives out of the data on the table. It highlights a lack of skill and awareness, which threatens the entire ecosystem of the sport that we all know and love.

[hesnotsinging]

Adore You

TLDR: it's my personal belief that he started lip-syncing Adore You during the second show of the European leg of Love on Tour 2022 (Manchester Night 1) and has been doing it ever since. So, just to be clear, if he is lip-syncing this song, it's a very recent development.

I fully admit that this one is tricky and I could be wrong. Let me explain why: this is a song that I truly think Harry has a lot of trouble singing live as it was written and always has which isn't ideal as it's one of his most well-known songs. It's why he lowers parts of the majority verses and chorus an octave for most performances. He especially struggles with the ending of it in the current tour arrangement when he finally attempts to bring the chorus up to its original higher range. Realistically speaking, this could simply be a case of him singing the song enough times that he's now gotten the hang of the harder parts and doesn't struggle with it as much as he used to. Singing is like anything else, you do it enough, and you're going to improve in certain ways.

...but I'm still like, 99% sure he currently does not sing it live anymore.

The first thing I'm going to do is show you a video of him clearly lip-syncing it. It's his performance of the song at the 2022 Capital FM Summertime Ball and it's absolutely insane how mechanic his vocals sound here. If I'm right about when he started lip-syncing Adore You, this was one of the first times he did it. It'll also not only be a great reference for the rest of the videos in this post both actually live and fake but it's a great opportunity to tell you exactly what to look for when it comes to this song being lip-synced. Here it is:

A lot of it has to do with the fact that he never strays from the current arrangement. Ever. All performances of it sound exactly the same verbatim but there are some particular moments to look out for:

0:55 he never sings the 'you' to finish the phrase 'adore you' at the end of the chorus, just goes right into 'like it's the only thing I'll ever do.' While this could simply be a phrasing choice, the fact that he never sings it is interesting.

1:00 he never sings the second 'like it's the only thing I'll ever do' at the end of the first chorus.

1:30 the lyric 'I just want to tell you something' always sounds exactly the same with ascending notes.

1:35 he always does the riff at the end of 'baby you've been on my mind' during the word 'mind' and it always sounds the same.

1:58 This time, he sings the second 'like it's the only thing I'll ever do' and comes in late on the word 'only.' It always sounds like this. I'll give him and his team credit for this cause it's really clever. It seems he pre-recorded a line to start late so it sounds like he's singing it live.

2:20 I'd like to point out that his mic seems to randomly shut off here cause he says something but nothing comes out. The lyrics even seem to come out just fine but his cute-sy little "okay" is extremely quiet. Technical difficulties? Maybe but the arrangement of this section is always the same with or without his "okay" being loud. He always lets the audience sing 'just let me adore you' here.

2:42 the "hey" is one of the only things in this song that he does live anymore, at least as far as I can tell.

2:47 his little riff at the end of 'walk through fire for you' is always there and the ending is always the same, with no changes ever.

Just as a quick comparison, this is a video of him singing Adore You live at the Capital FM Jingle Bell Ball in 2019:

It's pretty obvious if you ask me.

As always, I'll be fair. Here are some actual live performances so you can tell the difference and again, you can watch as many or as few of these videos as you want:

SiriusXM 2020

Howard Stern 2020

Today Show Soundcheck 2020

Graham Norton 2019

From what I can tell, he sang this live during the entire American leg of LOT 2021. Here are some examples of that:

LOT Las Vegas 2021: this was the first show of his LOT tour, he also forgets words during it so it's absolutely live.

LOT Los Angeles 2021

LOT San Antonio 2021

LOT Glasgow 2022: This was the first show of the European leg 2022 and I honestly believe this is the last time he sang Adore You live on tour.

LOT Manchester 2022: (warning to headphone users!) Just based on what I've watched, I do believe this is the show when he started fully lip-syncing this song. After this, every performance of this starts sounding exactly the same.

LOT London 2022

LOT Stockholm 2022

LOT Hamburg 2022

LOT Vienna 2022

LOT New York 2022

LOT Austin Night 1 2022

LOT Los Angeles Harryween 2022

LOT Los Angeles Night 1 2022

LOT Buenos Aires 2022: as of writing this, this is one of his most recent performances of the song.

In conclusion, if he is lip-syncing it, he hasn't been doing it as long as TPWK which has been for the majority of Love on Tour.

[beautifulpersonpeach]

Bpp, I hope those people who were doubting BTS’ members solo debut are for sure annoyed by how big the first two debuts have been so far. It says something about the trust in the member’s solo selling capacity is that Jhope had Lollapalooza and now Jin will be having his first debut at a freaking Coldplay concert!!! The powers that be *know* that they each have the recognition and selling capacity—like I doubt Chris’ label wpuld’ve okayed him performing them with this surprise announcement if they weren’t sure if he had the individual star power and recognizability???? Not to mention it speaks so much to Jin’s own relationship to Chris himself!! I’m not looking forward to the expectations this past two precedents are building tho 😅 i’ve already seen some skirmishes happening bec of jin’s physical cd vs jhope’s digital release, and it wasn’t even solos doing it… altho i’m still pretty peeved at the lack too, the limited vynils didnt help at all?!! but I hope Army doesn’t let ourselves forget that each member’s solo promo will be individualized and to not let solos agitate us to starting drama…

**

Hi Anon,

I’m only just getting to posting your ask now because between Jin’s Astronaut release, Riri’s Chadwick tribute, and other things happening at the time, I was kinda swamped and since your ask really just states the obvious, I triaged your ask to post later.

I like asks like yours that state things that are obvious to see. Because sometimes, it’s necessary to. We can all see how well Chapter 2 is going for BTS. We’re all on here, both ARMYs and those still hooked on BTS/ARMYs for whatever reason, every week or so talking about some new project they’re on. We can recognize how huge of a deal it is for a Korean solo act to headline a Western music festival for the first time, the sheer insanity of this showing being that artist’s solo debut, and noting this is after BTS had turned the city of Las Vegas into a festival of their own just months prior.

Coldplay is probably the only band active today that can rival BTS in pure star power and name recognition. And seeing that cultural connection, hearing Korean spoken by a white English man to thousands of Argentines because of a SeokJin of BTS, is just really fucking cool. I keep saying, the way BTS center their language and culture in these collaborations is like nothing else you’ll see anybody in k-pop being even able to attempt. It’s the sort of representation that I can only see BTS doing at this point. Perhaps in about 5-ish years some other acts will catch up to this, but right now, no one is doing it like them.

**

As to the format the solo roll-outs have taken and will take, that’s not a conversation I’m not going to bother engaging in at all because this is the perfect example of a waste of time. None of the guys have zero say in those matters. And while I understand the ARMYs upset about the different formats, ultimately at the crux of it, those are excuses. ARMYs have worked with less and done more. If people want to show up, they will, regardless of the music format. Personally, I thought the design was a bit hideous (a tiny cardboard box? Really?) but I was surprised to find out Weverse albums has even better sound quality than Apple Music. And this for me was enough to say fuck it to everything else. I’ve never been the sort to collect albums and merch anyway. If you have not heard what Arson and Future sound like on that app, and you’re an audiophile, do yourself a favour and listen to it ASAP.

It’s so interesting to me the things Hybe is clearly spending money on. Weverse Live, not really. But Weverse albums? Absofuckinglutely.

There’s a deeper dissatisfaction happening with Hobi-biased people (and solo stans) towards Hybe and the fandom and all this album/format issue did was inflame it. But as I’ve said before, in Chapter 2 expect issues like this to become the norm especially when the Maknae Line start their solo releases. It will do nobody any good giving any of these quips oxygen. I intend to focus on what the boys release (through Hybe) and support them if I like the music.

It’s honestly that simple for me.

[breadknight-likes-things]

Bread's Top 5 Of 2022 #3: Horizon Forbidden West

Horizon is a franchise that catches a lot of flak, occasionally even from me, but too often I think the conversations around it are misguided at best, and overtly cynical at worst. When Horizon Zero Dawn first released the only thing people ever seemed to want to talk about was "how poor the release timing was going up against Breath of The Wild like that.". This year, something similar happened when Horizon Forbidden West came out just a few weeks before Elden Ring, this years game discourse that sucked all the air out of the proverbial room. In both cases it feels like this bizarre idea that the internet has decided to force into reality, that only one big game can exist in the public consciousness at a time. Which is a insane concept considering how many games come out at the same time every month. These conversations frustrate and annoy me. Horizon Forbidden West, on the other hand, did neither of those things. Being the sequel to Horizon Zero Dawn it was fairly obvious what we were in for, and to be fair, Forbidden West doesn't deviate off it's formula all that hard. The important part, however, is that it even if it falls back into old tricks, it's refined those tricks, and gives the story, the true star of the game, more room to show off. The gameplay of Horizon Forbidden west is largely unchanged from the first game, still lots of weak point attacks, bows and arrows, and resource gathering to make better and stronger weapons and armor. There's new tools of course, new kinds of weapons (The explosive tipped spear being a huge favorite of mine), and new types of set up ultimate attacks to use in a pinch, but it's largely the same basic setup as before. As I said though, where Forbidden West truly shines is in it's story and characters. Aloy is still functioning in her role as "Stranger in strange land", but the lands of Forbidden West are far more engaging and interesting than a lot of the societies in the first game were. The setting of the large chunk of the western U.S allows for a lot of different tribes and societies of people. The Tenakth, for example, are a war like tribe that worship what they refer as visions (in true Horizon Sci-Fi fashion, these visions are immediately identifiable as malfunctioning museum exhibits). The Utaru are a firmly agricultural society that live in the safety of the firm ground up on top of an old array of satellites, providing a counterpoint to the characters insistence up to then, that every person living in the forbidden western regions is a bloodthirsty warmonger.

For fear of spoiling anything, I can barely even talk about the games main plot. Suffice it to say, it doesn't go anywhere you think you're going to be able to guess. With some wild twists, interesting implications, and even a couple of truly emotional and heartfelt moments (no spoilers, but the section of story that takes place in Las Vegas is a real highlight of video games in general for me this year.). All this is to say one thing: Horizon Forbidden West is a fantastic video game. One of the best of the year in my eyes, and it deserves to be played.

[adhdo5]

Nevadan Extinctioncore is everything 

[quirkwizard]

Been playing Fallout New Vegas and the DLC provides an idea for an admittedly overpowered Quirk. Final boss-level, possibly, a la Overhaul. The security holograms from Dead Money are intangible constructs made of light that can blast intruders with eye lasers. They're invulnerable to direct attack, being light, but can be deactivated via terminals. A character brings up how one could battle countless soldiers on its own. As a Quirk, maybe it could work if the user is vulnerable rather than the light entity? I'm calling it "Warrior of Light" or "Ghost Light."

I don't think that could work, at least as it is. The issue is that you are trying to copy over too much of the idea into a Quirk. As a result, the Quirk is simply too strong. Having the user be able to make totally indestructible soldiers that they can control that shoot out beams of light is too much for one Quirk to do, even if you are going for a more powerful Quirk. Compare this to a similar ability with "Dark Shadow" that only had one entity and had far more tangible drawbacks with the weakness to light and the day-night dynamic it had going on. However, if you removed or changed some of the aspects of the power, then I think that there could be a potential idea in it. Maybe instead you could have it so the user can make terminals act as turrets, the user throwing them down to shoot the lasers at people. It is useful for offense, but offers an obvious target with the terminals. You could have it so the user makes holograms from the terminals. They are realistic but don't have any mass to them, being mostly useful for distraction and misdirection. Another could be going a different route with the holograms themselves. For example, I did a similar idea with "Afterimage", but that was limited by how effectively the user could fight with and control them since they all copied the user and were only useful for attacking.

[fiddlepickdouglas]

Viva Las Vegas, Pt. 17 - With Him

Summary: Sunset Curve Alive AU, Willex, how will it go in the end?, 4.8k

@trevor-wilson-covington is the bestie who makes these lovely edits, we stan supportive friends

Part 1, Part 2, Part 3, Part 4, Part 5, Part 6, Part 7, Part 8, Part 9, Part 10, Part 11, Part 12, Part 13, Part 14, Part 15, Part 16

One finger tapped on the strap of his fanny pack as Alex listened for the right bus stop to be called. If all those months since he’d seen Willie had been long, this past week had been longer. Especially since the news about Caleb had hit hard and every minute in the studio now felt like the band was precariously teetering on the edge of a cliff. He was going to try not to let any of that get in his way today, though. He’d made it to Saturday and Willie was only a few streets away, and he didn’t care what happened for the rest of the day - it was going to be good.

Finally he heard the next stop announced for where he needed to get off and he pulled the cord that told the driver to make a stop. Stepping onto the sidewalk, his heart bounced around in its chamber like the Tazmanian devil from Looney Tunes. He was glad that Willie lived in the basement of the apartment building he occupied because it would’ve been the worst if Alex forgot which room he was in and spent hours frantically knocking doors.

It was hard to tell if he was moving quickly or if his mind was just racing, but in either case, he eventually found himself at the door. For a second, he simply took a deep breath and ran his hand through his hair, trying to get a visual of Willie immediately pouncing on him the moment the door opened out of his head. It wouldn’t exactly be unwelcome, but Alex was realizing how desperate he was to be with him and was amazed at how it affected his imagination.

Lifting a hand, he made sure he knocked loudly. Soon after, the door opened, and Alex was greeted with shining brown eyes, silky, gorgeous brown hair styled into two braids, and a smile he could make home in. Willie.

“Hey, come on in!” Willie was saying, standing to the side and gesturing for him to enter. Crossing the threshold, Alex gazed at the humble space, taking in the details with heightened interest. “This is mi casa!” He began showing Alex around. “We’ve got the main living space, very cozy. The kitchen to your left, but no dining room so it’s all criss-cross applesauce on the floor - makes it extra chill. Bathroom through the back. The sink and shower handles will sometimes shock you, so don’t mind all the electrical tape.”

It was surprisingly accommodating for a dingy basement, and Willie had already made little additions that spoke volumes about him without words. A king size mattress sat in the corner of the ‘main living space’ on the floor with a small bookshelf beside it. The bookshelf only had a handful of cassette tapes and a Walkman lying on top, with a few sketchbooks on the middle shelf. Next to that, the dresser had a small collection of vintage soda bottles and a camera sitting on its surface. Glow-in-the-dark star stickers covered the ceiling above the bed. Even a couple cat toys could be spotted on the floor. Immediately, Alex approached the area where Willie’s desk sat surrounded by sketches hung on the wall.

“So these are your drawings?” he asked, although the answer was obvious. They were so good. Willie followed him over, the squinty smile still in his eyes.

“Yeah. Some are new. Most of them are attempts to recover what Caleb tore up.”

Alex looked at Willie apologetically, even though the loss of Willie’s previous work wasn’t his fault. Without warning, a pressure on his leg and the sound of loud purring announced Sheldon’s presence. The cat looked up at him and blinked slowly, already begging for attention. Heart melting, Alex bent down to pet him.

“Hey, Sheldon,” he said. “I forgot how cute you were!” He smiled as Sheldon rubbed his head against his hand with more affection that he’d likely seen from any other creature on the planet. Well...maybe there was one other that matched it. Alex had heard about how pets could take on the temperament of their owners, and suspected this was a clear example. “He’s gotten so big since I last saw him.”

“Yeah, he’s supposed to be almost two years old, if Escobar guessed his age right.”

Standing again as Sheldon pattered off, Alex returned his attention to the wall of art, looking at the pieces more closely.

“So which one is your dad?” he mused.

Willie untacked one of them and held it out for Alex to examine. “This one.”

Holding the edges carefully, Alex gazed in amazement at the detail Willie had caught. The edges were certainly less defined, but the scene inside the truck was so easy to visualize that Alex could almost feel the leather of the seats and the windchill from the window. He wasn’t sure what began burning in his chest as he peered down at the image, but it was profound and complex.

“I’ve thought about seeing if I could find him, but I think with my memory it’s kind of impossible,” Willie told him.

“He looks so happy here. I don’t get why you would end up as a foster kid.”

“Yeah, I wondered that too. Maybe he didn’t have a choice?”

Alex looked at Willie’s face, and he could tell half of him was lost in a world of what-ifs and other questions. He was always trying to seem so easy-going, and to an extent he truly was, but he couldn’t hide the constant sense of upheaval that rested on his shoulders. At least, Alex was picking up on it more, now that he knew the things he did. He may have been biased, but he couldn’t imagine anyone not fighting their hardest to keep Willie.

Suddenly his gaze was drawn to the unfinished work on the desk, and recognized it as a portrait of himself.

“Wow.” The word fell out of his mouth.

“Oh,” Willie started with a hint of shyness. “Obviously that one isn’t done, so…” He reached to put it away.

“You got that far off of memory, though,” Alex said. “I’m impressed. And you make me look good.” He offered an encouraging smile. “Maybe some time today I could be a model for you?”

Willie cocked his eyebrow, surprise and playfulness making an adorable combination on his face. It made Alex’s smile grow wider.

“Well, we’ve got a whole day ahead,” Willie said. “Your wish is my command.”

“Okay,” Alex said, leaning onto his back foot casually, one side of his lip curling with intrigue. “Well, I wanna see where you go around here. You seem to have a knack for finding the best spots. We can play it by ear.”

“What’s that one song with the one phrase?” Willie asked. “‘Any way the wind blows?’” He sang shyly, clearly playing down what Alex could tell was a nice voice.

“Bohemian Rhapsody,” Alex smiled. Willie’s job at the record store was at least giving him a good taste in music. “Don’t worry, you’ll know everything about the classics once you hang out with me enough.”

An emotion flashed in Willie’s eyes and after a moment Alex realized what those words were actually saying. He held his gaze, hoping he could communicate his intentions clearly, unlike the last time they’d seen each other. Willie swallowed, and his expression remained excited as he loaded his backpack and led them out the door, board in  hand. Alex followed him, deciding not to question which direction they were going.

First, they made a stop to buy a bunch of apples. In classic Willie fashion, he went to a bodega, and this time he communicated with the cashier in rough Spanish. Alex knew he was showing off, and smirked at the notion that Willie enjoyed impressing him.

“So what do we need these for?” Alex wondered as they left the bodega. “Besides a ton of apples for lunch.”

Willie’s secretive smile made Alex raise an eyebrow.

“It’s a surprise.”

A little while later, they stood before the most unlikely place in all of Los Angeles: a horse barn. Staring at the building as if it loomed fifty feet above him, hands in his pockets, Alex gulped and a lump of dread landed in the pit of his stomach.

“Oh no,” he muttered apprehensively.

“Oh yeah,” Willie said, turning to him with a thrilled grin on his face.

Alex wasn’t exactly afraid of horses...he just had no idea what to do around them and therefore was not sure what to expect from them. Also, he would’ve worn different pants if he’d known this was on the agenda.

“I promise, they’ve got some really chill horses,” Willie tried to ease his nerves. “I’ve gone on this trail enough times. Don’t worry, you’ll know everything about riding once you hang out with me enough.” He winked as he threw back Alex’s line with a sly smile.

Unable to argue, Alex shook his head and used the hand in his pocket to gesture forward, signaling to Willie he was up to the challenge. He watched him practically skip inside and he had to jog to keep up after him. They signed in and then were led to two stalls.

Willie immediately gravitated toward a tall golden-colored mustang stallion with a dark mane, apparently both already familiar and happy to see each other. Alex watched him gently greet and essentially coo at it while comfortably stroking its nose and then feeding it an apple. He longed to have that sort of talent with other creatures, and simultaneously realized that he yearned to receive that same tenderness.

Once the horses were tacked up and one of the instructors had given Alex some brief pointers on how to ride, he found himself following Willie on a trail while mounted on a painted mare. The only philosophy he could adopt out here was to be gentle and not get lost.

“Not so bad, your majesty,” Willie called over to him.

An extremely nervous laugh elicited from Alex’s throat involuntarily, only making Willie laugh in return. Alex rode a little closer so they were nearly side by side on the trail.

“I’ve been here once,” he said. “I think I was about twelve? My mom thought that it would make me change my mind about taking ballet classes. We rode for maybe fifteen minutes before I got so nervous we had to turn back around and go home. Never made it through the full trail.”

“Man, that sucks,” Willie commented. “I didn’t know you did ballet.”

“Yeah, that and a few other types of dance. I was forced to quit a little couple years ago. That’s about when we got serious as a band, so I just found something else to bother my parents with.”

He could see the gears click into place as Willie came to a few conclusions about his parents and gave an emphatic nod.

“Well, I’ve always wanted to learn how to dance. That was the one thing Caleb had promised to teach me. He’s the worst, but he definitely knows how to dance.”

Suddenly, Alex remembered watching Caleb’s movements when he’d served him and the boys at the diner. Of course he could dance; everything had been fluid and smooth. All he could say to that thought was “huh,” at first. Then after a few moments: “I’ll have to teach you one of these days then.”

Willie’s eyes crinkled at the corners, happy at the prospect.

“Yeah, okay! Add that to our to-do list.”

Alex chuckled. They had a to-do list now. He bit his lip as he continued following Willie along the trail. It was a gorgeous day and in this area the sky was so clear compared to further inside the city. Greatly contrasting his experience from years ago, Alex felt himself become much more at ease and felt confident enough to take greater control of his horse. Willie pulled out his camera and snapped a few scenic photos every once in a while.

Eventually, they stopped at an outlook and Alex had to take in an awed breath. The view was clear for miles all around them. Green hills spanned the landscape in every direction with patches of city speckled in between. Even the ocean line was visible from there. How did Willie know how to find these?

“Hey, Alex!” Willie called, lifting his camera. “Say cheese!”

Turning to face him, Alex flashed a genuine smile as Willie captured him atop his horse against the scenery. He was usually pretty camera shy, but this time he really didn’t mind. Keeping memories like this actually felt important to him, unlike the many times he’d been forced to pose with his family at functions he’d also been made to attend. Those occasions had always felt so insincere - less about enjoying the memory and more about trying to prove their status as the polished, functional family everyone aspired to.

He saw Willie dismount for a moment and stretch his legs. Gripping the reins and looking around in uncertainty, Alex realized he’d gotten on before ensuring he could properly get off. Thankfully, Willie noticed and came up to him, hands raised.

“Okay, so just...carefully lift your foot out of the stirrup and swing your leg over toward me,” he instructed. Sucking in a breath hesitantly, Alex did as he said. “Alright, then...here.” Willie offered a hand for Alex to grab so he could slide off with ease. Landing on the ground, he leaned into Willie to gain his balance, and felt a congratulatory pat on his back. It took more restraint than Alex anticipated to not simply wrap his arms around him and sit like that for an indefinite amount of time. They had all day ahead of them; he didn’t need the sudden fear of losing him to derail things out of nowhere.

“Sorry if I look like a wimp about all this,” he said, letting go of his hand.

“Nah, don’t sweat it,” Willie assured him, shaking his head. “This is...this is new.”

His eyes seemed to take Alex in from head to toe and Alex could’ve sworn the charge in the air between them would buzz if they got closer, spark if they made contact. It was almost like that moment in front of Willie’s door the week before. For a few seconds they remained locked in that trance before Willie took hold of the horse’s reins and handed them to Alex.

“Technically this trail could take hours, but I’m guessing this isn’t all you’re interested in today,” he said. “What do you say we stretch our legs a bit and then ride back?”

Looking from the reins in his hand back to Willie, Alex nodded.

“Yeah, that sounds good.”

Opening his backpack, Willie handed him an apple and then bit down into one of his own. Taking a bite, it was one of the most refreshing apples Alex ever eaten. They walked the horses a little ways and tried to get good pictures of the different views around them. Alex asked to try his hand with the camera and get a few good shots of Willie. He didn’t consider himself a photographer, but he doubted when the photos got developed that they would turn out badly. The way Willie smiled made him seem like he was made of sunlight from the inside out.

As they rode back to the barn, Alex kept replaying those moments where he’d refrained from making a move over in his head. This had been strike two. If he continued on like this, he was going to hate himself for the rest of eternity, he was pretty sure. Was it some weird kind of side effect of the whole ‘Willie come back to life’ thing? Watching him affectionately say goodbye to his horse once they were ready to leave, Alex looked at his own horse and raised a tentative hand up to her nose.

The mare gazed back, patience gleaming in her eyes. He finally set his hand down on her nose and gently rubbed it up and down, smiling a little to himself. This wasn’t so bad. He could do this - it was just a matter of getting through all the barriers he made for himself in his head. Moving his hands from the horse’s nose, he stroked along her neck, and caught Willie smiling at him from the corner of his eye.

“You wanna try feeding her an apple?” he asked.

Thinking for a few seconds, Alex nodded. “Yeah, sure.”

Pulling one out of his backpack, Willie placed it in Alex’s palm.

“Alright, so hold it out in front of you like this…” He positioned Alex to offer the apple. “And keep your palm flat.”

Alex uncurled his fingers and after sniffing at it a little the mare ate it out of his hand. He could ignore the sensation of her mouth touching him because Willie still had his arm around his shoulder to hold him steady. They looked at each other, and Alex wished he could get a proper shot at Willie’s face at that angle with the camera.

“Looks like you’re gonna get the hang of this,” Willie commended.

Alex looked back up at the horse, a little bit of pride swelling in his chest. “Yeah, I think I will.”

Later, they went to the beach at Alex’s suggestion. He was perched on the surface of a picnic table, posed as if he were looking off into the distance. Willie sketched with great concentration, having taken his hair out of his braids so he could run his hand through it. The late afternoon sun brought out all the best color contrasts in their surroundings - one of the things Alex loved about coming to the beach at this time of day.

“So I have a question,” Alex started, trying not to move too much. His tendency to talk with his hands kept getting him in trouble.

“Shoot,” Willie prompted him, not looking up.

“Did Caleb let you go to school or anything? Or did he provide any sort of education at all?”

Squinting, Willie looked thoughtful for a moment.

“So, after the accident, he told me that I’d had to be taken out of school,” he began, continuing to sketch. “Which makes sense, I guess, if I forgot everything. I remember some basic things, like math wasn’t hard to pick up again. Once I was recovered enough to go places, he just let me go to the public library and find whatever I wanted to read. But he always insisted on not having reminders of who I was before and said it was supposed to be helping me ‘become my own person’. He got rid of things like my school yearbooks and old journals and things. I didn’t think anything of it at first because he’d just called it useless clutter and I believed him. As soon as he decided I was fit enough to work in the diner and help out at the hotel, he told me to forget about school. Anything else I picked up was from watching TV, or listening to the radio, or something. Sometimes I’ll just remember I know something after hearing about it and it’s like it was just always there.”

Listening intently, Alex marveled at the whole thing. The fact that Caleb was not only negligent, but actively discouraging Willie from knowing anything, made him wish he could take down the man’s whole career. However, he figured Willie probably had a lot of his intelligence still untapped. If he’d been able to get away from Caleb and somehow create a life for himself in the span of a few months, Alex wondered what else he was capable of.

“What’s something you remember?” he wondered.

“I guess I used to be really obsessed with space. Just planets and stars and all that. I can spout off facts about Jupiter’s moons and stuff like that. Did you know that the moon Europa has a saltwater ocean under a layer of ice?”

Alex shook his head. “No, I didn’t. That sounds really cool though.” He thought of the stickers on Willie’s ceiling and smirked a little before reassuming his pose.

“I sort of wish I could remember being in school,” Willie was saying. “Everyone else seems to just share all of those memories and understand each other that way.”

Alex saw his brow furrow, and could tell he felt left out. He pondered on his own experience growing up in public school. There was almost no other way he would’ve met Luke, Bobby and Reggie if they hadn’t all attended the same schools. While he could easily critique and complain about it to no end, he knew it was a privilege.

“School is definitely hard,” he told Willie. “But I did get my friends out of it, and I guess that makes up for it. If it’s any consolation, you could just complain about Caleb like he was your horrible English teacher who thought he knew more about the subject of your essay, but you cited all of your sources and they proved him completely wrong.”

Willie laughed. “Why? Did that happen to you?”

Alex bobbed his head from side to side and feigned looking thoughtful . “Maybe.”

“I kind of like reducing him to a loser English teacher. He just sounds petty and sad.”

“That’s high school,” Alex confirmed.

Leaning back from his work for a minute to take it all in, Willie brushed a hand through his hair.

“Here, you wanna take a look at it?” he said. Alex hopped off the table and went to stand over Willie’s shoulder at the drawing and was immediately rendered speechless. The detail was impeccable, but Alex was more impressed by the feeling he got looking at it. Willie had managed to make him appear...handsome, and pensive, and fascinating, like anyone else could look at him and create a million unique ideas of who he was. However, it wasn’t anyone else looking at him, it was Willie, and what he’d captured felt like the truth. Alex couldn’t really explain what that meant, only that it was an honest representation.

“Okay, I know I said the one back at your place made me look good, but this is...this is unreal.”

He could see Willie trying to be modest, but the corners of his lips couldn’t stay down. Funny enough, he appeared even more unable to find words, and simply beamed as he looked back and forth between his sketch and Alex’s face.

A sudden impulse came over Alex, and he kicked off his shoes and pulled his shirt over his head, dropping it on top of Willie’s skateboard and backpack. Willie sat looking flustered for a moment.

“Wanna swim?” Alex nodded toward the waves, bidding Willie to follow. He didn’t wait for him to catch up as he immediately began running into the waves up to his knees. Alex knew his pants would be even more ruined the second he hit the salty water, but he didn’t care. Now the sun was beginning to set and the chill of the waves was refreshing, and he couldn’t express what he felt just then in any other way.

Willie tackled him from behind, climbing onto his back and nearly knocking him over into the shallow tide. Clambering back to his feet, Alex splashed water at him. They began a playful water fight back and forth, until they were both drenched. Eventually, Alex tried to catch hold of both Willie’s hands in an attempt to prevent being splashed anymore. He had the advantage of longer arms, but before he could get a tight hold of the second arm Willie’s leg swept under his and they both fell just as a large wave washed over them.

As the water pulled back, they sat in the sand in a tangle, laughing. All Alex could think of was how pretty Willie was in this light, hair swept back off his face with tendrils resting over his shoulders, sun gleaming in his eyes and constantly shining from the inside out. The laughter died between them and he caught a look in Willie’s eye that made him wonder if he appeared to him to be just as perfect in that moment.

This time his mind and body worked in sync as he lifted a hand and gently pulled Willie into a short, tender kiss. All the self-flagellation from earlier was washed away in one pure moment, and exhilaration moved into its place. It felt soft and sweet, just the way he expected it should. Just as quickly as he’d let go, Willie went in for another one, a little longer and a little deeper. One hand remained caressing his cheek while the other wrapped around his upper back. Alex couldn’t help smiling into another kiss; he was too happy to care about anything else. Hardly a week ago, this had been impossible.

As they let go, their hands came together and they looked into each other's eyes, both releasing a relieved chuckle. Willie looked at the rest of the beach behind them and Alex’s eyes followed, but at this hour there were too few people around and no one paying attention to them. Turning back to Alex, Willie sighed and shook his head with a smile.

“Wow,” was all he said, biting his lip.

“Yeah, I’d definitely do that again,” Alex smirked, until the joy in his chest converted it into a full grin.

A wave washed over them again and they both stood, shaking out their hair and trying to wipe off whatever sand they could. Heading back up the beach, Willie grabbed Alex’s hand so they could make their way up together. The sun was nearly set but Alex was sure it had just gone into his chest, bursting with excitement. Once they reached the picnic table, they gathered their things and Willie offered to carry Alex’s shirt inside his backpack on the way home. Thank goodness there were a few patches of grass so Alex could try to get a little more sand off his feet before putting his shoes back on.

“So how long have you been sitting on that?” Willie teased as he slung his backpack over his shoulder and they left the beach.

“Shut up,” Alex laughed, knowing he was being called out.

“No, really!” Willie bumped his side jokingly. “I want to know!”

Tilting his head back to try to remember, it didn’t take Alex long to give him the answer.

“Since day one,” he told him.

Surprise swept over Willie’s face as he looked at Alex.

“Seriously?” he asked.

Alex nodded.

“Me too.”

It was Alex’s turn to look surprised. Without saying another word, he took Willie’s hand in his and then kissed it before continuing back toward his place. The whole way they talked about all the different things they needed to do together in the future. Riding on more horse trails, dancing lessons, skating lessons, art modeling sessions, going to band practices and gigs, visiting the record store while Willie wasn’t working, etc. They both agreed that the entire day technically counted as a date, and all further plans would as well. Alex was reminded once again that he didn’t have a notebook to write things down in, and vowed to have one for the next time he saw Willie. Once they reached Willie’s door, they had already put their shirts back on and it was completely dark outside.

“Are you free any time next week?” Willie asked, still holding onto Alex’s hand.

“I wish I could say yes, but probably not. And as much as I’d love to give you my number, it’s really not the best idea.”

“Well, I could give you mine,” Willie said.

Alex shot him a confused look. Holding up a finger, Willie dug into his backpack until he found his sketchbook and tore off the corner of a page, quickly scribbling one down and handing it to Alex.

“It’s actually the one for work,” he said. “But if it’s what we can do for now, I’ll do it. Kyle won’t care.”

Looking at it for a minute and then stashing it in his now-dry pocket, Alex took hold of Willie’s chin and went to kiss him again. It was really hard to stop, but they soon broke apart.

“I gotta go,” Alex murmured.

Willie only nodded, squeezing his hand before letting go and slipping his own into his pocket.

“I’ll call you.”

“Okay.”

“Goodnight.”

“Goodnight.”

Once again heading up the short set of stairs to the sidewalk, Alex rubbed his lips together, relishing in the taste of what he and Willie had just done. He couldn’t imagine anything sweeter.

[smokeybrandreviews]

Smokey brand Movie Reviews: Stop, It's Already Dead

I’ve been trying to watch Army of the Dead since it came out but every time i start, i end of bailing on it because it’s trash. Yeah, that’s it. This movie is trash. You can literally stop reading this review right now because that’s the verdict. Army of the Dead is shallow, inconsequential, zombie murder porn wit that trademark Zack Snyder, edgelord, spice. It’s f*cking ridiculous and i hated every minute of it. That’s it. That’s the review. Don’t watch this rancid spooge. Now, if you want to know why i hated it so much, read on. But it really is one of the worst things i have seen all year.

The Adequate

Dave Batista works magic with the material on hand. Zack Snyder isn’t know for having emotional bite or a realistic edge to any of the characters in his films but Batista was able to hone in on something and does a decent job of letting me tolerate this clusterf*ck. His Scott Ward is easily the best thing about this flick.

The carnage displayed while the opening credits rolled was almost as dope as Zombieland and i appreciated that. Literally the only time during the film where i didn’t feel like someone was standing on my sack and twisting.

Also, Hiroyuki Sanada is in this. I don’t know the name of his character and i don’t care i just genuinely enjoy Sanada’s work. He is an excellent actor and, similarly to Ken Watanabe, makes everything he’s in better, regardless of his role’s size or relevance.

The integration of Tig Notaro was kind of seamless. That sh*t was surprising because every one of her scenes was added in post. She had no interaction with any of the cast, not even in pick-ups. That’s just her, in front of a green screen, talking to herself. Of course, there are scenes where that is very apparent but the fact she was even able to replaces an entire actor wrapped month beforehand, is kind of a miracle and testament to the absurd technical skill Snyder wields as movie maker.

The Horrid

Zack Snyder. Literally everything i am about to unload, is Zack Snyder’s fault. This “film” is pure Zack Snyder. More so than the Snyder cut of Justice League. More so than BvS. Even more than f*cking Sucker Punch. Netflix gave this man a bunch of money and told he to go “create” and, to his credit, Snyder did just that. Unfortunately, he created hot dumpster water topped with soggy diarrhea.

Seriously, everything i have a problem with, has Zack Snyder’s name on it. He was the director, the writer, the screenplay writer, AND the f*cking cinematographer. What the f*ck, dude? Like, you want to be an auteur director, fine. Be good at it. Be good at movies if you’re trying to wear all of those hats. Zack, as a filmmaker, is bad at ALL of them. At best, he’s pedestrian, so doing all of that, just infuses abject mediocrity throughout this movie and it shows.

I’ve seen a lot of cats haring of Snyder’s depth of field choices but I'll take it one step further; What the f*ck was up with the shot composition as a whole, in this film? It was bad! All of it was so bad! There was no substance, no dynamism in the camerawork or the way the shots were set up. I’m not going to sit here and say it was just a bunch of static work, like how someone would film a play for theatrical exhibition, but it wasn’t that much better. I was watching this sh*t and thought to myself, “Hamilton had better camera work than this. F*ck.”

The whole ass plot is paper thing. I’m watching these first few minutes and it’s readily apparent that the guv’ment knows zombies be doing a zombie and Vegas is lost. Why the f*ck didn’t they nuke that motherf*cker off the face of the earth. Straight up Raccoon City that b*tch. There is nothing, no plot contrivance or mental gymnastics that could make believe that Las Vegas wouldn’t have been scrubbed off the map, within a week of this outbreak. Not after seeing actual paratroopers floating in to their deaths and straight up napalm strikes on the Strip. Why did anyone think building a fence out of shipping containers was a good long term option for containment! And that’s literally just in the opening credits! It gets worse as the flick progresses, man! The actual plot is trash!

Now, the actual premise? Interesting. It could have been interesting. But then Zack Snyder snyder’ed it up with the f*cking execution. Look, in order to write a great zombie flick, you need a strong human element. That’s where the audience is going to focus. They’re going to try and find the humanity in a sea of despair. Every great Zombie flick has a laughably strong lead and fantastic supporting characters you come to care about, usually withing the first act. 28 Days later is a fantastic example of how to execute your Zombie disaster apocalypse. You do not give a sh*t about any of the characters in Army. Snyder tries with Batista, thus the father-daughter relationship, but that cliche sh*t was cookie cutter from a whole different movie, which I'm going to get into next...

Army of the Dead is Aliens. It’s just a popularization of Aliens. It’s the same f*cking movie, but worse. There are shot-for-shot recreations in this movie, with just enough changed so Snyder won’t get sued. Just, off the top of my head, the ending. It’s exactly the same as f*cking Aliens! Literally the same goddamn ending! Heroes survive a gauntlet of monsters, rush to the top of or roof. Pilot of escape flying contraption kissing. Hero curses pilot of said whirly dervish. Queen Alien or Zombie King shows up. Pilot returns at the last minute to save survivors. Same. F*cking. Scene. And that’s just one. There are SO many in this thing you’d think Snyder watched Aliens everyday on set and just stole sh*t from that flick to add to his. It’s real bad. Real f*cking bad, man. which exasperates my next point...

This movie is f*cking boring. i was bored. If you’re stealing the entirety of Aliens, how do you f*ck that it up so bad? The same movie, which thrilled and entertained me thirty years ago, sh*t the bed so hard, today, and i don’t know how that happened. It’s infuriating when i think about it for too long. Speaking of long...

Why the f*ck is this anal prolapse, two and half hours long?? Why did you need this much movie to tell so little story? Seriously, how the f*ck is there this much run time yet, no actual f*cking characters outside of whatever the f*ck Batista was able to save with his sheer screen presence? How do you have all of this time and still not craft a character in which to invest?? In a f*cking Zombie movie?!

Also, he hired a rapist.

The Verdict

This movie sucks. For all of the reasons outlined above. I told you that in the beginning. You didn’t have to rad this far. You knew i hated this movie within the first sentence. This sh*t was a waste of my life. Batista is good in it and that sh* Snyder did with Tig was pretty cool, but everything else is bad. All of it. None of this movie is good. It was boring. It wasn’t entertaining. There are no characters. The plot is dumb. The execution is worse. The run time is absurd. Did i mention how bored i was? Army of the Dead is garbage. This is a bad movie. This is what you get when you just let Zack Snyder do whatever the f*ck he wants with no limits or boundaries. Snyder is bad at movies and he keeps proving it. I have no idea why people keep giving this obvious fraud work.

[promosfree576]

Bankroll For $25 Blackjack

on

Bankroll For $25 Blackjack Free

Bankroll For $25 Blackjack Online

Bankroll For $25 Blackjack Game

Proper bankroll management is one of the most commonly overlooked aspects of blackjack. It’s unfortunate because almost all casino blackjack players could greatly benefit from some basic bankroll management.

Let’s look at how to build and maintain a healthy blackjack bankroll.

What Is a Blackjack Bankroll?

So, what is a blackjack bankroll?

Here are some tips for building and maintaining a healthy blackjack bankroll even if you’re new to the game. Blackjack on the Vegas Strip ain’t what it used to be. Sure, it’s the most played game in casinos. There are more blackjack tables on the Vegas Strip than any other game. According to the Nevada Gaming Control Board, there were 1,196 blackjack tables on the Vegas Strip as of December 2019.That’s slightly more than 40% of the 2,850 table games in the tourist corridor. Applying the proper blackjack bankroll management system can make all the difference between having an enjoyable playing session or a disappointing playing session where at the end of it you are playing with limited money and you are unable to split hands or double up simply because you do not have enough money to cover the extra bets.

Your blackjack bankroll or gambling bankroll is money that you have specifically set aside for the purposes of gambling. In this instance, it’s specifically for playing real money blackjack.

It’s important to eliminate any notion that extra cash sitting in your bank account for incidentals or any funds that aren’t expressly set aside for playing blackjack are part of your blackjack bankroll.

Your bankroll needs to be set aside completely. Many gamblers will open a separate bank account that is only for their gambling bankroll.

There are plenty of 3:2 blackjack games in downtown Las Vegas. Many of those games have a minimum wager under $25. When you head over to the Vegas Strip there are more casinos but there might be fewer 3:2 blackjack games with a minimum wager under $25 available. $25 limits are important for most recreational gamblers. In their pursuit of learning perfect blackjack strategy, some players often neglect to cover bankroll management. But just like with any other casino game, blackjack bankroll management is extremely important, and something that players should definitely study extensively.

Others put the money in a jar or bank bag and stuff it in a closet or bury it in their yard. I’m not sure where they put it, but it’s probably best off in the bank.

Having your gambling bankroll in a bank will make it much easier to view from your mobile app and quickly transfer funds into the bankroll on whatever schedule you set.

This also eliminates the urge to grab $50 out of your bankroll when you want to enjoy a round of golf or go out for drinks with friends. You may think never, but it can be rather easy to slowly dip into your blackjack bankroll when Amazon blasts you with Facebook ads about whatever you happen to be thinking about. Cue The X-Files music.

It’s also important not to go the other direction. If you have $1000 in your bank account and $975 in bills coming due, you don’t have a blackjack bankroll.

I’ve seen too many gamblers push rent back a week or shuffle their bills to accommodate their gambling. If it’s not a problem immediately, it’s not far from being there.

Bankroll For $25 Blackjack Free

To reiterate, a blackjack bankroll is money that is expressly and unequivocally set aside for gambling purposes.

That’s not to say you shouldn’t dip into it if there’s an emergency. Like your power being turned off or no groceries in the house, but you should absolutely never go the other direction.

Useful Tips for Building a Blackjack Bankroll

Building a healthy blackjack bankroll takes time and careful consideration. The most disciplined gamblers take the proper steps in finding exactly how they can add money to their bankroll.

One of the best ways to quickly build a blackjack bankroll is to set up a deposit schedule for yourself. This schedule will be completely unique to you and your financial situation.

Most people are paid on a twice a month schedule. Hence, many gamblers will commit to adding to their bankroll every 2 weeks or 15 days.

Setting up your bankroll deposit schedule on your paydays is a great way to increase your blackjack bankroll steadily.

However, you may have significantly more bills coming up near the 1st of the month. In this case, it’ll be better to set up a once a month deposit schedule.

The important thing is to only put money into your bankroll that you can afford to lose on the casino floor.

Some players may not have extra money for varying reasons after all bills and living expenses are paid. It’s a common issue facing many Americans and isn’t unique to casino gamblers at all.

If you fall into this category or simply want to add more to your bankroll than your current salary allows, don’t fret. Getting a part-time job is perfect for earning extra cash.

I have a friend who’s still in school and was having a difficult time-saving money for an upcoming gambling trip.

He started working a few nights a week for one of the food delivery services, and in less than 2 months, he was able to save over $1500.

It wasn’t the massive wad of cash he had hoped to take with him, but he was able to bring almost all of it home.

He’s continued to grow on that initial nest egg, and it’s primed for his next casino adventure.

Why Many Players Lose

Most blackjack players lose because they aren’t playing the game correctly. They either refuse to play basic strategy or don’t know it exists.

Either way, learning to play blackjack with the proper strategy will be vital for maintaining a blackjack bankroll.

Players will often fall into a trap of playing way too many hands. On a typical blackjack table with 3 other players, you’ll be playing 40 hands per hour.

If you’re at a table with only 2 players, that number jumps to nearly double. When you’re playing twice as many hands per hour, you’re going to be losing faster.

For obvious reasons, this can have devastating effects on your blackjack bankroll.

You won’t be allowed to slow play the table in any respectable casino, nor will you necessarily be rushed. Still, take your time on each hand. You shouldn’t be in any hurry to get the game moving.

Try to find nearly full tables; you’ll be playing much fewer hands per hour, which will greatly extend your blackjack bankroll.

Setting alarms on your phone or smartwatch can be a brilliant way to remember to take breaks. These breaks will give you chances to take a breath away from the table.

Use this time to clear your head, use the restroom, grab a snack, or check your e-mail. It really doesn’t matter; it only matters that you don’t mindlessly play hand after hand.

Why Bankroll Management Is Vital

Bankroll management is vital because this is the single biggest factor in how much time you’ll be able to spend on the casino floor.

After you’ve built a solid gambling bankroll, you need to decide what denomination you will be playing in the casino. Let’s use my friend’s $1500 as an example.

For a 3-day trip, he had $1500, or $500 per day. Let’s say he wants to play for $25 per hand. We can assume he’ll be playing 40 hands per hour and, although he’s a basic strategy player, we’ll give him the standard 1%.

So, 40 hands at $25 per hand, he’s putting $1000 per hour in play. The house edge is going to take 1% or $10.

It’s clear to see that he’ll have no problems playing blackjack to his heart’s content. Even if he encounters an extended negative swing, his bankroll will carry him.

Knowing how much you can afford to play is probably one of the biggest keys to becoming a successful casino gambler. When you drain the bankroll to zero, you’re out of the game and forced to the sidelines until you build your blackjack bankroll back up.

You may have noticed that I immediately split his $1500 into 3 equal amounts, one for each day of his trip if you walk through the casino doors with a total of $500 for 3 days and decide to play for $50 per hand. You’ll likely be broke in under 4 hours and forced to spend 2 days at the pool.

Become a master of managing every aspect of your blackjack bankroll, and you’ll become a much more successful casino gambler.

Keys to Maintaining a Healthy Blackjack Bankroll

Now that I’ve walked you through the building and protecting your blackjack bankroll let’s look at some keys to take with you to the table.

After all, nothing will do your blackjack bankroll more good than actually winning on the tables.

Bankroll For $25 Blackjack Online

The best way to do that in blackjack is by playing the basic blackjack strategy on every single hand. When you play the game this way, you actually cut the house edge to only about 0.5%.

That makes blackjack one of the best games on the floor for the casino.

Basic strategy can be touted and promoted on and on, but I’ll leave it at the following. If you aren’t playing basic strategy, you’re leaving money on the table.

Paying close attention to the table rules can also be vital for your blackjack bankroll. Not all casinos are created equal, and neither are blackjack tables.

Some games will only pay 6:5 for a blackjack instead of the more standard 3:2. Anytime you see 6:5, you should run, not walk in your search for a different table.

The 6:5 blackjack is so bad that you’re better off playing craps, baccarat, roulette, or Pai Gow Poker than blackjack.

This is non-negotiable. It’s better to simply find another casino with better rules than playing on a table that pays 6:5 for a blackjack.

Conclusion

You must learn how to build and maintain a healthy blackjack bankroll. Taking the proper time and care in this initial step can put you on a lifelong success course.

Keep in mind that your blackjack bankroll will determine how much you can play in the casino and, ultimately, how much you can win.

Bankroll For $25 Blackjack Game

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[houseofglass]

Some thoughts on The Stand, 2021 version on Amazon Prime. There’s spoilers, but dammit the book was released ages ago so buckle up.

I haven’t finished the series yet, I have two episodes left. But this was burning my fingertips so I had to type it out.

I read The Stand by Stephen King back in the late ‘80′s. It was released in 1978 and re-released somewhere around 1990 as an ‘uncut’ edition. The editor had decided to trim the book so it could sell better. My mom looked at the uncut version and said, “If the editor cut 150,000 words, there’s probably a reason.” I agreed with her - Stephen King’s best work was his novellas, not his long novels.

A television series was released in 1994. I thought it was earlier because the character Randall Flagg has a mullet, but nope, IMDB tells me that the above date is correct.

I remember most of the details of the book and series, although the series helped me to see the final battle properly. King didn’t describe it in a way I could understand at all and was confused until the show came out. I felt similar when reading The Handmaid’s Tale. I had no idea what the costume looked like and those hats were nothing like what I imaged from Atwood’s work. I try to keep these examples in mind while writing my own novel.

So when this new iteration of The Stand appeared on my radar, I made a point of watching it. But, alas, there are some problems.

1. Nadine must remain a virgin until she can meet up with Randall. Really? It’s 2021. A person’s virtue is not determined by the use of equipment between their legs. How does remaining a virgin make someone virtuous? Why is she allowed to participate in any other sexual act but not penetration? And why does this only apply to women? Is a man’s virtue intact if he doesn’t insert his penis into someone? No! Why? This also tangles the issue of nonbinary people. What if a woman has a penis but hasn’t used it? Is she virtuous? If a man with a vagina hasn’t used the equipment, is he virtuous? Does this stem from the ancient, outdated idea that people with penises masturbate because they ‘can’t help it’ and people with vaginas don’t because they ‘can help it’?

This might have been okay in 1978, but that was 43 years ago. I need to pause here and clutch my aging heart because I can remember 1978. Whew! Okay. 

This virtue bit is core to the show because Nadine must carry Randall’s child. But I feel like this could’ve been tweaked to better represent the times. Especially since the book takes place in the future, not present.

2. Las Vegas features rampant sex. This, in and of itself, doesn’t bother me. I’ve watched Netflix and HBO. I’ve seen sex, both integral to the plot and gratuitous. What bothered me was twofold:

A) The sex featured was public (in a nightclub, but still public) and people wore what could be described as BDSM gear. Lots of belts, black leather, fishnet stockings, lingerie, that kind of thing. This bothered me because they’re portraying ‘nightclub sex’ as something that ‘sinners’ do.

These people are in Las Vegas, on Randall’s side, therefore are the antagonists to the plot. Randall represents the Devil, where Mother Abigail in Boulder represents God. So people who enjoy public sex in a safe environment are sinners? In 2021? Similar question, so people who enjoy BDSM are sinners? In 2021?

B) The implication that if this kind of sex is allowed in Las Vegas, it wouldn’t be in Boulder. There, people have ‘vanilla’ sex, right? Not much is featured, but what is (or what I noticed) was hetero sex. I don’t recall seeing any poly couples in Boulder, or same-sex couples there. Why not? If they are there, why aren’t they more obvious? I tend to notice and am thrilled whenever I see nonbinary people in relationships or two men holding hands, but I didn’t notice it in Boulder.

3. There's a whole lotta white people. Other skin tones were sprinkled in, but not in the quantity I’ve become accustomed to. Since the diversity rider appeared for Canadian shows, I’ve noticed a much wider range of actors and it’s been delightful. I love seeing a First Nations person played by a First Nations actor. I love that I’m shown wonderful hairstyles for kinky hair. I love the intermingling of skin tones in relationships. This has become so normal to me that when there’s too many white people I notice, and not in a good way.

Here’s a sticky point to consider too: if I can’t see the difference in tones because the overall filming filter makes everyone look similar, this is a bad thing.

The main cast of characters is fairly diverse, but the background extras are not. Are they trying to convey the idea that mostly white people survived this plague? That would be insane. If I strain my brain I can recall some extras being on the lighter side of dark tones, but why should I have to strain to remember that? And if my mind is remembering the sea of whiteness, why? Because I’ve set my brain to glance at the background to ensure there’s a nicely diverse crowd, that’s why.

4. The religious aspect is troublesome. Yes, I’m aware that the book was written with religion in mind. The whole story is good vs evil shown by God vs Devil using humanity. I get that. But the Christianity irked me. I’m not religious, but I do know there are more religions out there besides Christianity. None are represented, that I could see. Instead, these characters dream of Randall or Abigail and go to where they feel the greatest pull. Good people go to Abigail, bad people to Randall. And yes, this was fairly well represented by having selfish people go to Randall and those who want a community go to Abigail.

But this is also a problem. No matter how good or bad you are (or think you are), you can change. You can decide to be different. This show pigeonholes people in a way that rankled me, with the one exception of a main character, Harold. He didn’t dream of either person, and was neither good nor bad. He just hadn’t found ‘his people’. I could identify with this facet of his personality because I know my behaviour is weird for some and not normal enough for others. It’s been difficult, trying to fit in to workplaces and friend groups, and is a measure of my neurodiversity and mental illness.

So here’s Harold, trying to be good, but has had a lifetime of not fitting in and not being included. He’s tried and failed. His behaviour is shown as someone who ‘just doesn’t get it’, and people around him tolerate him more than enjoy his company. He tries to be bad, mostly because he’s angry at the world, but he’s also good at heart. When the plague hits, he travels with Nadine to Boulder and joins the body removal crew. He even makes a friend. This tentative, tenuous friendship is torpedoed when Nadine kills the guy.

Harold is neutral, but he discovered the world can be decent. Rather than resolve this and show that there’s a place for everyone, Harold is killed. This bothered me a lot because there are people out there who just need a friend, they need someone who understands them and wants to be around them. Everyone wants that, and some people are gifted with the natural ability to make friends, but some really aren’t. For them, they spend most of their time knowing they’re disliked but not knowing how to fix the problem, or if it can be fixed. Killing this character off felt like a cop-out.

Back to religion. Imagine that you’ve been dreaming of a kind woman named Abigail, so you go to her only to discover that your religion isn’t represented in the imagery, symbolism, or icons. Instead, it’s another religion, equally good, but not yours.

Oh my, also, Las Vegas has no religious imagery that I can recall off the top of my head. There’s no indication of religion other than people nailed to crosses as you enter the city. Does this mean that if you’re religious you’re good and if you’re not you’re bad? In 2021?

This entire debate could have been avoided by not using religion as a base. Yes, it’s faithful to the book to include this aspect, but like I’ve mentioned, it’s 2021 now. Rather than good vs bad = God vs Devil, why not have: people who want to try to live peacefully vs people who want to take over and rule the world? This would be effective when done well.

To conclude, overall the show is not bad. It resembles the book and previous television mini-series quite well. The storyline is a bit current, what with a plague and all, but a lot of it feels so dated that I cringed away from my screen while watching.

If you’ve made it this far, thanks for reading my rant.

[cybercrew]

The Hotel Hackers Are Hiding in the Remote Control Curtains

Three men dressed for business travel in jeans and dress shirts loaded backpacks into the trunk of a black coupe and wound their way through the center of a major European city. When they arrived at their hotel, they unloaded their luggage and waited giddily to pass through the revolving doors. They were checking into the hotel to hack it.

Hackers target financial institutions because that’s where the money is, and they target retail chains because that’s where people spend the money. Hotels might be a less obvious target, but they’re hacked almost as often because of the valuable data that passes through them, like credit cards and trade secrets. Thieves have targeted electronic door locks to burgle rooms and used malware attacks to log credit card swipes in real time. They’ve even used Wi-Fi to hijack hotels’ internal networks in search of corporate data. Just about all of the industry’s major players have reported breaches, including Hilton Worldwide Holdings, InterContinental Hotels Group, and Hyatt Hotels.

The group’s leader checked in at the front desk. One of his associates strolled along the length of the reception area, noting that the property used an outdated point-of-sale system, and another used a mobile app called Fing to scan for hidden networks. While they waited for the staff to finish preparing their room, the hackers took coffee on a terrace. They opened up the published code for the hotel website and exploited an outdated plug-in to compile a list of admin names.

Ultimately they were looking for a door. Sure, they could slip a thumb drive into the neglected register at the far end of the restaurant bar and log credit card numbers until somebody noticed the device. But they would rather find a way into the property management system, or PMS, which hotels use to take reservations, issue room keys, and store credit card data.

Better still would be to do what they did at a hotel in New York City. After plugging the internet cable from the room’s smart TV into a laptop, they got into the hotel’s PMS, which led to the chain’s corporate system. Emails Bloomberg Businessweek viewed show they gained access to credit card information for years’ worth of transactions across dozens of hotels.

If they had been crooks, the team would have sold the information on the black market, where a Visa with a high limit can go for about $20. These hackers, however, were good guys: IT consultants who were frustrated with their hospitality clients’ lax approach to security. To demonstrate the industry’s weaknesses, their leader arranged for a reporter to tag along on an audit of one of his clients’ hotels. The conditions: The hackers wouldn’t break into the personal devices of hotel guests, and neither the hotel, the city, nor the hackers could be named.

Once they got to their room, the hackers concentrated on finding the hotel’s internal network—the one used by staff, not the one guests use to stream pornography and FaceTime their families. In one famous example, hackers breached the internet-connected fish tank in the lobby of a Las Vegas casino and used that exploit to find a database of high rollers on the property’s internal network.

But this room was an older make, with a dumb TV, old phones, and a standard minibar, equipped with Heineken and Toblerone but no internet. Then one of the hackers started rooting around in the window frame. Nestled in a top corner was an internet port, designed to let guests open and close the curtains by remote control.

“This will be the way in,” the leader said.

How much of the responsibility for guarding electronic transmissions lies with hotels and how much with guests is “a nasty philosophical question,” says Mike Wilkinson, global director at Trustwave SpiderLabs. Mark Orlando, chief technology officer for cybersecurity at Raytheon IIS, advises corporate clients to avoid using personal devices altogether while on the road. That could mean requesting a loaner laptop or buying a burner phone. Even ordinary travelers should use virtual private networks to connect to the internet when outside the U.S., he says.

But no amount of personal digital security could have saved travelers from the massive attack Marriott International Inc. discovered last year. In early September 2018, an automated security tool flagged a suspicious query in the reservation database for Starwood Hotels & Resorts Worldwide Inc., a company Marriott had acquired two years earlier. In the weeks that followed, security investigators discovered a remote access trojan (RAT), software that lets hackers take control of a target computer, as well as another piece of malware that scours computer memory for usernames and passwords.

Clues left behind by the digital trespassers suggest they made off with as many as 383 million guest records, as well as more than 5 million unencrypted passport numbers and more than 9 million encrypted payment cards. Marriott hasn’t found any evidence of customer data showing up on dark-web marketplaces, CEO Arne Sorenson told a Senate committee hearing in March. That sounds like good news but may actually be bad. The lack of commercial intent indicated to security experts that the hack was carried out by a government, which might use the data to extrapolate information about politicians, intelligence assets, and business leaders.

“From an intelligence standpoint, there are some real advantages to understanding where high-profile people are going to be ahead of time,” says Gates Marshall, director of cyber services at CompliancePoint Inc., whose consulting clients include airports. “There’s a market for travel itineraries. It’s not a commercial market, it’s more of a geopolitical one.”

Sorenson has said he doesn’t know who’s responsible for the attack—and likely never will. Others have been more willing to point the finger, including U.S. Secretary of State Mike Pompeo, who attributed the hack to China in an interview with Fox & Friends in December.

Hospitality companies long saw technology as antithetical to the human touch that represented good service. The industry’s admirable habit of promoting from the bottom up means it’s not uncommon to find IT executives who started their careers toting luggage. Former bellboys might understand how a hotel works better than a software engineer, but that doesn’t mean they understand network architecture.

There’s also a structural issue. Companies such as Marriott and Hilton are responsible for securing brand-wide databases that store reservations and loyalty program information. But the task of protecting the electronic locks or guest Wi-Fi at an individual property falls on the investors who own the hotels. Many of them operate on thin margins and would rather spend money on things their customers actually see, such as new carpeting or state-of-the-art televisions.

The result is a messy technological ecosystem that runs on old software. Many hotels use Opera, sold by Oracle Corp., as their PMS. A common version was designed for a legacy Windows operating system, and directs users to disable security features to make the software work. An instruction manual for the software starts with a step-by-step guide on how to lower your defenses: First, turn off data execution prevention, a feature that protects system memory from malicious code. Next, deactivate user account control, making it easier for hackers to gain administrator privileges. Finally, disable Windows Firewall. Now you’re ready to book reservations and take credit card payments. (Oracle’s security guide advises users to “harden” their operating systems after installation.)

Even worse, many hotels put their PMS online, letting hackers break in from thousands of miles away. Joshua Motta, CEO of cyber insurer Coalition Inc., ran a search of the admin page used to support Opera online and found 1,300 instances of the application running on the public internet, from Newfoundland to the Maldives. “All of a sudden your system is only as secure as a username and password,” Motta says, “which hackers have repeatedly shown isn’t terribly effective.” “Customers are encouraged to upgrade their systems and software to the most recent version to provide the highest level of security measures available,” says Oracle spokeswoman Deborah Hellinger.

While hotels are struggling with basic cybersecurity, they’re building massive databases of personal behavior. One of the ironies of the Marriott breach is that the company acquired Starwood because Sorenson thought adding its popular loyalty program and fancy hotels would give him a moat against digital middlemen, who seek to collect fees for helping travelers find hotel rooms. Marriott’s new heft would give customers more incentive to book directly with the company, cutting out Expedia, Booking.com, and other online travel agencies, as well as advertising giants Google and Facebook.

At some properties, hotel brands are already collecting data on what temperature you like your room and how you like your eggs, betting that knowing that stuff can translate into better service. Other kinds of customer data—the annual conferences you attend or the date of your wedding anniversary—are largely untapped marketing opportunities. Some companies are also experimenting with putting voice assistants in their rooms or using facial recognition to streamline check-in. Privacy issues abound, but even more mundane advances are fraught with trade-offs between convenience and security. It’s increasingly common for travelers to check in to a hotel from a mobile app, bypass the front desk, and get into their room by using their phone as an electronic key.

In an interview in June, Sorenson said that the hack had forced his company to take a harder look at how it manages cybersecurity, adopting forensic tools that it used in the wake of discovering the breach as part of its daily security hygiene. He also argued that privacy issues are manageable.

“The information that we want and you may want us to have, that allows us to better serve you, is often not that sensitive,” he said. “The fact that you like feather pillows, or a low floor, or a high floor. Now it is personal. But we’re not collecting information about which man or woman you show up in our hotel with and whether one’s a spouse and one’s not.”

The internet-connected drapery hadn’t led the hackers into the hotel PMS, but it did set the team on a frenzied search for other connections. One hacker dragged a chair into the vestibule and balanced on the arms, the better to lift a mahogany ceiling panel. Another found an internet port in the ceiling of the walk-in closet. Only one problem: No one had brought a 10-foot cord.

“We should call housekeeping and ask for a ladder,” one of them said. “We’re trying to hack into your network,” he joked. “Can I have a ladder? Of course, sir. Is there anything else I can do for you? ” Instead, they balanced an ironing board on an ottoman, rested a laptop on top of it all, and plugged in, using a network scanner tool to search for IP addresses that looked as if they could be hosting the PMS.

While they waited to find a signal, they took stock of the failures and successes of the hotel’s defenses. All things told, the security was better than the team expected, but it was still disconcertingly porous given the presumption of safety most guests think they have inside a hotel. If they were actually trying to breach the network, they would have tried to crack the hotel staff’s accounts to try to take control of the hotel website. At a minimum, it would have let them collect credit card info from every new booking. Before they’d checked in to their room, the leader had used his phone’s hotspot to create a new Wi-Fi network, naming it after the hotel. Within minutes, six devices had joined his spoofed network, exposing their internet activity to the hackers. (If he really wanted to go after guests, he would have used a device called a Wi-Fi pineapple to automate the process.)

It wasn’t all bad. When one of the hackers asked a waitress to charge his phone, she went out of her way to plug the device into a wall charger instead of her computer. More important, the hotel’s internal network was well protected.

Impatient to speed up the process, the team leader called his office and had a colleague look up the correct IP range for the hotel network. The PMS, however, didn’t respond. The door was locked.

But then another door opened. One of the hackers used a kind of attack called a distributed denial of service to kick a guest device, “Jamie’s iPad,” off the hotel Wi-Fi. That could have been the prelude to tricking her iPad into joining the spoofed network, and snooping on her communications. On the bright side, the hackers might never find out what Jamie likes for breakfast.

Source code: BY PATRICK CLARK 

Back doors to your personal data can be found in everything from smart fish tanks to Wi-Fi pineapples.

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~R@@T @CCE$$~

[betsynagler]

Tired of Being Treated Differently

In 1996, my best friend from high school invited me to go on a two-week cross-country trip with her and three of her friends — which turned out to be four for the first six days, when one of them decided to bring an extra person, until we dropped him off in California. I’d never driven across the country, and was excited to give it a try, so I said yes. It was an incredibly fun and also eye-opening experience, not only because it was my first visit to sites like the Grand Canyon, Las Vegas, and the Corn Palace, but because four of the people in the van — and once we dropped off our California-bound late-addition, everyone except for me — were people of color. How did this matter? Well, for starters, when we’d land in places like a fishing town on the Oregon Coast, and everyone would stare. As a fairly generic-looking white woman of 27, I was used to passing without a second glance in most of the places I’d been to that point (basically the States, Europe and Canada), certainly anywhere I’d been in the U.S. It very quickly became obvious to me that this wasn’t the case if you were were Black or Asian American, like the friends I was traveling with. Turned out there were parts of the country — and a lot more parts than I’d suspected — where you were going to get noticed, and not in a friendly way. But there was also stuff I learned on that trip that wasn’t as obvious. Like what it meant when we went out to lunch in a nice restaurant in Santa Fe and got terrible service. My impulse was to just chalk that up to the fact that we were all in our 20s and didn’t look like we had money — particularly after spending more than a week’s worth of nights either camping, sleeping on friends’ floors, or in Motel 6s (the night we splurged on the $40/night Excalibur in Vegas, it felt like we were staying at the Plaza). Because that was what I’d dealt with before. My friends, however, felt pretty strongly that the way we were being ignored and slighted had something to do with race, because they’d dealt with that before. And so, while it’s not like this had never occurred to me until then, that trip helped drive home in a tangible way that 1) my experience of going through the world was not the same as everyone else’s, and 2) that that body of experience, that history that each of us had, was going to lead us to view the same situations very differently.

These concepts weren’t hard for me to get, not just because I had friends of color, but because of what I’d been experiencing in my own life and career, starting with graduate school. Since moving to New York to become a filmmaker six years earlier, I’d often had this feeling that I was being treated differently, but in ways so hard to prove, even to myself, that I'd mostly just accepted it was all in my head. When guys I’d shot films for as a first year at NYU, who’d been really happy with my work, instead chose the same other guy to shoot for them in second year, I chalked it up to my not being “technical enough,” or not having the confident decisiveness to take charge of the set the way the DP was supposed to — until I realized that no women were shooting films for men at all, unless they were their girlfriends. When I arrived on professional sets, it started sinking in more and more that men really were always telling me to smile, or offering to “help” me with my job when their jobs were unrelated to mine and I hadn’t asked for their help, or treating me as an object of flirtation, even if they were my superiors. I eventually learned to handle all of that by being more tolerant, competent, and professional than they were, but what I had the hardest time with was what I cared about the most: sending out scripts, or soliciting constructive feedback from peers in writing workshops, and receiving constant rejection or rude/patronizing remarks. Okay sure, cruelty is considered par for the course in a business where success is so elusive and so coveted that people are just expected to accept all kinds of abuse — verbal, sexual, physical — in order to get somewhere. But that only makes it more infuriating when there are additional comments or obstacles that other people don’t seem to be dealing with. Like when I wrote a film about a friendship between two teenaged girls, and one of the men in my writing group couldn’t understand the point of the script unless they had a lesbian relationship. Or when I submitted a script to a production company and the coverage I received said that the reader had no interest in the story, which featured two female main characters and one love interest who was a man of color, until the second love interest, a white guy, showed up. Yeah, that's when things got good, he said. I was starting to see that I was stuck in a system where the white male arbiters of good and bad had all the power not just to decide whether my work was one or the other, but to define what the terms “good” and “bad” even meant. So it was easy for them to claim — and fully believe — that the failure of women to scale their ranks wasn’t due to our gender, it was due to their inability to master “the craft.” All they had to say was, “I couldn't get into the story,” or, “I didn't care about the characters,” and those were considered legitimate critiques based on merit, when of course there was way, way, way…basically everything more to it than that.

This is what makes unequal treatment such a hard thing to pinpoint: it has everything to do with who’s distinguishing and quantifying “good” and “bad” in an entrenched system. So it's only when you look at the big picture over time, quantified in data, and see the work of women and people of color highly underrepresented in nearly every area of the arts — music, painting, sculpture, literature, theater, cinema, etc — that you can see discrimination is happening because the system itself is fucked.

What I was going through wasn’t the same as what my friends from that trip were going through, not at all. Each of us is a different person. But we all knew that we were being treated differently, based on countless experiences we’d had that added up. And we knew, because we’d experienced that too, that the kind of discrimination we were dealing with was so insidious and damaging precisely because people who hadn’t faced it were going to scoff and chalk it up to something entirely innocuous, and say it didn’t even exist.

I was reminded of all this last weekend, when I watched the women’s final of the 2018 U.S. Open. I don’t think most people would say that Serena Williams behaved perfectly when she argued with umpire Carlos Ramos and then later broke her racket when she threw it down in anger. But the question is not whether she did something wrong, it’s whether she was treated differently. Of course you can say that Ramos was just following the rules, that she shouldn’t be getting special treatment because she’s the great Serena Williams, and that plenty of men have been penalized like she was — with articles like this jumping on opportunities to bring all of that up and say “What about…?” But if you dig a little deeper, you find way more examples of white men behaving worse in less important matches, even toward that same umpire, and not having him penalize them so severely as to ruin a tournament final for everyone involved. In other words, yes, there are rules, but if they aren’t applied in the same way across the board, we are back at “He said, she said,” and it's always the “He said” that comes first. Always.

The Whatabouters always say, “Why does everything have to be about race/sex?” Well, yeah, it’d be great not to have to talk about discrimination, but you can’t when it won’t leave you alone – even when you’re arguably the best athlete in the world. If you’re a woman and/or a person of color, your experience has told you that it nearly always is about that. It just is. Then the Whatabouters say, “Then you’re asking for special treatment when you break the rules.” Well, that’s because the rules, by which I mean all of the laws of this country dating back to the Constitution, were, from the very beginning, designed to treat women and people of color differently – creating a world in which the norm is special treatment for white men. Again, it just is.

And how often have our laws and rules that were not designed to be unfair been applied evenly and fairly? Let’s face it, the U.S. Open’s got nothing on the American justice system. Why do we refuse to recognize that when fallible people who do “bad” have to be punished, and when other fallible humans are doing the judging about how “bad” they are, there's going to be all sorts of bias and unequal treatment? If the recent news isn’t convincing to you, we’ve now got data to prove that Black people are much more likely to be on the receiving end of police violence; have been far more likely to receive the death penalty in capital cases; that crack users in the 80s, who were more often Black, received far stiffer sentences than white users of powdered cocaine; that Black people were far more likely be searched and arrested for possession of marijuana than white people (two of the reasons, in case you were wondering, why so many more people of color have been incarcerated en mass during the War on Drugs); and that Black schoolchildren are likely to be more severely punished, suspended, or even have the cops called on them than white children for the same transgressive behavior. 

And systems by which people are considered “good,” like at their jobs, and promoted? Again, completely dependent on the fallible judgments of those in power, so that only in the aggregate can we see how Black employees receive extra scrutiny from their bosses, Asian Americans are the least likely racial group to be promoted to management positions, women are punished and considered “bad” at their jobs for traits that are considered “good” in men, like ambition, speaking up, or doing too well in school; and how, of course, women of color are the least likely to be supported or promoted for equally good work.

I know what the Whatabouters are saying now: “Yes, people in the past were wrong, but now, moving forward, we’re the ones trying to treat everyone the same.” Um, really? We’re supposed to believe that? We’ve had this whole lifetime of experience that tells us otherwise, and you’re dismissing that, again? You’re claiming that, at long last, in this tennis match, or court of law, or screenwriting competition, or job review, or state senate, when it comes down to questions of “rules” and “fairness” and “objectivity,” we should continue to just trust the white guys? Yeah, right.

If you’ve been wondering why so many women and people of color are running for office this election season, well, here you go: we’re just sick of being treated differently. For a long time, we’ve trusted the white guys who say they’re going to fix things and finally respect our rights the same way they respect their own. Now we’re finally deciding that the only way things are going to change is for us to get in there and make the rules, and apply them ourselves.

Can you blame us?

[weekendwarriorblog]

The Weekend Warrior 9/10/21 - MALIGNANT, THE CARD COUNTER, TIFF 2021, LANGUAGE LESSONS, THE ALPINIST, EVERYBODY’S TALKING ABOUT JAMIE, FAUCI, and More!

Before we get to this week’s releases-- and there are a lot of them, though not necessarily wide releases -- I probably should mention that the Toronto International Film Festival (TIFF) is beginning this week up North across the board. I was unable to go in person, more due to the money than any worries about COVID. (Honestly, I have no idea what’s going on at the border right now between America and Canada, but I figured I better wait it out before attending TIFF in person… until I can actually afford it.)

This year’s TIFF offers a lot of premieres, most of them taking place in physical theaters in Toronto, such as Edgar Wright’s, Last Night in Soho, (which just premiered in Venice) and Universal’s musical, Dear Evan Hansen, as well as David Gordon Green’s horror sequel, Halloween Kills (which also just played in Venice oddly). Other movies playing TIFF include Jane Campion’s The Power of the Dog, and The Electrical Life of Louis Wain, both which star Benedict Cumberbatch. Mihael Peace's Encounter, starring Riz Ahmed and Octavia Spencer, and docs like Julia (as in "Child") and Attica. There’s even a doc about the Canadian rock band, Triumph! (I’m looking forward to that one.) Antoine Fuqua’s remake of the German film, The Guilty, starring TIFF regular Jake Gyllenhaal, will have its premiere, and many, many more. Too many to watch, let alone write about, but I’ll try to review a few of these over at Below the Line and maybe some here. (There are also lots of movies that premiered at Cannes in July that will play at TIFF, and some of those will also play at New York Film Festival later this month, which is where I’ll see them.)

A movie that I’ve been looking forward to for quite some time and is finally seeing the light of day is James Wan’s return to horror, MALIGNANT (Warner Bros.). Unfortunately, I don’t think I’ll have a chance to see this before Friday, which is a bit of a bummer, but I’ll look forward to seeing it with the common people in a theater. Because I’m looking forward to this movie so much, I haven’t even watched the latest trailer, so I really don’t know too much about it, which may be for the better.

Of course, you know Wan’s name from some of the most successful horror franchises of the past two decades, starting with Saw in 2004. After a few movies that didn’t do quite so well, Wan reteamed with his Saw collaborator Leigh Whannell for Insidious in 2010, which also did very well and created a similarly successful franchise. (Whannell would go on to direct the third movie in the series, the respectable sci-fi thriller Upgrade, and then he directed 2020’s The Invisible Man for Universal, which was also a substantial hit.) Meanwhile Wan went on to direct The Conjuring in 2013 and its 2016 sequel, The Conjuring 2, based on the true case files of supernatural investigators Ed and Lorraine Warren, played by regular Wan collaborator Patrick Wilson and Vera Farmiga. Both of those “Conjuring” movies opened with $40 million+, and you guessed it, they also led to hugely successful franchises for Warner Bros with spin-offs galore.

Although Wan has been making big studio mega-blockbusters like Furious 7 and Aquaman in recent years -- and he’s hard at work on a sequel to the latter -- Malignant is his return to horror after a whole five years, which certainly is exciting for horror fans and those who love Wan’s style of horror particularly.

One thing that’s become fairly obvious from writing about box office over the past couple decades is that horror movies are rarely sold on the names of their stars, although Wan has a fine lead in the form of Annabelle Wallis, who just so happened to have starred in the 2014 The Conjuring prequel called Annabelle, which did quite well. (No, she did not play the title doll Annabelle, if you haven't seen it.) And that’s about it. The fact that Wan can do whatever he wants these days, and he decides to return to the horror genre without stacking the deck with all sorts of name actor, is pretty impressive. Even Saw had bigger names actors like Carey Elwes and Danny Glover!

Although I don’t know much about Malignant, it’s definitely giving me vibes of Sam Raimi’s Drag Me To Hell, the horror master’s return to horror after making three “Spider-Man” movies. Although it’s well-loved by horror fans, it ended up opening with just $15.8 million in the summer of 2009. That’s a little daunting when you figure that Malignant is opening in September and in the second weekend of a huge blockbuster like Marvel’s Shang-Chi.

But there’s something else that’s been bugging me, as excited as I am to see the movie. I’ve been doing this a long time, and Warner Bros. has become almost legendary for screening all their movies in advance… every single one. I can maybe think of two examples of movies that didn’t get advance critics screenings. Malignant is screening for critics but only on Thursday night with an embargo Thursday at 10pm. That is not the move of a studio confident in a movie they’re releasing. Maybe it’s to avoid spoilers or maybe it’s ‘cause Malignant returns Wan to the craziness of the Insidious movies rather than the more commercial and mainstream horror of The Conjuring movies. I don’t know, cause I haven’t seen it, but I'm still gonna go see it on Friday night, ‘cause I like James and want to fully support his movie.

But that adds another layer of foreboding to the horror movie that will also be on HBO Max Friday, and it’ll be so easy for the curious to just hit “play” on their remote to watch it that way, which is what I think most people will do. Because of this, I’m struggling to find a way that Malignant makes more than $13 million, taking quite a distant second place to Shang-Chi in its second weekend.

Opening in roughly 500 theaters Friday is Paul Schrader’s THE CARD COUNTER (Focus Features), which stars Oscar Isaac as former prison inmate and professional gambler, “William Tell,” who drives around the casino circuit making money by playing blackjack and poker. He meets two people on his journey that changes the course of his path, the first being Tye Sheridan’s Cirk (Yes, with a “C”), a young man whose father ended up killing himself after serving time in military prison for crimes at Abu Ghraib. Tiffany Haddish plays La Lina, a woman who sees Will’s talent playing cards and wants to put him in her stable of players. The relationship between these three characters is what keeps the movie interesting even when there are only a few minor dramatic fireworks.

If there’s any doubt that Schrader, a significant Hollywood player in the ‘70s and ‘80s, is firing on all cylinders then The Card Counter confirms that 2017’s First Reformed was no fluke, as Schrader remains valid and important well into his 70s. Like First Reformed, this film features an undeniably solid performance from Isaac, who plays such a subdued character, an enigma who every so often truly explodes.

Sheridan's sheepish Cirk seems like an odd choice in road companion, although Haddish proves to be quite a counter (pun intended) to Isaac, as she seems far more comfortable in Will's world. Trying to understand Will and what he sees in Cirk and why he joins the World Poker Tour circuit despite wanting to remain anonymous is what keeps The Card Counter so invigorating. (One odd thing is that despite the title and the opening which literally teaches the viewer how to count cards while playing Blackjack, in most of the movie he’s actually playing poker.)

Folks who enjoy poker movies and the intricacies of Vegas and the gambling community in general should really enjoy The Card Counter for that aspect alone, but then there's the past of the main character, which ties into Abu Ghraib and the horrors of the tortures committed there. Some might feel that two decades after 9/11 isn't the best time to bring those crimes back to the forefront, but Schrader ably explores what it must have been like for the military torturers after they were convicted.

Few screenwriters and filmmakers could pull off what Schrader does in terms of combining these elements, as the story weaves itself through these very different worlds. Frequent Schrader collaborator, Willem Dafoe, takes on a smaller but still significant role as “Gordo,” Will’s commanding officer who trained him to torture. Even so, one of my favorite moments is a scene in a diner where Will performs a card trick for Cirk that would make the late Ricky Jay proud just adds to one's enjoyment.

I will say that I wasn’t as thrilled by the movie’s last ten minutes, as it feels like Schrader ran out of steam in terms of how to resolve all the pieces of a puzzle, leaving a couple pieces out before completion. Regardless, The Card Counter is a constantly compelling film that keeps you invested in the different characters’ behavior as things happen to and around them.

As far as box office, The Card Counter isn't getting a very wide release but with so many movies in the top 10 quickly dropping away leaving movies like Shang-Chi at the top, it should leave room for Schrader's film to inch its way into the top 10 and maybe even the top 5!

A movie I’m unlikely to see and know very little… okay… nothing… about is the faith-based SHOW ME THE FATHER (Sony/AFFIRM Films), which will open in about 1,000 theaters on Friday. Okay, fine, you twisted my arm, and I looked it up. This is a new documentary about fatherhood from the Kendrick Brothers, the duo behind faith-based hits like War Room, Courageous, and Fireproof. I've seen none of those movies, though I know all of them exceeded expectations, but this is also a doc, and those rarely do as well at the box office. I wish I could give you a definitive number for this, but something makes me think it won’t make more than $2 million, even if the religious right seem less worried about COVID and vaccines and wearing masks in movie theaters than everyone else. Expect it to end up in the bottom of the Top 10 with lots of confused movie writers not knowing what it is.

Kristen Bell and Kirby Howell-Baptiste (who have appeared both on The Good Place and in Veronica Mars together) co-star in the comedy QUEENPINS (STXfilms), which is being released straight to Cinemark Theaters on Friday and then it will be on Paramount+ on Sept. 30.

In the movie, based on a true story, Bell plays Connie Kominski, a suburban Phoenix housewife who thrills to saving money with coupons, hatches a scheme with her best friend JoJo (Howell-Baptiste) to sell coupons via mail, not realizing that what they’re doing is illegal as they rack up millions of dollars. Unfortunately, they have Paul Walter Hauser’s Loss Prevention Manager Ken Miller on their tail, and he teams with postal inspector Simon Kilmurry (Vince Vaughn) to try to catch them women trying to scam the supermarkets.

This movie, written and directed by Aron Gaudet and Gita Pullapilly, actually is based on a true story, but it took me a little while to get into it, and it definitely had its ups and downs. The first thing one has to get past is the fact that this is essentially a heist film that involves illicit coupons, and at first, Connie writing letters of complaint to companies comes across a bit like a Greenberg for middle-aged women. (Note: that film's star, Ben Stiller is one of the movie's exec. producers.) On the other hand, Kristen Bell tends to be great in this kind of role and you can tell she's worked with Ms. Howell-Baptiste from their organic chemistry as best friends. Joel McHale has a tougher time fitting in as Connie's husband Rick, but that actually works in this case. (A little trivia fact: McHale, Howell-Baptiste and Natalie Morales, whose directorial debut is reviewed below, all appeared in BenDavid Grabinski's Happily, as did Stephen Root, who has a small role in Queenpins.)

Queenpins eventually falls into a steadier pace with the introduction of Hauser's character and then bringing Vaughn into the mix, although the two of them have very little interaction with the two female leads, as the film instead cuts between the two duos. Hauser essentially seems to be playing a jokier version of Richard Jewell here, constantly trying to get more involved in the case and wanting to be deputized by Vaughn. The two of them work well together, and there's only one unfortunate scene involving… it's too disgusting to mention, but it's where the film needlessly delves into gross-out humor, and that's also where it falters.

As much as the law in this movie act like buffoons, the two ladies don't seem very much smarter, doing idiotic things like buying Lamborghinis and guns in order to "clean” the illicit money from the coupon-selling scam. Because of that, Queenpins gets sillier and sillier and feels less like any sort of possible true story as it goes along. The movie basically comes across like a less skilled version of Butter, but in that case, it was a movie that shouldn't have worked but did. In this case, it's the exact opposite.

Cinemark Theaters only has about 331 theaters across America, including a lot in Texas, California, and Ohio, but honestly, I don't think awareness is high enough for Queenpins for it to make much of a mark, but even if it makes less than a million, it could theoretically break into the top 10 this weekend, but I think it will fall just short.

The movies above are the only ones that may be going even remotely wide, so because of that, this weekend’s box office will look something like this with Shang-Chi remaining #1 with relative ease, Malignant taking a distant second, and Candyman and Free Guy fighting it out for #3.

1. Shang-Chi and the Legend of the Ten Rings (Marvel/Disney) - $33.5 million -56%

2. Malignant (Warner Bros.) - $13.6 million N/A

3. Candyman (Universal) - $4.8 million -53%

4. Free Guy (20th Century/Disney) - $4.5 million -42%

5. The Card Counter (Focus) - $2.2 million N/A

6. Jungle Cruise (Walt Disney Pictures) - $2.1 million -48%

7. Paw Patrol: The Movie (Paramount) - $2 million -50%

8. Show Me the Father (Sony/AFFIRM) - $2 million N/A

9. Don’t Breathe 2 (Sony/Screen Gems) - $2 million -30%

10. Respect (MGM) - $600,000 -57%

--- Queenpins (STXfilms) - $445,000 N/A

It was tough to pick a “Chosen One” this week, because there are a few decent films, but I had to go with Natalie Morales’ directorial debut, LANGUAGE LESSONS (Shout! Studios!), which she co-wrote and co-stars in with Mark Duplass. I saw it at SXSW back in March, and I loved it just as much a second time around, due to the simplicity of the premise and just how much Morales and her co-star do using similar Zoom technology we’ve all been using for the past 18 months. Duplass plays wealthy Californian Adam, whose husband buys him a series of Spanish lessons, given over Zoom by Morales’ character Cariño, who lives in Costa Rica.

You might think after over a year of mostly communicating with family and friends via Zoom, we’d be so sick of it that a movie that uses that as a conceit would be absolutely horrible, but maybe that’s why it’s easier to connect with what Morales and Duplass were attempting with this terrific piece of work. How these two people from different backgrounds interact begins slowly as might be the case while getting online language lessons from a new teacher. As they become more comfortable with each other, there’s more playfulness, as they begin to open up to each other. (Adam's Spanish teacher definitely has a dark side that comes out as things go along.)

I’m not sure if there was a lot of improvisation involved with the script as with some of the films Duplass did with the wonderful Lynn Shelton, but however they put this film together, it works in a similar way where it’s charming and funny, even during some of the more emotional moments. Because Duplass’ character is declared as gay fairly on, there's none of the attempts at making this some sort of meet-cute romance, as may have been the case with a studio movie. There's also never anything lascivious or creepy about their relationship, which makes some of the moments a little confounding, but ultimately, it all pays off.

Even though there’s a certain aspect of the movie that makes you want it to be kept organic and authentic-feeling, there is some gentle scoring by Gaby Moren that’s kept far behind the dialogue that does add something subliminal to the film.

Language Lessons is absolutely delightful -- definitely one of my favorite films of the year -- maybe because it thrives on its own simplicity by just having two actors doing what they do best.

Another great movie coming out in select theaters Friday is EVERYBODY’S TALKING ABOUT JAMIE (Amazon), starring Max Harwood as Jamie New, a fairly normal gay 16-year-old from Sheffield, England… other than the fact that he wants to be a drag queen. His mother Margaret (Sarah Lancashire) supports him, as does his best friend Pritti (Lauren Patel) but Jamie risks the ridicule and mocking and bullying of his entire Year 11 class as he proclaims his desire to attend prom in drag. This is the feature debut by Jonathan Butterell, a choreographer who directed the original stageplay.

I honestly wasn't really sure what to expect when I went to a theater to see this with a real audience. For one thing, I had no idea it was a musical. I had seen Max on some morning show talking about the movie and how it was based on the true story of Jamie Campbell, a British teen who wanted to be a drag queen, but I don’t remember him saying anything about singing or dancing. And the music and performances are all terrific, including all the young actors playing Jamie’s schoolmates, who have more than a few spectacular numbers to show off their own skills. (They’re kind of like the Greek chorus for the film.)

Harwood is exceedingly likeable, which is why he can carry this film, but it’s then an even bigger joy when Richard E. Grant shows up in a mentor role, as former drag queen “Loco Channel.” Grant has proven countless times he can do anything, and though his singing voice takes some adjusting to, it also leads to two absolutely amazing moments. Same with Lauren Patel and Sarah Lancashire, who each have numbers that would bring down the house on a Broadway stage but just gets the tears flowing as you’re watching on the screen. Sharon Horgan, who was just in the recent drama Together, plays more of the antagonist role as Jamie’s disapproving teacher, and her one number does not show that singing is one of her talents. (She does okay, and gets through it, at least.)

That aside, Everybody’s Talking About Jamie is a truly wonderful musical (and movie), one that took me quite by surprise, since I wasn't expecting something a bit more "Free to Be You and Me” (look it up). In fact, Harwood shines, and the cast around him does as well; the fact this musical was able to bring out so many emotions from me offers proof positive that it's a true winner.

Jamie is opening in select theaters this Friday, and then it will stream on Amazon Prime Video starting Sept. 17. I recommend going out and seeing it in a theater if it’s playing near you; it’s a real crowdpleaser, for sure.

Also launching on Amazon this Friday is the series, THE VOYEURS (Amazon), starring the terrific Sidney Sweeney (who many will know from Mike White’s The White Lotus on HBO Max) and Justice Smith as a young couple who move into a loft apartment in Downtown Montreal after which they become interested in the sex life of their neighbors across the street (played by Ben Hardy and Natash Liu Bordizzo).

I’ve really been looking forward to the action-thriller KATE (Netflix), starring Mary Elizabeth Winstead, who I love, so sue me. It also stars Woody Harrelson, who I’m also a fan of. Directed by Cedric Nicholas-Troyan (The Huntsman: Winter’s War), it has Winstead playing Kate, a kick-ass assassin who has 24 hours to get revenge on the man who tries to kill her, eventually teaming with the daughter of one of her targets. Harrelson plays her handler.

The fact that this movie, starring one of my favorite actresses playing an assassin and doing a bit more action than we've seen from Winstead in a while (Birds of Prey being an exception), comes so soon after The Protégé with Maggie Q may only be a coincidence, but whoever is making these movies clearly knows what I'm all about. This one also has a very tiny sci-fi angle as well, and much of it is set in Tokyo, so it has both those things going for it, too.

Is this Winstead's best role or movie? No, probably not, but it does show her versatility, the fact that she can do something like Scott Pilgrim and other types of genre, but also do serious drama, and this is much stronger a venture into a Japanese yakuza thriller by a Westerner than last week's Yakuza Princess. Much of that comes down to Winstead and Harrelson, who do a much better job selling even the weaker dialogue, because you can tell they're both taking it very seriously. Like Yakuza Princess (and Kill Bill, a model for both of them) Nicholas-Troyan leans heavily on his soundtrack and on some of the more stylish visuals, but at least this one offers other things beyond the constantly-circling camera in certain scenes.

Let's face it that watching Winstead taking part in some pretty impressive and violent fight and stunt sequences would probably be more than enough for me to enjoy this even, if there are moments that rip-off Kill Bill so obviously but again, better than other similar rip-offs. Eventually, Kate gets sidled with a young teen girl, Ani (Miku Martineau), the daughter of one of her victims, and that does take away from the "sole assassin” aspect but does give it more of the feel of The Professional. Maybe that would work better if Martineau didn’t seem much older than the teenager she was meant to be playing, which might be due to the fact that she swears more than Samuel L. Jackson. In some ways, Ani offers something more akin to Black Widow with a third act twist that few will see coming.

Ultimately, the movie works well as an action movie, if not slightly marred by its overuse of clichés. It probably will come as no surprise that I prefer seeing action movies like this on the biggest screen possible in a theater, and in fact, this did get a nominal theatrical run last week before streaming on Netflix Friday. Winstead's badassery does wonders at making sure that fans of her and the genre won't be disappointed by its few flaws.

Also hitting Netflix this week (today, in fact) is the doc BLOOD BROTHERS: MALCOLM X & MUHAMMAD ALI (Netflix), which has a fairly self-explanatory title. I haven't seen it yet.

A movie that people who liked the Oscar-winning Free Solo will also want to check out is Peter Mortimer and Nick Rosen’s THE ALPINIST (Red Bull Media/Roadside Attractions/Universal), a documentary about the 23-year-old solo mountain climber Marc-André Leclerc, whose amazing climbs were counterbalanced by his elusive behavior that kept him mostly under the radar for so many years.

This is a very different movie from Free Solo, though. That was about Alex Honnold's determination to make one singular climb, while Leclerc was already making just as many impressive climbs at a younger age. It's pretty obvious that Leclerc was destined to climb even bigger rock faces as Mortimer (whose previous film, The Dawn Wall, was sadly overlooked with all the push behind Free Solo) and Rosen finally catch up with him.

I don't really want to say too much more about the film or Leclerc, since it's best to learn about him through the movie and the amazing interviews compiled by the filmmaking duo. There's a good reason why mountain climbing continues to be of interest to the casual non-climbers like myself. Great films like The Alpinist find ways to glorify these amazing climbers without glossing over how dangerous mountain climbing can be as a sport or hobby.

The Alpinist had a Fathom Event on Tuesday night, but it will also be getting a moderately wide release in theaters through Roadside this Friday as well. You can read my interviews with the filmmakers over at Below the Line, too. Also, I mentioned another Universal doc, Under the Volcano, a few weeks back, and I have an interview with those filmmakers over at Below the Line, as well.

Another doc of note out this week is FAUCI (NatGeo Documentary/Magnolia) from directors John Hoffman and Janet Tobias, which looks at the life and career of NIH Director Dr. Anthony Fauci, but it doesn't deal with the last year and a half where Fauci's main focus was fighting COVID. No, this goes back to earlier in his career, to when he started at NIH, meeting, working with and eventually marrying his wife, Dr. Christine Grady. (Nope, I had no idea he was married either.)

More importantly, the movie follows Fauci's role in the discovery of HIV and AIDs and the conflicts between the government and protest groups like ACT UP who didn't think Fauci and the government did enough to help the gay community fight against AIDS and certainly not fast enough to make a difference.

Hoffman and Tobias’ doc has a fantastic interview with Fauci at its core that sometimes gets a little cutesy, but also allows him to talk candidly about his efforts in fighting disease, including the efforts to help fight Ebola in Africa where it was so debilitating for those who couldn't afford medicine that the USA had to step in.

But AIDS is really the crux of the film's exploration of Fauci's past achievements (and partial failures), and watching a younger Fauci talking to the AIDS activists in a rousing speech is one of the highlights, as is watching the present-day Fauci tearing up while talking about an AIDS patient who died.

I’ve always had a bit of a skewed perspective on epidemiologists and infectious disease doctors due to a few incidents when I was fighting cancer, and Fauci has annoyed me for the good part of the year by being so wishy-washy and negative towards movie theaters (which led to a full-year of closings in NYC with no major super-spreader cases since they reopened). But this documentary definitely helped change my mind about Fauci, maybe because the general public really never had a chance to meet or know him or his work before COVID hit.

Fauci is quite a fantastic doc in terms of shining the spotlight on a needlessly controversial figure who has been politicized despite having held his position through six administrations. I would definitely point someone to this doc if they still feel negatively towards the country’s top epidemiologist. It helps to humanize Fauci much like the RBG doc did for the late Supreme Court Justice.

Seriously, there are so many movies this week that there’s no way I’m gonna review everything, but you can read about a few of them below.

A music doc hitting New York on Friday and then opening in L.A. on Sept. 17 is Tom Surgals's FIRE MUSIC: The Story of Free Jazz (Submarine Deluxe), exec. produced by Nels Cline and Thurston Moore (who happens to be playing his first NYC show in a couple years this Sunday). It covers the free jazz movement of the '60s and '70s that produced the likes of Ornette Coleman, Cecil Taylor, Sun Ra, Albert Ayler, and John Coltrane. The movie features archival footage from the '60s jazz scene and interviews with key players, including critic Gary Giddins. I'm not going to review this, but it's pretty good, because I definitely had a phase when I was really into this type of jazz, basically all-improvisational with less structure than the jazz that uses charts and such. I know that a lot of people hate or misunderstand the musical style but it's quite stirring, as is Surgal's film. I do feel you'll already have to be a fan of the musical genre to enjoy the movie, though.

Hitting Apple TV+ on Friday is the filmed version of the Broadway musical, COME FROM AWAY (Apple TV+) -- similar to last year’s Hamilton and David Byrne’s American Utopia -- which is being released on the streamer to coincide with the 20th anniversary of 9/11, since the musical is loosely based on the events. It was filmed earlier this year, 14 months into the pandemic that shut down Broadway with a fully-masked audience watching Broadway’s first live performance since the shut-down. This is one of the MANY musicals on Broadway that I’ve never gotten around to seeing but it involves a town in Newfoundland, Canada where a plane lands on 9/11 as they’ve been diverted following the terrorist attack on the World Trade Center.

Claire Lewins’ doc THE WONDERFUL: STORIES FROM THE SPACE STATION (Dog Star Films/Universal Home Entertainment) features footage from the International Space Station and interviews with the astronauts who have been involved with the extraordinary space project. I hope to watch this over the weekend, but it sounds like my kind of movie.

Already on Apple TV+ (it debuted Tuesday!) is Bailie Walsh’s BEING JAMES BOND, a documentary about Daniel Craig’s run as 007 over the past decade plus, which you can rent for FREE on Apple, so go do that!

On Monday, FX and FX on Hulu will debut the first few episodes of Y THE LAST MAN, the new series based on the Vertigo comic series by Brian K. Vaughn and Pia Guerra that I absolutely loved. Set in a world where every single male human and animal has died, it stars Ben Schnetzer (Pride, Warcraft) as Yorick, who is -- you guessed it-- the last man on earth. He’s also an escape artist/magician, trying to survive with his pet capuchin monkey, Ampersand, as he goes across country trying to find his girlfriend Beth who left for Australia before the event. It also stars Diane Lane (as Yorick’s mother, who becomes the President), Olivia Thirlby (as his sister Hero), Ashley Romans (as Agent 355), Missi Pyle, and lots of other actresses (because all the men are dead). I’m slowly making my way through the series, and I like what I've seen so far, but the first three episodes will premiere on Monday.

A few other movies, a couple that I’ve seen, which I just don’t have time to review…

Nicholas Cage stars in Sion Sono's PRISONERS OF THE GHOSTLAND (RLJEfilms), which opens at the IFC Center this Friday. He plays a bank robber who is sprung from jail by Bill Moseley's "Governor" whose adopted granddaughter (Sofia Boutella) has gone missing. Cage's character is allowed to go free to find her, but he's put in a suit that will self-destruct in three days if he doesn't return. So it's kind of like The Suicide Squad, and though it has an interesting cast (including Nick Cassavetes, who also appears in Queenpins this week), I don't remember liking this much at Sundance earlier this year. (I actually don't thnk I got through the movie.)

John Pollono adapts his own stageplay SMALL ENGINE REPAIR (Vertical) to the screen with John Bernthal and Shea Whigham playing life-long friends Terrance and Packie with Pollono’s Frank, who are overly protective of Terrance’s teen daughter, Crystal (Ciaro Bravo). A chance encounter turns into a night that spins out of control as the friends have to make a tough decision about how to resolve the situation. I was pretty mixed on this movie even though Bernthal and Whigham continue to be great in everything they do. (I just think Whigham's recent movie, The Gateway, was better.)

Hitting the horror-streaming network Shudder (I have a subscription, because I’m a fan) on Thursday is Ruth Platt’s MARTYR’S LANE, a ghost story about a 10-year-old girl named Leah (Kiera Thompson) who lives in an old house with her family but whose mother has grown distant. At night, she’s visited by a guest who challenges Leah in exchange for more information about the house and her family.

Saul Williams stars and writes the score for Charles Officer’s AKILLA’S ESCAPE (Vertical), a crime noir about an urban child soldier set in Toronto and New York with Williams playing Akilla, a 40-year-old with a covert cannabis operation that goes legit. As he’s ready to cash out, he’s robbed by a group of masked youths. Akilla captures one of them, a mute 15-year-old named Sheppard that is associated with the Jamaican crime syndicate founded by his grandfather.

Jonah Feingold’s DATING & NEW YORK (IFC Films), which premiered at the Tribeca Festival a few months back, stars Francesca Reale (Stranger Things) and Jaboukie Young-White (The Daily Show) as Wendy and Milo, two Millennials who are thrown together at the worst time in their lives for romance, as they meet on an app called Meet Cute, have a first date, and then ghost each other before being thrown back together into an unconventional romance. I’m usually a fan of the rom-com genre, and I often can even withstand one that takes place in New York City and uses my town in a completely unrealistic way to show how romance can flourish here. (*koff*BULLSHIT*koff*) But then you throw in the M-word (Millennials), and this grouchy old man could barely get through this movie, though I’m not even remotely surprised it premiered at Tribeca. It seems very much like a Tribeca movie, and yes, that was meant in a pejorative way as the former “Film” festival has lost its way over the years. I’m half-kidding, the movie is entertaining enough, and I’m sure younger people will enjoy it more than I did.

A few other films I didn't get to this week…

DOGS (Dekanalog) AZOR (MUBI) BAD CANDY (Dread)

That’s it for this week. Do we have any new movies next week? I think Clint Eastwood has Cry Macho

[smokeybrand]

Smokey brand Movie Reviews: Stop, It's Already Dead

I’ve been trying to watch Army of the Dead since it came out but every time i start, i end of bailing on it because it’s trash. Yeah, that’s it. This movie is trash. You can literally stop reading this review right now because that’s the verdict. Army of the Dead is shallow, inconsequential, zombie murder porn wit that trademark Zack Snyder, edgelord, spice. It’s f*cking ridiculous and i hated every minute of it. That’s it. That’s the review. Don’t watch this rancid spooge. Now, if you want to know why i hated it so much, read on. But it really is one of the worst things i have seen all year.

The Adequate

Dave Batista works magic with the material on hand. Zack Snyder isn’t know for having emotional bite or a realistic edge to any of the characters in his films but Batista was able to hone in on something and does a decent job of letting me tolerate this clusterf*ck. His Scott Ward is easily the best thing about this flick.

The carnage displayed while the opening credits rolled was almost as dope as Zombieland and i appreciated that. Literally the only time during the film where i didn’t feel like someone was standing on my sack and twisting.

Also, Hiroyuki Sanada is in this. I don’t know the name of his character and i don’t care i just genuinely enjoy Sanada’s work. He is an excellent actor and, similarly to Ken Watanabe, makes everything he’s in better, regardless of his role’s size or relevance.

The integration of Tig Notaro was kind of seamless. That sh*t was surprising because every one of her scenes was added in post. She had no interaction with any of the cast, not even in pick-ups. That’s just her, in front of a green screen, talking to herself. Of course, there are scenes where that is very apparent but the fact she was even able to replaces an entire actor wrapped month beforehand, is kind of a miracle and testament to the absurd technical skill Snyder wields as movie maker.

The Horrid

Zack Snyder. Literally everything i am about to unload, is Zack Snyder’s fault. This “film” is pure Zack Snyder. More so than the Snyder cut of Justice League. More so than BvS. Even more than f*cking Sucker Punch. Netflix gave this man a bunch of money and told he to go “create” and, to his credit, Snyder did just that. Unfortunately, he created hot dumpster water topped with soggy diarrhea.

Seriously, everything i have a problem with, has Zack Snyder’s name on it. He was the director, the writer, the screenplay writer, AND the f*cking cinematographer. What the f*ck, dude? Like, you want to be an auteur director, fine. Be good at it. Be good at movies if you’re trying to wear all of those hats. Zack, as a filmmaker, is bad at ALL of them. At best, he’s pedestrian, so doing all of that, just infuses abject mediocrity throughout this movie and it shows.

I’ve seen a lot of cats haring of Snyder’s depth of field choices but I'll take it one step further; What the f*ck was up with the shot composition as a whole, in this film? It was bad! All of it was so bad! There was no substance, no dynamism in the camerawork or the way the shots were set up. I’m not going to sit here and say it was just a bunch of static work, like how someone would film a play for theatrical exhibition, but it wasn’t that much better. I was watching this sh*t and thought to myself, “Hamilton had better camera work than this. F*ck.”

The whole ass plot is paper thing. I’m watching these first few minutes and it’s readily apparent that the guv’ment knows zombies be doing a zombie and Vegas is lost. Why the f*ck didn’t they nuke that motherf*cker off the face of the earth. Straight up Raccoon City that b*tch. There is nothing, no plot contrivance or mental gymnastics that could make believe that Las Vegas wouldn’t have been scrubbed off the map, within a week of this outbreak. Not after seeing actual paratroopers floating in to their deaths and straight up napalm strikes on the Strip. Why did anyone think building a fence out of shipping containers was a good long term option for containment! And that’s literally just in the opening credits! It gets worse as the flick progresses, man! The actual plot is trash!

Now, the actual premise? Interesting. It could have been interesting. But then Zack Snyder snyder’ed it up with the f*cking execution. Look, in order to write a great zombie flick, you need a strong human element. That’s where the audience is going to focus. They’re going to try and find the humanity in a sea of despair. Every great Zombie flick has a laughably strong lead and fantastic supporting characters you come to care about, usually withing the first act. 28 Days later is a fantastic example of how to execute your Zombie disaster apocalypse. You do not give a sh*t about any of the characters in Army. Snyder tries with Batista, thus the father-daughter relationship, but that cliche sh*t was cookie cutter from a whole different movie, which I'm going to get into next...

Army of the Dead is Aliens. It’s just a popularization of Aliens. It’s the same f*cking movie, but worse. There are shot-for-shot recreations in this movie, with just enough changed so Snyder won’t get sued. Just, off the top of my head, the ending. It’s exactly the same as f*cking Aliens! Literally the same goddamn ending! Heroes survive a gauntlet of monsters, rush to the top of or roof. Pilot of escape flying contraption kissing. Hero curses pilot of said whirly dervish. Queen Alien or Zombie King shows up. Pilot returns at the last minute to save survivors. Same. F*cking. Scene. And that’s just one. There are SO many in this thing you’d think Snyder watched Aliens everyday on set and just stole sh*t from that flick to add to his. It’s real bad. Real f*cking bad, man. which exasperates my next point...

This movie is f*cking boring. i was bored. If you’re stealing the entirety of Aliens, how do you f*ck that it up so bad? The same movie, which thrilled and entertained me thirty years ago, sh*t the bed so hard, today, and i don’t know how that happened. It’s infuriating when i think about it for too long. Speaking of long...

Why the f*ck is this anal prolapse, two and half hours long?? Why did you need this much movie to tell so little story? Seriously, how the f*ck is there this much run time yet, no actual f*cking characters outside of whatever the f*ck Batista was able to save with his sheer screen presence? How do you have all of this time and still not craft a character in which to invest?? In a f*cking Zombie movie?!

Also, he hired a rapist.

The Verdict

This movie sucks. For all of the reasons outlined above. I told you that in the beginning. You didn’t have to rad this far. You knew i hated this movie within the first sentence. This sh*t was a waste of my life. Batista is good in it and that sh* Snyder did with Tig was pretty cool, but everything else is bad. All of it. None of this movie is good. It was boring. It wasn’t entertaining. There are no characters. The plot is dumb. The execution is worse. The run time is absurd. Did i mention how bored i was? Army of the Dead is garbage. This is a bad movie. This is what you get when you just let Zack Snyder do whatever the f*ck he wants with no limits or boundaries. Snyder is bad at movies and he keeps proving it. I have no idea why people keep giving this obvious fraud work.

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