#Rob Sheridan productions

[robsheridan]

Very excited to finally tell you what's kept us so busy recently: I’ve had the unique honor of directing/creating the first-ever tour visuals for one of the greatest live rock bands of our generation and a hugely formative part of my Seattle youth: Pearl Jam.

I haven’t worked in tour production/design since NIN 2014, but I always said I would go back to it one day if the right artist and the right creative connection came around. There’s a short list of musicians I’d drop everything and rewire a year of my family’s entire life to make art with, and Eddie Vedder is absolutely one of them.

Ed and I hit it off immediately and discussed an inspiring, experimental approach to creating textural video art inspired by the Dark Matter theme using decidedly tactile and analog methods, with the the album’s light-painted artwork as a jumping off point (I wasn’t involved in the album art / promotions, that was all underway when I came on board). My wife and collaborator Steph, who produced the project, set up a raw studio space here in Tacoma and assembled a lean local camera crew, and we spent two months filming in the experimental, open-ended, DIY style that I like to work. With macro lenses and the 1000fps Ember slow-motion camera (made by fantastic local Washington company Freefly), we followed paths of inspiration through elements and states of matter: Light refractions, chemical reactions, fluid dynamics, incandescent projections (including an old overhead projector that ended up in the show) and other experimental setups tracing the connective tissue of the universe. It was prolific and intense, and wouldn’t have been possible without Steph’s rapid problem-solving and a talented camera, animation, and post-prod team.

A grueling month of editing/programming/rehearsals later, the Dark Matter world tour is out on the road now, with two shows under our belt in Vancouver last weekend.

I’ll have a lot more to say about this production, the unique analog practical VFX we employed, and of course videos to share as more people start to see the shows and I maybe get ten seconds to breathe. For now, I’m off to Portland - show number three is tonight!

[onlydylanobrien]

Dylan O’Brien Sets ‘Twinless’ With James Sweeney Directing & Starring; Republic Pictures Takes Global On Three Point Capital & David Permut Production

EXCLUSIVE: Dylan O’Brien is set to headline in James Sweeney‘s dark comedy Twinless, which the latter wrote and will also star in. Republic Pictures has taken global rights to the movie. Cameras are currently rolling on the movie in Portland, OR. O’Brien will executive produce.

The pic follows two young men who meet in a twin bereavement support group. An unlikely bromance develops between them. Twinless follow Sweeney’s directorial debut, Straight Up, which notched the filmmaker a Best First Screenplay nom at the 2021 Independent Spirit Awards.

Three Point Capital is financing the film with Ali Jazayeri, David Gendron and Liz Destro also serving as EPs.

Twinless is produced by Academy Award nominated producer David Permut and Permut Presentations (Hacksaw Ridge, Face/Off) whose most recent Netflix movie, Rustin, garnered Colman Domingo a Best Actor Oscar nomination.

Miky Lee (Parasite) Vice Chairwoman of CJ and who most recently executive produced the Oscar nominated film Past Lives, serves as EP.

Permut Presentations Director Of Development Alex Astrachan co-produces.

Permut said, “I was absolutely knocked out by James’ first film Straight Up and was determined to work with him. I immediately responded to the originality and provocative concept of Twinless. The dark comedy depicts complex characters in such an irreverent, emotional and hysterical way. The chemistry between Dylan, who portrays the role of identical twin brothers, opposite James’ character is absolutely combustible.”

O’Brien’s most recent film is the independent feature Ponyboi, in which he plays a villainous pimp and small-time drug dealer, recently premiered at the Sundance Film Festival. He will next be seen in the upcoming films SNL 1975 (from director Jason Reitman) as Dan Aykroyd, Caddo Lake (from the writing-directing team of Logan George and Celine Held, and producer M. Night Shyamalan), and Anniversary (a thriller co-starring Diane Lane, Kyle Chandler, Zoey Deutch and Phoebe Dynevor). The $1.7 billion grossing star is well-known to audiences from his work in The Maze Runner franchise, as well as the hit MTV series Teen Wolf.

Permut also recently produced the Paramount+ series hit, Lawman: Bass Reeves from Taylor Sheridan, which stars SAG nominee David Oyelowo. His upcoming high priority slate includes Being Heumann written and directed by Academy Award winner Sian Heder (CODA) at Apple, Jonathan Dayton and Valerie Faris’ (Little Miss Sunshine) film The Invite, and Face/Off II at Paramount, the sequel to Permut’s 1997 hit film, to be directed by Adam Wingard.

Sweeney is repped by UTA, 2AM and Brecheen Feldman Breimer Silver and Thompson. O’Brien is repped by WME, Principal Entertainment, and Lichter, Grossman, Nichols, Feldman, Rogal, Shikora & Clark and Permut is repped by John Tishbi at Pearlman & Tishbi.

Three Point Capital, established in 2009, is a financier and service provider in the film, television, and commercial industries. They have financed over 400 films, including The Butler, Clerks III and the Oscar-winning Manchester by the Sea. They most recently provided funding for the upcoming Michael Keaton starrers Know Goes Away and Goodrich, the Nicholas Cage starrer Longlegs, the Tina Fey/Jon Hamm comedy Maggie Moore(s) and the recent Sundance premiere Rob Peace.

Paramount Global Content Distribution is revitalizing the former Republic Pictures label, originally founded in 1935. The newly branded acquisition label will leverage Paramount Global’s vast worldwide distribution channels, across home entertainment and third-party distribution platforms to distribute a wide range of acquired films. Republic Pictures is an acquisition-only label under Paramount Pictures.

Source: deadline.com

[cannibalovers]

Hannibal song of the day: song no. 8

a bit about the song:

"Parasite"(released in 2010) is a song by How To Destroy Angels(HTDA), a music project by Trent Reznor(NIN) featuring his wife, Mariqueen Maandig Reznor, Atticus Ross and Rob Sheridan. His wife has taken over his usual lead vocalist position, with him taking on the background vocals, although in this song, both of them sing all the lines are the same time (although Mariqueen's voice is still quite dominant). The song fits the experimental, eletronica and post-industrial genres, beginning with a building guitar noise, thick drums soon come in, followed by more discordant guitar screeches. All the guitars soon stop and the drums and a synth bass are left to play behind Trent Reznor's and Mariqueen Maandig Reznor's low, smooth vocals and dominant drums, with the screechy, haunting guitars coming back in later. The lyrics are quite intimate, presenting two subjects talking, maybe asking each other questions about each other and answering them. They are slowly becoming each other, infecting each other, like parasites.

ngl it was hard to find anything about the set meaning, only everything about Trent's style and how he has mixed it with his wife and others, producing this album (so basically about the sound and production) so i guess this will be fully just my interpretation. very hannigram, once again, i have some other songs that remind me of other characters and stuff im gonna have to do smth about those too at some point lol

and again quite short, the song is very instrumental and feel based in my opinion but anyhow

------------------------------

Verse 1

"Yes, I can feel you

Yes, I believe

Yes, you can have me

Yes, I can breathe

Parasite

Yes, now I need you

Yes, you are mine

Yes, you have shown me

Yes, you define

Parasite"

through the whole song, the lines are sung at the same time, creating a feeling of unity and harmony, which the subjects seem to be agreeing to feel. They both feel and need each other, they believe in each other, they agree to devotion to each other and admitting how they have changed after being with each other, they let each other be dependent on one another - it seems like they're merging, like parasites. Maybe they chose the word parasite due to it's slightly negative connotations, maybe that's how the rest of the world sees them, infecting, controversial and desperate and obsessive with their love or unrightous and incorrect - considering that this is most likely based on Mariqueen and Trent, they have rattled the world a bit, Trent being the frontman of a harsh rock band known for its depressing and angry themes and involvement in drugs, Nine Inch Nails and Mariqueen bit less rattling, having been a former vocalist of West Indian Girls and a Playboy model for one of their magazines, but them two together - that have rattled the world, receiving some negative and racist reaction after finding out about the two getting married, even producing a song called "The Space In Between" which talks about their relationship and how the media has been treating them.

for hannigram, these lyrics remind me of them due to this, how they view unity and courtship. They seem to infect each other like parasites - they are quite dangerous to each other and to others around them. Hannibal seems to be like a parasite, he latched himself into Will and since then, hasn't let go of the idea that Will should be his and like him, trying to turn Will into him and understand him as he slowly feeds off of Will's sanity. Will recognises that after realising that Hannibal framed him for his own murders and tries to get revenge, letting Hannibal indulge in him and try to pretend to become Hannibal to try and frame him too, but this ends up with them slowly become more and more dependent on each other, to the point where they can't deny it anymore. It wasn't Will's intention at first, but as time passed by, they both have willingly began to accept each other and Will finally let Hannibal in. Both feel and need each other, they believe in each other, they agree to devotion to each other and admit to how they have changed each other.

in conclusion this is their song fr (<- what i say about every song i ever hear)

------------------------------

additional notes:

i've learned whilst researching for this that another song by htda, "the space in between" was actually used in a promo for hannibal holy shit i have this song in my playlist i am so writing about that one later

i have so many songs that technically apply for season 3 or where i could mention s3 and its driving me insane omfg but anyhow

i recommend the whole self-titled ep by them, it is very good

anyway hope you enjoyed<3

[petermurphyinfo]

NEW Peter Murphy Limited Edition Lyric book

PRE-ORDER now for release 31st July

Only 600 signed and numbered copies

www.thefloodgallery.com/products/the-line-between-the-devil-s-teeth

“Lyric writing is a dive into the never-ending internal depth of your sea of being. You’re writing to, from, and for your fellow beings and Earth friends.” - Peter Murphy

 The Flood Gallery are proud to announce a new official Peter Murphy deluxe lyric and art book “the line between the devil’s teeth and that which cannot be repeat”. This unparalleled document of Peter Murphy’s work is limited to just 600 copies, with each copy individually numbered and signed by Peter Murphy. The book is a 288-page, oversized deluxe hardback housed in a slipcase with gold foil design and comes with an exclusive giclee print painted by Peter Murphy.

“the line between the devil’s teeth and that which cannot be repeat” is an epic tome that for the first time ever collects all of Peter Murphy’s lyrics, from the groundbreaking 1980 Bauhaus debut album ‘In the Flat Field’ to Peter’s tenth acclaimed solo album ‘Lion’ in 2014. Lyrics from ‘The Bela Session”, which was recorded in 1979 but not released until 2018, are also included. 

With an introduction by Peter Murphy, the book also features personal hand-written journal entries and previously unpublished paintings and illustrations by Peter. Amazing photography is included throughout, including rare and unseen pictures from lens legends Fin Costello, Paul Cox, E Gabriel Edvy, Kevin Haskins, Rob Sheridan and Justin Thomas, producing a true visual feast.

Peter’s spellbinding voice and the lush romanticism and depth of his lyrical style continue to enthrall his fans old and new alike, creating a richly woven tapestry that perfectly balances meaning, melody, and rhyme. This is a must-have for all fans of Peter Murphy, Bauhaus, and Dali’s Car

The book will be released on 31st July but is available to pre-order exclusively from:  

www.thefloodgallery.com/products/the-line-between-the-devil-s-teeth

 

[twittercomfrnklin2001-blog]

The Unfaithful

Warner Bros. tried to pass off Vincent Sherman’s THE UNFAITHFUL (1947, TCM) as an original script, but anybody with half an ounce of film literacy can spot it as a remake of William Wyler’s THE LETTER (1940), albeit one made by people who didn’t understand the original very well. That’s not to fault the cast, who do what they can with the reimagined material. Both films deal with a woman who kills a man and lies about the circumstances. In 1940, that gave Bette Davis the opportunity to deliver one of her greatest and most restrained performances, a burning portrait of sexual hypocrisy. Ann Sheridan plays a nicer lady, who strayed while the husband (Zachary Scott) she wed quickly was off fighting World War II. Nonetheless, when she kills her former lover in self-defense, she lies to protect her husband’s feelings, even when lawyer Lew Ayres advises her to tell the truth. In place of the original’s depiction of racism and the colonial mentality, this film offers some cursory considerations of class and a more persuasive comment on the war’s effect on marital relations. By the time the script gets to Sheridan’s trial, it’s almost persuasive, though the last scene twists itself into pretzels trying to shoehorn its plot within the confines of the Production Code. Sheridan has some very good moments until the final scene, which I don’t think even Davis could have saved. Scott is OK as the husband, though playing a decent man robs him of a lot of his sexual mojo. Ayres works well, though you may wish they’d dropped the other shoe and made his character gay (forbidden under the Production Code, of course). You also get John Hoyt as the police detective on the case, Jerome Cowan as the apoplectic prosecutor, Steven Geray as a blackmailer (in this version instead of an incriminating letter it’s a bust of Sheridan made by the dead man) and some great views of Los Angeles in the late 1940s. The real performance honors, however, go to Eve Arden, whose role as Scott’s cousin has the most intriguing character arc in the film. I’m tempted to say she’s the only one with an arc. She starts out as a flighty society type, dropping one-liners as she tries to pick up all the dirt she can on the crime at her cousin’s house. But the case changes her and reveals a serious, reflective side Arden rarely got to play on screen. If they’d really wanted to transform the material, they’d have made a film about a wise-cracking gossip who grows up when her cousin’s wife is accused of murder. That’s a movie I’d like to see.

[trentreznorfanboy]

a cool Q&A i found + some really cool pics from around the same time

“Pro file: Nailing a New Look” pt 1

Q&A with Trent Reznor and Rob Sheridan about All That Could Have Been

By Mathew Honen for Macworld on February 1st, 2002

“Trent Reznor ushered in a new era of digital audio production with the 1989 release of Pretty Hate Machine, an album that helped launch an entirely new genre of music. Reznor's band, Nine Inch Nails, continued to break new sonic ground and push the limits of what can be done with music on a computer throughout the 1990s. And he's still breaking ground, with the December 2001 release of the Nine Inch Nails tour film And All That Could Have Been and its accompanying CD. Reznor and Nine Inch Nails Webmaster Rob Sheridan shot the entire film on mini-DV, edited the video in Final Cut Pro, mixed all of the audio in Digidesign Pro Tools, and assembled the DVD rough cut in DVD Studio Pro.”

And All That Could Have Been, Still and Live

Q: Why did you decide to shoot And All That Could Have Been on mini-DV?

Reznor: Cost-wise, it made sense. We bought a few XL1 cameras, and we could film every night of the tour from eight different positions. It seemed like it was something we could manage and make it what we wanted it to be. From our perspective, we weren't video editors. The cool thing about this process was finding out that, yeah, you can do this. The ease of use of the hardware and software made it possible to get the tedious crap out of the way and just get down to what we wanted to do.

Q: What did you use to edit the footage?

Sheridan: When the tour was over, the whole thing was edited in Final Cut from beginning to end. We had something like 200 mini-DV tapes. We lined up all that footage and all the different takes of one song in Final Cut. So we would have professionally recorded audio synced up to 30 different instances of a song--like five angles from Chicago, and three from San Diego. You can then flip between them and start cutting. It takes a long time to set up, but once you have, it's a great way to cut.

Q: The audio was assembled on a Mac too, correct?

Reznor: Normally when you film or record a tour, on our level, you get maybe two nights to record. Invariably those are the nights that aren't very good. We took some of the budget we were saving from having massive multicamera shoots, put some into the audio, and recorded four or five different nights to digital multitrack. Got back to the studio afterwards, picked the best version of the songs, loaded everything into Pro Tools on a Mac, and mixed in surround, then remixed everything again in stereo.

Q: What was the experience of using DVD Studio Pro like?

Reznor: It had literally just come out, and it was timely because we had figured out digital-video editing, and we wanted to [figure out] what we could do the medium of DVD. What are the limitations? We had a very rudimentary knowledge of what you can do. DVD Studio Pro, we used with the intention of mocking up something. We knew we were taking it to an authoring place, and we could beta test it at home. This was a way for us to get a feel for things in very easy-to-deal-with terms. It puts a lot of power in something that doesn't have a thick manual.

[starberry-cupcake]

Ok so, I tried my hardest not to talk about the whole Funny Girl fiasco but the Tonys performance really irked me and apparently it didn't bother reviewers as much as it bothered me.

Let's call it all for what it is.

The production thought they could transfer the West End revival as it was and it would work out. So, they cast accordingly to what they had done in said revival, because Sheridan Smith and Beanie Feldstein aren't that different performance-wise, when you listen to them side by side.

Sheridan Smith's take was less vocally powerful and more comedic and physical, to be closer to the real Fanny Brice. It isn't a strange decision, it makes sense to want to revive a show and do it differently than what it used to, especially since the real person who was being represented in the show got watered down in the subsequent years because of one specific performance that took over the interpretation of her entire person forever.

If you think about it, it's kind of weird that people think of Fanny Brice as a character played by Barbra Streisand before they think of her as an actress who existed and who, aside from her personal relationships, was very meaningful in her career and what she represented in the entertainment industry of her time.

So, it makes sense wanting to separate Fanny Brice, the real person, from Barbra Streisand, the real person, by bringing in an actress who would be closer to what Fanny's uniqueness for the entertainment world would mean for a 2020s stage. Beanie Feldstein as a fat queer Jewish girl would be that and her vocals and Sheridan Smith's vocals aren't that far from each other.

The problem was never that choice. The problem was that they failed to understand that US Americans want to see Barbra Streisand more than they want to see Fanny Brice.

They wanna go see Funny Girl to see Barbra because that's what the role became to them. They want to hear those vocals, because the book remains weak but what can save it for them isn't comedy, physicality or who is closest to Fanny Brice in this day and age, but Streisand vocals that can bring the house down.

Beanie wasn't a wrong casting decision for a revival of Funny Girl, she was a wrong casting decision for a revival of Barbra Streisand in Funny Girl.

That inability to read the room the production had isn't the only issue, though, they also failed to commit to that view when things got nasty and decided that letting Beanie take the whole blame was the best thing to do to save their pockets.

Instead of defending their stance, of trying to re-work the show to make more evident what they wanted to highlight to differentiate this version, they threw Beanie under the bus and let her get all the nasty vitriolic hate that was, obviously, made grater by the fact that she is, as I said, a queer fat Jewish woman. Because you can say you just dislike her vocals all you want but when people are calling her a cow and sending her hate throughout her engagement to her now wife, I think you have to look at the bigger picture.

There are a lot of folks out there, especially thin women, who justify their rejection on Beanie saying things like "I don't think it's about her body, there are tons of other fat actresses who would have done a good job".

The problem is that no fat actors are getting leading roles in revivals of known shows where the leads weren't fat to begin with. Even in 2023, fat actors have to originate roles to be considered for them, and when they're leading roles, most often than not, their weight is part of the storyline.

Even then, we get thin actors in fat suits (like Josh Groban in Comet or Rob McClure in Mrs. Doubtfire) or thin actors playing characters that were originally fat (like Sherie Rene Scott as Ursula) more often than fat actors.

If being a famous actress or coming from a famous linage gave Beanie Feldstein the shot to become a fat queer actress being chosen for a revival of a role otherwise given to a thin straight actress, then by all means, let her, because they sure as heck aren't gonna do an open casting call for fat performers for it, nor are they rushing to do it ever again. If Beanie being famous helps open the door for others after her, so be it.

This year, the Tonys finally recognized Alex Newell and Bonnie Milligan and there were other fat performers nominated in supporting categories but that's the thing, it's always supporting categories, unless they're originating a role that has to do with their fatness, like Jaquel Spivey (who didn't even win but boy did he deserve it).

So, it wasn't enough, though, that they drove Beanie Feldstein away from the production, they let her deal with all the backlash and then replaced her with L*a M*chele because the drama of it all would at least get people engaged and who cares if you cast someone with a myriad of known accusations of the most toxic stuff, as long as she can sing as close to Barbra as possible and look as traditional for a romantic leading lady as possible.

When they let her perform at the Tonys and I saw a lot of known people who talk about community and respect giving her a standing ovation, all I could think of was how much that showcased the paper thin commitment to respect that these people really have.

It was a great night for performers who deserved wins for so long and they had been elusive for them for who they are, like Bonnie Milligan, Alex Newell and J Harrison Ghee. But to end it with this was a showcase of how little people matter in the grand scheme of things for the entertainment industry and how any kind of diversity or solidarity goes only as far as their pockets will allow.

[channeleven]

Let’s Talk About Coconut Fred

I wouldn't say its been a while since I did a review, but there is a considerable gap between this and my last. A lot is happening in my life, I'm set to finish my last term in grad school this Sunday, I'm waiting for an update on a part time job and I'm gonna celebrate by binging some movies on Tubi and YouTube, and since I'm facing some writers block on my last assignment, I figured I'd vent about something.

Remember Coconut Fred: Fruit Salad Island? Me neither. It was that year I moved into a new house, at that point I was just watching Cartoon Network and never really had a reason to watch KidsWB. First I ever heard of it was by chance when I was googling KidsWB's program list, long before this show became a whipping boy of some degree.

I'll get into a contributing factor to me making this review later, but for now, back then I saw at least two episodes in full, Bad Apple, and something about a tropical resort. I had some experience with the show, and I still feel like there's little to show for it. But let's get right into it.

What is?

The mid-2000s saw a small rise in shows with overly optimistic main characters in summery or tropical settings, ballpark to around 2004 when the SpongeBob movie was released, or perhaps when the show was at its peak, before it killed everyone's brains. It's not definite, but imagine if other creators assumed the show was gonna end after the movie, and they wanted to create the next big thing to fill the hole set to be left, a lot of faces would go red over the hindsight.

The show is credited to two creators, Don Oriolo and Sammy Oriti, with development credited to Ray DeLaurentis. Oriti has a very thin filmography, to say the least. He is tied to two obscure films, and this is the only cartoon he ever worked on. Oriolo has a more interesting past, having worked on Campfire Stories, a cheap horror anthology which is notable for being where Charlie Day met Rob McElhenney, It's Always Sunny in Philadelphia.

However, Oriolo does have some experience with animation, primairly working on The Twisted Tales of Felix the Cat and other stuff relating to the property. Oriti and Oriolo do have a big connection, where Oriti was given a special thanks on Felix the Cat Saves Christmas. Oriolo was also behind I Am a Gummy Bear, the music video and the movie. So, quite an oddball pair and one has dirtier hands than the other.

They conjured up a concept and pitched it to someone in the business, in this case, Ray DeLaurentis, and what has he done? Well aside from some work on the 80s revival of Alfred Hitchcock Presents and Providence, he created and wrote the Bubsy pilot, was a common writer on the later seasons of Fairly Odd Parents, wrote at least one episode for Bunsen is a Beast, also wrote for Shaggy and Scooby Doo Get a Clue, whatever was wrong with it, oh yeah, and he wrote Bah Humduck!, the worst Christmas Carol adaptation of all time.

On the upside he has also worked on Xaolin Showdown and Ozzy and Drix, among other stuff that may be considered decent. It seems beforehand he had worked at Warner Bros. Animation hence how this landed in KidsWB's crosshairs.

What makes this show interesting is that it features both American and Canadian voice actors. Our lead is played by Rob Paulsen, keep that in mind, and I believe one character was played by Danny Cooksey. For the rest, we have Michael Donovan, who has gone between American and Canadian productions, Brian Drummond, the first voice of Knuckles the Echidna, Tracey Moore, one point Princess Peach as well as The Geek from Sam and Max: Freelance Police, Kelly Sheridan, who played Diana in Martin Mystery, Britt McKillip, who played Hannah in the Scary Godmother movies, and lastly Eric Bauza, who just two years prior played Stimpy in Ren and Stimpy: Adult Party Cartoon, and would later lent his voice to Slab in Cans Without Labels, the final nail in the coffin for John Kricaflusi. He's also in far too much stuff to mention. He was once based in Canada, only appearing on Adult Party Cartoon because one of the studios behind the animation was based in that country, and the rest is somehow history.

What About?

This is a comedy involving an overly optimistic and naive coconut attempting to spice up life on a tropical island full of living fruits, and of course one guy will have none of it. It seems every episode operates in a bubble, nothing occurring being of any consequence in another.

The first episode I saw, I forgot the title of, and... it wasn't anything to write home about. It helped introduce me to most key characters, for however basic they are. Not even something made for kids in mind, but are you telling me three dimensions is too mature for children? I'm just saying.

However, it was when I saw another episode that things went south, and I became better acquainted to Fred's brand of annoyance, either that or I saw how weak the writing of the show could be. Latter first, they incorporated a running gag where a bully calls Fred a mean name, but it turns out there is an existing character with that name and Fred assumes that's who he's referring to. The former, it's how Fred goes about carrying out the jokes, naivety can only get you so far, and the only way its constant use can work is if the character happens to be aware of it and is just using it to get a rise out of people. I'm just saying, regardless of it being a TV show sometimes you go through something so many times you attempt to rationalize it so you can justify the time you wasted.

But cards on the table, that was the last episode I saw in full, I gave up on a third one and years later, someone did a review of the show.

That's really all I can say about the show, it's annoying and there's no nuance to it, the plots are too weak to hold over flat personalities, likely dumbed down for a lack of true thought, owed to pedigrees of mediocre productions, or in two instances, having little connection to the medium at all. However, that isn't to say a cartoon is automatically going to suck if someone involved has no experience, but that really only applies to writers.

For instance, there's an episode of CatDog, Sneezie Dog, whose writer only had credits to live-action productions, and that episode was decent. There's a Hey Arnold! episode, Magic Show, written by a novelist who had no other experience with cartoons. It can be done, but it depends on what you're bringing to the table.

This is basically the opposite of Mike, Lu and Og, as in compared to another show set on an island that is considered mediocre at best, this is worse than that. Mike, Lu and Og at the very least had more experienced animators and artists, or maybe I'm trying to say something nice about it before the influx of negative reviews bury it, and because I did a review of it that's now lost to time.

But to give a proper summary, this show is like a beehive on a tree well out of walking range. It isn't doing anything, and interacting with it is always gonna be consequential.

But that's not why we're here

There's a bigger reason why I decided to make this, and why it's classified as a "Let's Talk About" rather than a review. There has been an ongoing stigma against this show, which to this day I still don't understand. This is apparently a rip-off of SpongeBob SquarePants.

Now, look, I'm probably the last person who would ever consider something a rip-off. Hell, I unironically watch Irate Gamer and consider AVGN to be overrated and overprotected, why else do people suddenly not have the time to watch a documentary detailing a decline in quality? My point is, I've stopped taking the rip-off label seriously long ago, so when something is accused of being one, I'm always going to see it with some level of skepticism.

Which is good, because considering this show a rip-off is a stretch so big that it'd be easier to call MrEnter a rip-off of Spax3. It's enough to vindicate the sheer volume of stupid that hit Johnny Test, and many asses are still stinging from that era, at least people are becoming kinder to earlier seasons of it though.

Now, I didn't take it seriously at first, I just thought this was general idiocy on the Reception Wiki's part, which is where I first heard of it, but no, people are dead set on framing it as a rip-off.

But let's look into the accusations, or the bigger ones. They went out of their way to claim characters are rip-offs of others.

Coconut Fred is considered a rip-off of SpongeBob, the character I mean. Coconut Fred is not a frycook, let alone employed in a consistent job. He does not have any hobbies that consist of catching things with nets. He does not have a pet that is the equivalent of a cat. He does not have proper buck teeth. He does not have blue irises. He is not square nor is he a sponge. Also, you're basically implying SpongeBob is insufferably annoying if you think Fred is a copy of him.

Slip and Slide are considered rip-offs of Patrick on the grounds of both being idiots. They're two characters, they have a clear Southern drawl, and few strokes of genius. Otherwise by their logic, every dumb character is a rip-off of Patrick.

Mr. Greenrind, you would think would be considered a rip-off of Squidward, but no, people call him a Mr. Krabs rip-off. I've seen only one episode with Mr. Greenrind, he's not greedy, he doesn't own a restaurant, and basically you've never seen a grumpy man in your life.

This last one is absolutely hilarious, Bingo Cherry, a sentient cherry who can speak proper English and works as an assistant to the lead grump... is apparently a rip-off of a house pet. When I first heard the claim of this being a rip-off, seeing the reasons, I thought it was just an elaborate joke poking fun at the Johnny Test hate crowd, but no, this is considered serious enough.

Next, the setting, Coconut Fred takes place on an island, above water. SpongeBob takes place in a city, under water. Coconut Fred and other characters are fruits, SpongeBob characters are fish or some variation of existing sea creatures.

I'll give the Johnny Test crowd some credit, it's quite a coincidence that the smartest characters in that show happen to be red-heads with glasses, maybe that's why Slip and Slide were considered rip-offs based on that technicality?

But fine, I'll play your game, I'll go one ahead and say this isn't a rip-off of SpongeBob, this is more like a rip-off of Camp Lazlo, but let me explain.

Lazlo and Fred are insufferably annoying naive optimists, Chip and Skip and Slip and Slide are dumb as dirt twins, Mr. Greenrind and Lumpus are grumpy leaders of their base of operations and are at odds with the insufferably annoying naive optimists, and both have impish sidekicks who often side with the insufferably annoying naive optimists.

It's honestly hilarious how people are quick to suddenly make comparisons where they don't usually fit, but are just as quick to ignore more blatant similarities for other characters. For instance, Bessie Higgenbottom and Penny Leftowitz give off some clear SpongeBob and Patrick vibes, and I saw at least one person immediately deny it. Either people are blind or they want to protect those quirky girls Twitter users like to wax over.

Sorry about that tangent, I wanted to get that off my chest for a long while.

Now, you may be thinking that I'm ignoring an elephant in the room, that MrEnter probably got these claims going. But let me say this, he didn't originate many of the attitudes animation fans had at the time, he just helped them to spread. People have already hated Breadwinners and the new SpongeBob episodes long before Enter gave their thoughts, now yes, I hold him up for not helping quell those claims sooner, but there is one person who is consistently credited to getting the rip-off claims going, and what Enter probably referred to in his review.

Not a reviewer, not someone on the internet, but an industry professional.

Rob Paulsen.

At one point, Rob Paulsen claimed that the show was a rip-off of SpongeBob SquarePants, for some reason. Best case, he is unaware of how little braincells the animation community has, I mean why else does AniMat have a following? But look, if you think about either show, it is easy to see where either contrasts.

You compare this show to one where there're more differences than similarities if you think hard enough (which is apparently a sin in the animation community these days), and again, more obvious examples fly right over your head.

It has gotten to a point where people claim this is a rip-off based on Rob Paulsen's word alone. And with that, I'd just like to place myself on the hill I'm ready to die on. Rob Paulsen's an idiot. Either he didn't look deeper into where the claims come from, or he just wants to look cool for animation fans. Either he's stupid, or does not have any grasp on grander implications. He was the same guy who agreed to have any part in Doug Walker's career... I can't think of anything else.

Or maybe most SpongeBob fans aren't very bright. I mean, they can't even detect sarcasm, and they have idiots like MoBros and LambHoot assing it up without remorse. A lot of shit has happened with the SpongeBob fandom over the past few years, and Rob Paulsen gave them more ammunition with the most baseless idea yet.

I'm harping on this because it's dangerous to hold something against the show based on one man's word alone. It's one guy's word, we don't know his philosophy or reason for saying these things, and if it's a joke it would be spread so much that people would forget the meaning it originally had. I mean, for instance, Brian Posehn only dunked on Nickelback because they were overplayed on the radio, and you can fill in the blanks.

Final Thoughts

On any other day, this would just be an incredibly obnoxious show that is rightly ragged on, for better or worse. However, when people decide to base their views of it on what another said, it ruins the prospect, because half the time the grander context is sorely missed. I don't care what Rob Paulsen says, his word is meaningless because it was done for validation rather than seeing what he has done.

This is just a case of favoritism and ignorance. If this was considered a Camp Lazlo rip-off then that would be fine as that and this have too many similarities to ignore. To whoever got those crazy allegations going, I hope their career is as troubled as Cam Clarke's.

[herburu]

In The Flesh from Daphne Gardner on Vimeo.

Tracey is just trying to jerk off with her bathtub faucet like normal when some old memories dredge themselves up, the pipes explode with dirty water, and she starts leaking black goo.

Starring - Edy Modica, Mo Stark & Rob Malone Written, Directed & Edited by Daphne Gardner Produced by Zach Fleming Consulting Producers - Joshua Adam Fu, Graham Mason, Lexi Tannenholtz & Rachel Wolther Director of Photography - Remington Long Assistant Director - Isadora Dias Vieira Production Design & Special Effects - Kit Sheridan Production Assistant - Jordan Unverzagt Assistant Camera - Calyn Heller Gaffer - Olivia Tyler Key Grip - Jesse Moritz Sound - Catherine Hood Sound Design & Mix - Matt Giordano Composer - Mike Etten Percussion - Nick Neuburg Vocals - Carrie Furniss Keyboard - Dougie Poole Additional Score Mixing - Travis Hagan Title Design & Visual Effects - Jaime Justen Colorist - Matt Riggieri Artwork by Mary Houlihan Jiujitsu Consultant - David Grant

[robsheridan]

I'm honored to present my work for Pearl Jam's Dark Matter tour at the Cove Gallery at the Ohana Festival in Dana Point, California next weekend, with a series of rare photography prints to benefit the great Vitalogy Foundation. The photographs were taken by me on May 1st, 2024, during the only dress rehearsals for the tour, at an empty Climate Pledge Arena in Seattle. They showcase my visual art on the tour’s 155-foot projection screen as it united with a full band performance for the very first time; the only time it would ever be seen (by just a handful of people) in the surreal setting of an empty arena, the lights and video reflecting off the surface of the open floor.

Limited signed/numbered framed metallic pearl fine art prints will be available exclusively through Cove Gallery from Thursday September 26 at 5 PM through Sunday September 29 at 11 PM. Whatever prints are not sold at the event will be made available online at a later date.

Additionally, video screens in the gallery will present extended looks at video art pieces I created for the tour for the first time ever. I’m excited to show more of the beauty I found on my journey through states of matter and the connective tissue of the universe.

I’ll share more info, including some times that I’ll be on-site to talk about the work, as we get closer to the event. Hope to see some of you there! Thanks again to everyone at Cove Gallery, Ohana, and Pearl Jam for creating this event, supporting great causes, and inviting me to be a part of it.

[requiemtvshow]

Requiem 2

Titre original Requiem 2

Genre Thriller horreur

Réalisateur Armani Johnson-King

Acteurs principaux Katherine Langford, Naomi Scott, Shawn Mendes, Cody Simpson, Nick Jonas

Pays d'origine États-Unis

Studio Johnson-King Movies

Bande Originale Total Eclipse of the Heart (Bonnie Tyler)

Durée 2 heures 08 minutes

Année de sortie 2017

Lieu de tournage Palm Springs et Cathedral City

Budget de production 20 millions de dollars

Box-office international 264,8 millions de dollars

Synopsis

Le massacre reprend de plus belle dans la petite ville de Oakswood. Une fois encore, la jeune Adele semble être la cible privilégiée du tueur au masque vénitien

Casting Principal

Adele Carpenter Katherine Langford

Hendricks Guggenheim Shawn Mendes

Miles Brown Cody Simpson

Graham Guggenheim Nick Jonas

Shay Al Ryad Naomi Scott

Meg Carpenter Neve Campbell

Diane Carpenter Jamie Lee Curtis

Casting Secondaire

Brooke Reynolds Sarah Michelle Gellar

Donna Sheridan Kathy Bates

Richard Lewis Tobin Bell

Casting de Victimes

Bob Wallace Wayne Knight

Tehamana Mahoe Nicole Schwarzinger

Jamal Williams Michael B Jordan

Ahmad Al Ryad Tony Shalhoub

Hania Al Ryad Shohreh Aghdashloo

Levi Edelstein Colin Woodell

Rob Dallas Scott Bakula

Melania Arthur Harris Julianna Margulies

Bill Sagle Eric Roberts

Andrew Daniels Tyler Posey

Helen Thompson Sissy Spacek

[suchananewsblog]

‘Bass Reeves’: Joaquina Kalukango, Lonnie Chavis Among 5 Cast In Taylor Sheridan’s Paramount+ Series

EXCLUSIVE: Joaquina Kalukango (Lovecraft Country), Lonnie Chavis (This is Us), Rob Morgan (Mudbound), Ryan O’Nan (Queen of the South), and Justin Hurtt-Dunkley (Mare Of Easttown) have been tapped for key recurring roles opposite David Oyelowo and Dennis Quaid in Bass Reeves, from Yellowstone co-creator/showrunner Taylor Sheridan. Bass Reeves, which is currently in production in Texas, brings the…

[byneddiedingo]

Jeff Bridges, Margaret Bowman, and Gil Birmingham in Hell or High Water (David Mackenzie, 2016)

Cast: Jeff Bridges, Chris Pine, Ben Foster, Gil Birmingham. Dale Dickey, Marin Ireland, Katy Mixon, John Paul Howard, Margaret Bowman. Screenplay: Taylor Sheridan. Cinematography: Giles Nuttgens. Production design: Tom Duffield. Music: Nick Cave, Warren Ellis.

Hell or High Water portrays a rural desperation that echoes the era of Bonnie and Clyde, when robbing banks was seen as a kind of stick-it-to-the-man activity, a way of getting back at an economic system that allowed no other way of breaking a cycle. As Toby Howard (Chris Pine) puts it, "I've been poor my whole life, like a disease passing from generation to generation." Toby enlists his ex-con brother, Tanner (Ben Foster), in a scheme to rob the small-town branches of the fictional Texas Midland Bank to build up enough cash to pay off the reverse mortgage that threatens the foreclosure of their recently dead mother's ranch, and then to put the property in trust -- with the same bank -- as a guarantee of a better future for Toby's sons. He is, in short, buying off the bank with the bank's money. Given that the Howard brothers have nothing to lose, it's a risk they think worth taking. On the other hand, there is the law to contend with, in the form of Texas Ranger Marcus Hamilton (Jeff Bridges), just days away from a retirement he dreads. Hamilton, too, has nothing to lose, which means he doesn't mind dragging along his partner, Alberto Parker (Gil Birmingham), on an pursuit that Parker thinks is absurd. It's a film of beautiful performances, not only another laurel for Bridges, but also a potential career-maker for Foster and a chance for Pine to show that he's not just another pretty face -- he grunges up well. The West Texas setting -- though the film was shot just across the border in eastern New Mexico -- is exploited skillfully, with deft touches like the frequent billboards advertising ways to get out of debt and the moribund small towns that cause Parker to ask, "Do you want to live here? Got an old hardware store that charges twice what Home Depot does, one restaurant with a rattlesnake for a waitress." The film also plays on the Texan love of guns when the robbers discover that the patrons of the banks are taking full advantage of the state's concealed-carry laws. Hamilton also echoes the region's casual racism, perhaps ironically, with his digs at his partner's American Indian heritage, though the point is made without irony when an old man is surprised that the robbers "ain't Mexican." Hell or High Water doesn't reach the elegiac heights of No Country for Old Men (Joel Coen and Ethan Coen, 2007), but in its simpler, less florid way it's a worthy companion in the neo-Western genre.

[halodyne]

Razor blade shaped memory stick necklace, part of Rob Sheridan's design work for the 2012 6xLP box set of Trent Reznor & Atticus Ross's Girl With The Dragon Tattoo soundtrack.

Rob Sheridan's full portfolio of design work for the movie and soundtrack available here.

[veronicamarsconfessions]

I am reading Taylor Sheridan’s Interview

You might remember him as Danny Boyd in Veronica Mars. You guys remember my blog regarding how Rob Thomas is jealous of Taylor Sheridan’s success? It makes me wonder whether this is one of the reasons why he basically just bad mouthed Sheridan back then.  

And the interview goes something like this: 

As an actor, Sheridan has explained that the amount of expositional dialogue he read for television caused him to form an "allergy to exposition" in his writing. He has also said that he looks for "absurdly simple" plots in order to focus solely on character. He has cited the Coen brothers, Cormac McCarthy, and Larry McMurtry as influential to his writing.

He is known for toying with the form and structure of a screenplay in his work. He also believes in the intelligence of the audience.

As we all know, Rob Thomas is all about that exposition and characters assassination. Dude is so addicted to them. And we all know that he never take any kind of criticism. He hates it. Maybe Sheridan suggested to him about how his storylines supposed to be, and RT just had none of it. 

AND I JUST LOVE THE FACT THAT TAYLOR SHERIDAN IS MORE SUCCESSFUL THAN HIM NOW. TS owns two ranches, a movie production now, plus THREE (yes, three!) successful shows, OSCAR nominated films, and SICARIOs movie franchise! Eat that, Rob.