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sanoiro · 3 years

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Lucifer Meta Post - Tether Me

I have seen and read many meta flying around regarding this song but none seemed to satisfy me. On the contrary this is a song that downright confused me since I watched the episode, therefore the circulating explanations or meta given were not enough for me. I’ll not say they are without merit, they are just not clicking the right way with my mindset of all things Lucifer.

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Since August I’ve wondered why they didn’t reverse the songs between 5x05 and 5x06 meaning why they didn’t use ‘This Year’s Love’ for the ending of 5x06? It would have made sense I thought albeit it would also be cheesy. On the other hand, the commitment that was expressed and the step taken in 5x05 while Chloe comes to her realisation that they chose each other makes that song quite perfect. Especially as it echoes the 3x23 scene and kiss.

In 5x05 Chloe manages to take down the killer on her own - albeit with Amenadiel’s help - in the same way she uncovered the killer in 3x23 with Charlotte’s aid. Both episodes then end with the party who comes to a groundbreaking realisation to seek the other. In 3x23 Lucifer comes to Chloe while in 5x05 Chloe goes to the Penthouse to find Lucifer.

“If you do not need me you are working with me all this time because you want to. Because you choose to. You did choose me.” - Lucifer 3x23

Then Lucifer goes on, that he was procrastinating to face the present as he was afraid of his feelings, that Chloe wanted him because she had seen only certain sides of him and if she knew all of him she would run. Yes, Chloe did ran but from Season 4 we see that the same issue happens with Chloe and it also manifests spectacularly in 5x03 and in 5x05.

Is she a mere human that one day Lucifer will realise she is not worth it? The fact she is a miracle is that the only thing of value she has? Is the rest of her that insignificant that her existence and her relationship with Lucifer is based on the grounds she was designed for him, meaning that there will be another toy or distraction in the near or far future for him? Toys after all are meant to be played, used to promote growth and knowledge and sooner than later are disposed in storage or a bin. Learning experiences are not meant to be revisited when sucessful and as a parent Chloe knows that.

All the above are relevant believe me.

And now back in 5x05.

“His theory is that you choose to be vulnerable around me.[...] If you choose to be vulnerable around me then I chose to be vulnerable around you.” - Chloe 5x05

Now this is what leads us to the use of “Tether Me” as the chosen song in the sex scene of 5x06.

As a form of habit I always go back to AGN a fic, not really worth your time, but since day one I knew how it would end. Lucifer in the comics #75 (last one) - of the first and original series - says that “Perhaps this is the ultimate freedom, eh Dream Lord? The freedom to leave.”

In a twist of words and due to life experiences I thought to turn the tables a bit there and say that the ultimate freedom sometimes is the freedom to stay.

Lucifer as a series has explored free will and freedom a lot and we were always so fixated with the concept that freedom is a synonym of breaking free, of getting away, running. But since S2 when Lucifer in 2x14 came back to Chloe despite knowing she was a miracle and directly connected to him, in his opinion, we see that freedom in the end was not of him being liberated by this manipulation but setting his own terms into the situation by deciding to stay.

The same thing happened with Chloe in S4. She stayed in Lucifer’s life despite his relationship with Eve and his internal and external Devilness and as we saw guilt manifestation. So now we can take the concept of “Tether Me” on a whole new level. Shall we?

First of all. Tether Me.

The definition here is to practically bind someone. But they are bound out of will and so the freedom they seek is through the commitment they make on their own terms, time and ways to express it.

The physical connection as has been said before surely, is not just about sex. Many opt to forget or disregard the fact that Lucifer stayed celibate for thousands of years in Hell and then when he came on Earth he never sought a companion as he had done every time he visited Earth for millennia. Not even when he believed his time on Earth was limited and his relationship with Chloe impossible to progress.

The fact the above is always brushed aside bothers me as it shows not just Lucifer’s emotional state but also his maturity and commitment on an ‘idea’ and a person. For the first time his coping mechanism for an emotional attachment through carnal gratification is rejected because the alternative is more fulfilling even though the consummation on any level up to 5x05, is deemed improbable.

Lucifer emotionally and spiritually, as we may say, like Chloe since the end of Season 4 have, on a basic level, bound themselves to the person they love. They willingly surrendered not the option of being with someone else but their whole entity to the one they loved.

But many poets have praised love stories that were never consummated or were led to tragic endings like Romeo and Juliet as they brought forward a commitment that lacked the difficulties and grind of what may come next. It is why such love stories, see the Titanic one, are viewed as pure and everlasting. That was Deckerstar before 5x06.

In 5x06 the bounding each character experienced as an individual on the mode of surviving external pressures and grief, now turns to a new entity of two joined parts.

As Lucifer and Chloe decide to take the leap we listen to the singer singing “Tether Me”.

On a very simple way we can say that at that moment both characters stake their claim and on a cognitive BDMS level they allow the other to vine them. Do not mistake it as surrendering. They both equally maintain their identity but they commit to something that started since Season 1.

In Season 1, Lucifer asked if Chloe trusted him and she said yes. Now in 5x06 we see that trust blooming.

As characters, Chloe and Lucifer could never commit. Chloe in Season 1 lamented over the fact that Dan was not committed to his family as he was too preoccupied with his job but throughout the seasons we see that her commitment had to do with loosing her ground and allowing to be patronised in many ways. She believed that allowing her partners to take control over some aspects of her life, like with Dan in 3x11 where he was an authoritative/mentoring figure and then Marcus in the same way she was committing to that relationship. It is also interesting how she stopped doing that once Lucifer entered her life.

Lucifer told her to trust her gut, he didn’t question her authority although he did go his way when he wanted to. When Chloe was backsteping for him he didn’t walk over that space albeit for several reasons. Her silly attitude in 2x12 was met with mistrust while in 4x08 he was truthful on how he was tired of being placed in a pedestal or be expected to act a certain way.

So from Chloe’s side, her relationship with Lucifer in 5x05 finally reaches the point where as a person she does not back down to accommodate him and that is cherished because there is a difference between settling things as couple and letting others degrade you for a relationship to work. It is also why Deckerstar in a way it’s a healthy relationship despite all its ups and downs.

Lucifer on the other hand as we have seen since Season 1 he has been very assertive to his sexual relationships but in the kisses of 2x11 and 3x23 he let Chloe set the pace. The only time he initiated a kiss due to the circumstances it was in 4x10. Now in 5x05 we see both of them start their decision to progress their relationship to a sexual one.

For a being that constantly fled any form of commitment and abhorred notions of surrendering power and control it is interesting to see his choices in 5x06. First of all if we go back to his sexual history we shall see for example how his lovers in 2x14, were all describing a person who took control in the bedroom as he knew their desires and became a tool to fulfill them. You cannot have an emotional connection to a tool as you may very well know hence why none of Lucifer’s lovers ever looked back or would ever be willing to kill for him. Additionally in 3x13, it’s interesting of how Lucifer exhibits himself as a giver to the Korean mob boss. A tragic self-awareness if we want to be honest.

We can say that Lucifer is mainly a pleaser but at the same time he rebels when he is enforced or constricted by something. It is why like the song describes (Pull me back, out of my body I'm tied to my limbs They're spinning me out of control) being bound to yourself gives out this sense of vibration, where you want to be set free but also cocooned into a blanket of security. Because sometimes it’s not about setting a person open like a starfish but making sure to sooth their violent tremors and let them rest than be painfully rigid.

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Now let’s follow the rest of the lyrics.

In the corners of my mind Long forgotten, lost in time Turning stones to look for light It's dark out here in the dead night

Always in my perception of things, the theory of relativity is prominent here in my opinion. It’s about time and how when we are alone time seems unclear, passing but it creates a still numbness, overthinking and we are getting lost in a self-constructed mind maze. Basically what has happened to our characters througout the seasons. While they doubt themselves, trying to find a meaning behind each other’s reactions and decisions and even the world they live in.

The ‘light’ part, for me at least, it’s a synonym of time. Of change and change often brings hope and progress. I mean progress is based on the concept that time exists and is passing so everything can only move forward whether they like it or not, but where can you find light and thus time when you are in a state of self-isolation from your wants and feelings?

So in 5x06 we see Lucifer and Chloe stretching out only to let the other in. Their awareness of freedom is having the other in their arms, to emotionally and physically consume them until there is no clear indication they were once two separate beings, but careful we are talking about their emotional connection. As I have aforementioned, they retain their attributes as individuals and as we see in 5x07 they word and respect each other for that. About what is shared and how a relationship is not the end of ones self but neither the surrendering of everything that makes you unique.

Change is never easy and never slowly paced and it is why the line of the lyrics:

For a moment, I was gone. Speed of light right to the red dawn.

For me it’s when the clock starts ticking from both ends without that meaning it’s a countdown. Mornings are set to be the set of new beginnings after all but they all require a sacrifice, a red one in preference. Hence the:

In this space, do I belong?

Breaking insecurities is hard as one set of them is replaced by yet another and it is a great song if we get it under that scope. That a relationship and particularly sex is not the resolving of everything but the transcription of yet another set of adventures down the road.

And the:

It's dark out here in my own thoughts.

Will remain a part of Lucifer’s theme in P2 but also in Season 6 so no idea if they went that far in the meta level but knowing your partner needs helps and there will be dark spells, after all bad spells it’s part of life. There is no easy fix as you will see. No matter what will be resolved, a troubled mind will remain one. The question is how you will tackle the difficulties and the bad days or moments. That is all. And the difficult moments will also be the good moments. Weird thinking for some I know but we cannot expect life, even a made up one to be perfect or even easy.

So Tether Me.

Bind me in a safe place alongside you, without the possibility to harm you or myself, to be free because I’m with you and the perception of how grand a world is, it’s but a matter of debate and time.

#lucifer meta #tether me #lucifer 5x05 #lucifer 5x06 #deckerstar #lucifer season 5 #lucifer season 5 part 2 #lucifer s5p2

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twh-news · 3 years

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What is the Multiverse? Five Must-See Alternate Timeline TV Episodes to Watch After ‘Loki’

Look, I get it — multiverse storytelling can be confusing. Marvel’s Loki streaming series is only the latest in a long line of stories that plays fast and loose with the idea of multiple or parallel timelines. Loki follows the God of Mischief (Tom Hiddleston) after he gets involved with the Time Variance Authority, or the TVA, as they try to correct problems in individual timelines. This provides us a chance to see lots of variant Lokis (including our favorite chompy green boy) and opens up opportunities for a lot of zany storytelling that doesn’t necessarily have to impact the primary timeline.

The idea of multiple universes existing at the same time isn’t anything new. Some of the earliest examples date back to Norse mythology, which divided existence into nine worlds. DC Comics first introduced the idea of the DC multiverse in its comics in All Star Comics #3 in 1940, and Marvel later followed suit, starting with their What if? series in the 1970s. While the concept of parallel universes might feel a little daunting to contemplate on your own, these five television episodes will help you understand the magic of the multiverse.

“The Parallel” — The Twilight Zone

When it comes to television that changed the way we think, Rod Serling‘s The Twilight Zone is the forebear of them all. The original series ran from 1959 to 1964 and contained stories from science fiction greats like Ray Bradbury (Farhenheit 451) and Richard Matheson (I Am Legend). Each episode in the anthology series told a different short story, most with the intent of exploring some political or social allegory.

In 1963’s “The Parallel”, Major Robert Gaines (Steve Forrest) is orbiting earth in his space capsule when he suddenly blacks out and wakes up on Earth with no memory of how he got there. He’s uninjured, but the world he’s arrived in doesn’t quite match the one he left. His daughter suspects he’s someone else, his house suddenly has a white picket fence that his wife swears has always been there, and everyone keeps calling him Colonel, which matches his uniform but not his memories. He’s a little shaken until he comes to the conclusion that he’s in a parallel universe, and then takes steps to get back to his own timeline.

“The Parallel” marks the first instance of multiverse storytelling on TV. It doesn’t do anything particularly groundbreaking and is a middle-of-the-road The Twilight Zone episode, but it’s the first, which means it paved the way for everyone else to tell TV stories about parallel universes and doppelgangers.

“Mirror Mirror”/”Crossover” — Star Trek/Star Trek Deep Space Nine

Did I say doppelgangers? If there’s one franchise that has capitalized on the potential fun of meeting your alternate self, it’s Star Trek. In the “Mirror Mirror” episode of the original series, a teleporter mishap sends Kirk, McCoy, Scotty, and Uhura to a parallel dimension where everything is reversed. The Federation has become an evil Empire, Kirk is a tyrant, and Spock has a goatee (that’s how you know he’s evil). The episode started several tropes about doppelgangers (including the whole goatee thing), and paved the way for future Star Trek iterations to really go wild with the Mirror Universe.

Star Trek: Deep Space Nine explored the Mirror Universe more than any other Star Trek series, with stories taking place there over five different episodes. The first of these, “Crossover,” is the most important and sets the stage for the later mirror episodes. In “Crossover,” Major Kira (Nana Visitor) and Doctor Bashir (Alexander Siddig) have an accident inside of the wormhole near the planet Bajor, sending them to the Mirror Universe. It’s been decades since Kirk and co. crossed over, but things are still pretty backwards in the Mirrorverse. Instead of the Federation, there’s a coalition between the Klingons, Cardassians, and Bajorans. Terrans (a fancy word for Earthlings) have been enslaved. The space station Deep Space Nine is instead a mining operation, run by the alternate Kira, the Intendant.

There are few things in the world as enjoyable as watching Visitor play her double role. The entire cast really gets to go for it with their Mirrorverse personas, and you can tell they’re having a blast. The Mirror Universe in Deep Space Nine gave the actors a chance to explore their characters in new ways, and it provided more insight into their individual pathos. Sure, the Mirrorverse versions were the “evil” versions of themselves, but there were still versions of themselves. Kira is a strong leader with a dry sense of humor, regardless of whether she’s the former Bajoran freedom fighter or the Intendant. “Crossover” set up the following four Deep Space Nine Mirror episodes, including episodes where Captain Sisko (Avery Brooks) must pretend to be his doppelganger and deal with the fact that his dead wife is still very alive in the parallel universe. Some of the episodes are silly fun, and some are a bit more heady, but they all get to explore sides of these characters that we’ve never seen before.

“Remedial Chaos Theory” — Community

The NBC sitcom Community frequently made its own riffs on popular tropes, and it had an utter field day with parallel universes. In the season 3 episode, “Remedial Chaos Theory,” viewers are treated to seeing six different ways the same evening could have played out. The friends, who met in a Spanish study group at their community college, are all celebrating Troy (Donald Glover) and Abed (Danny Pudi) moving into a new apartment. When the pizza arrives, group leader Jeff (Joel McHale) suggests they roll dice to see who has to go get the pizza. Abed, who is sensitive to tropes, points out that Jeff is creating new timelines by introducing chance, and then we get to see each of them play out.

What “Remedial Chaos Theory” does is brilliant. It’s a bottle episode, all set in one location with no visible impact on the overall plot. However, by seeing how the situations change each time a single character is removed from the group dynamic, we’re able to learn so much more about the group as a whole. The episode gives us insight into the characters and their relationships by changing up the formula just a pinch and removing one element. In the Darkest Timeline, which leaves Pierce (Chevy Chase) dead and severely maims the rest of the group, it’s revealed that things fall apart without Troy in the mix. At the end of the episode, the prime timeline continues and it’s Jeff who has to go get the pizza. This ends up being the most positive of the timelines, which means maybe the group is better off without Jeff at all. It’s a great piece of character storytelling and even ends with the Darkest Timeline versions of Troy and Abed making felt goatees for themselves before declaring they are Evil Troy and Evil Abed.

“Rixty Minutes” – Rick and Morty

Community showrunner Dan Harmon clearly has a love for stories involving parallel timelines, so it’s no surprise that he expanded on those ideas in Rick and Morty, the adult animated series he developed with Justin Roiland. Rick and Morty is a kind of Back to the Future for twisted adults; it follows the adventures of alcoholic mad scientist Rick Sanchez (Roiland) and his hapless grandson Morty Smith (also Roiland) as they travel through space and time. In the first season episode “Rixty Minutes,” Rick introduces the entire Smith family to the many parallel timelines that exist. He and Morty watch Interdimensional Cable in the A plot, which gives Roiland a chance for lots of fun improvisational gags, but the B plot is more interesting. In order to enjoy his cable watching, Rick gives Morty’s parents and sister a helmet that will let them see through the eyes of some of their alternate selves.

Jerry (Chris Parnell) finds a version of himself that’s a huge Hollywood player who parties with Johnny Depp. Beth (Sarah Chalke) finds a reality where she’s not a horse surgeon, but a human surgeon, like she always wanted. Their teenage daughter Summer (Spencer Grammar) discovers that she was an unplanned pregnancy and that her parents argued about whether or not to get an abortion. In the parallel universes, she either doesn’t exist or her life is hopelessly boring. This leads to a pretty massive existential crisis, but she’s stopped by Morty, who has already had his fair share of timey-wimey weirdness.

Morty takes Summer upstairs and shows her two dirt mounds in the backyard. He explains that he’s not the Morty from this timeline, and that he and Rick had to come here after things in their timeline got too bad. The Rick and Morty in this timeline had just died, so they slipped in unnoticed. Then, Morty gives Summer a bit of advice that shows he’s beginning to grow up a bit on his madcap adventures.

“Nobody exists on purpose. Nobody belongs anywhere. Everybody’s gonna die. Come watch TV?” he pleads.

The episode ends with the entire Smith family realizing that dwelling on possible alternate realities will only ever cause problems. It’s a testament to living in the here and now, and is one of the series’ most emotionally resounding moments.

There are dozens of shows with multiverse stories out there, from ’90s sci-fi staple Sliders to the later seasons of Supernatural. These five, however, helped expand upon the trope as a whole, and are worth checking out to improve your pop culture savvy. That, and they’re just a lot of fun.

#loki #loki series #multiverse #article #slashfilm

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mayonakazkrazy · 4 years

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Soooooooo I wanna talk about an Animated Movie

One night recently, I may have been watching a show that started giving me too many... ‘too real life’ vibes, when what i needed in the moment was ‘taking a break to mentally and emotionally recharge’ time. SOOOO to redirect my overstimulated brain I changed over to a ‘safe’ non threatening movie, Monster House.

Spoilers below the cut in a sort of review as well as some random details that i noticed that make me go ‘... well that got real fast...’ and one tangent/character dive i been wanting to get into toward the end.

Also fair warning about my run on sentences... they’re not going anywhere

Monster House is... a CG movie that oddly enough gives off Claymation vibes... at least to me from certain style design choices. I honestly feel that sort of works in it’s favor since the CG of the mid 2000s was.... terrifying if care wasn’t take in the process. Not good if you want you film to be taken seriously, buuut this movie manages to tow the line because a) it IS supposed to be at least a little scary to kids... haunted house? and b) even though the characters take things seriously enough the writing itself doesn’t try TOO hard to pretend it’s more than it is.

As it stands, the movie is Ok - in the best possible vein of ok. Not some epic, groundbreaking thing but I think it warrants being on people’s list of fun movies to play on Halloween. Visually interesting and funny, you can tell that the people who made the movie at least had fun working on it; and cared more about the project than some other kids’ movies that get put out purely for the easy cash grab via paint by numbers. (I found out that this movie was nominated for Best Animated Feature apparently?! like... i like this movie but... i don’t know, i’ll have to see what other movies came out that year cuz while i like it i’d like to reiterate that i don’t know if it’s BEST (animated/kids) movie of the year material...)

I can honestly say that it was at the Start if not ahead of the ‘remember the 80s?’ fad in movies. Again, not to the film’s discredit. It’s less concerned with smacking you over the head with ‘EIGHTIES!’ and is more set in the time period to make things more plausible. Ya got kids running around unattended for hours without parental guidance, and a number of other 80′s tropes that are, easily ignored at worse and make story elements more believable at best. I mean... .when ELSE would you believe that kids could run around basically unattended for HOURS just before Halloween....hell one kid ACTUALLY STEALS an amount of cold medicine that would have you on MULTIPLE investigative lists even 15 years ago. And NOT just because “the parents are just bad parents”... there’s arguably only one ACTUALLY bad parent in the film who’s only mentioned off-hand but i’ll talk about in a little bit. The rest are parents with semi justifiable reasons for either not believing their respective kid about the haunted house or not thinking they’re NOT unattended (ie. someone’s supposed to be babysitting one of these kids but SURPRISE! she’s in the “selfish teen is a disinterested babysitter spending more time talking to or about boys than ACTUALLY doing the job she’s paid to do” trope)

TLDR on that paragraph, this movie spends so little time being WE”RE THE 80′S! that i wasn’t even sure WHEN it was supposed to take place if it wasn’t for the lack of iPhones and the stationwagons all over.

ANYWAY. some details that tend to stand out to me with this movie tend to be the things that we just get to hear about briefly and are arguably meant to encourage conversation if someone NEEDS to know more about it rather than just getting EVERYTHING explained for no good reason. So enjoy me conversing with myself here.

First up, Chowders family life is kind of sad. Like i said earlier there’s only one or two parents to the three main characters of the movie that people would likely consider ACTUALLY bad.

The lead’s, DJ’s, parents go out of town at the start of the movie and could reasonably be expected to think that their kid was being watched by the babysitter (see trope rant above).

The mother of the token female character (Jenny) is Maaayyybe a bad parent but that is to be argued as we only have a few reasons to believe so and some can be explained by the aforementioned 80′s era lack of parental awareness. All we really know is that, this girl is walking around selling candy on her own, gets nearly eaten by the Monster House, and when she calls her mother to tell her about it, the mom doesn’t believe her as no parent ever does about monsters. Sooooo while she does get points off for her kid not even having someone with her during the candy selling, we also don’t hear from or about her again for the rest of the movie until just, coming to pick her up at the end. She get’s a *shrug* on the scale of good or bad parenthood.

Then there’s our secondary male character, Chowder The Dumb One Comic Relief. He’s the one with arguably the most complicated family that we get any insight to. and it’s pretty much just from his off-handed comments on it and a single snipet of a phone call we get to overhear. Literally, what you are about to read, my brain managed to over think from these freakin context clues... SO, it WOULD be SUPER easy to miss what we get about this family and just chalk it up to ‘OH those kids movie parents and their rampant absenteeism and DEATH’ but no. Chowder’s family life is... a little sad if i’m honest. we only hear about 2 calls regarding these kids and their parents. One is when Jenny calls her mom to try to tell on the House for eating her and the other is when Chowder’s dad calls looking for his son. NOW, Chowder himself tells DJ (and the audience) that his Dad is working at a Pharmacy the night Chowder goes over to DJ’s house and nearly gets himself eaten by the Monster House. The boys end up spending the entire night after that, watching the house to see if anybody or anything else gets attacked. Chowder’s dad doesn’t call DJ’s house to find out where his kid is until morning, so we’re lead to believe that his lack of knowledge about the boys’ impromtu sleep-over because he works the graveyard shift (or at least late enough that he would assume Chowder’s in bed until waking the next morning).

The somewhat sad part comes with the second bit of information we get from Chowder after he tells DJ that his dad is at work that evening and it’s, “Mom is at the movies with her personal trainer”. 0.o ooooooh the scandal... i mean, yeah in general cheating spouses isn’t exactly the most uncommon occurance....anywhere. but isn’t it just a little sad that part of the reason that this is not only the reason that Chowder is home alone (making it SUPER easy for him to just leave when DJ calls). But she’s also apparently gone long enough to ALSO be out so late as to not notice that her kid is GONE all night. Looking at it nowadays just... reminds ya WHY there were ads in the 90′s asking parents where their kids were at 10pm.

BUT WAIT THERE’S MORE

well not about the cheating Chowder’s mom part.

More like the WHOLE thing that got me wanting to type about Monster House in the first place.

A sad story with more potential doom than maybe even the film intended.

YOU SEE

A major plot twist of the movie is WHO is possessing the house. DJ and crew initially believe to be the someone they kind of know - the house’s owner, Mr. Horace Nebbercracker. At first glance, Nebbercracker is obsessively protective of his house, literally the first scene of the film is him SCREAMING in a little girl’s face and confiscating her tricycle when she accidentally ends up on his lawn (again, where are her parents?). He’s literally Mr. “Get off my lawn”.

So it’s not difficult to imagine that he’s the one haunting the place when the house seems to come life immediately after his sudden heart attack. (PS. WTF to the writers cause we AND THE TWO TEENAGED LEADS see the heart attack happen real time and the boys may have even contributed to it!! THERAPY FOR EVERYONE) Especially since Dj’s babysitter invites over her.....boyfriend? maybe. who reaffirms that Mr. Nebbercracker has been screaming at kids and confiscating toys for YEARS. yeah, super easy to see this dude sticking around after death and continuing his time honored tradition of AGGRESSIVELY dealing with trespassers. Only now as a house that WILL eat you just for stepping on the grass.

So as you may have already guessed, this later gets proved to NOT be the case. As Horace ends up returning in the climax alive and well (enough to sneak out of the hospital and steal an ambulance LIKE A BOSS).

Throughout the course of the movie, we and the kids find out that this creepy old man once had a wife but not only is she not around, rumor has it that he ATE her. for some reason. When the kids go into the house to try to ‘kill’ it and stop the house from eating people, they find a bunch of old pictures inside that at least confirm there was a wife at some point. When they end up in the basement among the piles and piles of stuff that’s landed in the yard over the years, the ALSO find a shrine to Mrs. Nebbercracker. Which is also her final resting place (a spot where she was apparently covered completely with cement).

DJ puts 2 and 2 together pretty quick when Mr. Nebbercracker returns and starts trying to calm the house. Mrs. Constance Nebbercracker is the one haunting the place, not Horace. That’s when we unlock Horace’s Tragic Back Story:

Sometime in the 1930′s Horace (a former demolition man) fell in love with Constance. Constance was being exploited as an “attraction” at a circus/freak-show at the time (during the height of just being abnormally tall, short, or obese made you a relevant ‘freak’). This place made her sleep OUTSIDE IN A CAGE and you know people were happily entertaining themselves by throwing things at her and laughing at both her weight ‘freakishness’ and helplessness.

So to follow a simple love story, the sweet skinny boy sneaks her away, his feelings are reciprocated, and the two start their life together. They’ve gotten to that nice, building their own house stage when everything goes terribly wrong.

For me, this is sort of the start of my opinion that... things for the Nebbercrackers weren’t likely to go well anyway. Like we got the impression from their wedding photos that they managed to have SOME normalcy in their honeymoon phase but when we see the beginnings of the house, Horace is JUST THEN taking apart the cage/cart that Constance was kept in. i’m presuming he was originally gonna use the various parts in the house but dear christ that means that not much time may have past between leaving the circus (guess they at least didn’t care enough about her ‘as property’ to keep the couple on the run?) to getting married and going on a vacation to buying the land and beginning construction.

That said, the mid-twentieth century isn’t exactly known for it’s forwardness on mental health, and oooooohhhhh boy, if this poor couple aint a fitting example that “and they lived happily ever after” doesn’t happen often. Halloween happens to come around and kids get up to their traditional mischief by, what else? Egging what little of the Nebbercracker house existed at the time.

(Disclaimer i am an expert in nothing so i may get somethings wrong here but this IS just me hashing out an idea i have) When we first see Constance, we see someone actually throwing food and trash at her while she’s “on display”. And when we see her at the skeleton of the Nebbercracker house, she get VISIBLY upset at the children throwing things at the house, she seeks out her husband telling him that those monsters ‘are attacking [their] house and they’re hurting [her]’. In my mind, she and Horace likely haven’t really dealt with her trauma from the circus. Yes Horace removed her from the bad situation and stopped the trauma, but as of good ole 1935, i doubt they really talked about it much, let alone saw a therapist. Both likely just trying to power forward INTO their future.

Horace’s confusion when Constance becomes triggered by the children throwing things and laughing like assholes shows us that he likely hadn’t seen or had to deal with a situation like this before. He does try to get her to focus on him and remind her that she’s with him and not back at the circus, so maybe he’s had to reassure her (like after a nightmare or maybe he got small panics when in more crowded areas - thus the house that’s likely on the edge of town since they don’t have close neighbors). But the course of events indicates that he’d never seen such a STRONG episode from her.

Perhaps she’d just finally gotten comfortable with being truly free since they could build their own home and so the perceived ‘attack’ on her home became an attack to her safety and happiness. When she goes to her husband, her savior, and (in her eyes) he doesn’t fix it/ he doesn’t get the chance to. When that egg hit HER BODY. it was game over.

Constance tried to take matters into her own hands, remove the ‘threat’ herself.... with the axe Horace was holding. Now it’s a kids movie so no children come even close to getting hurt, but one could take this to mean that, if constance had lived, she may have only gotten more violent as time went on if she didn’t get the help she needed... help Horace may not have been able to give or get for her.

We’ll never know since the way you get a haunted house is... pretty obvious. In a desparate attempt to stop Constance from likely maiming some kids or hurting herself, Horace causes constance to fall into their uncovered basement. As she falls, she tries to grab the cement mixer for stability and ends up dumping the load on top of herself in the basement (making for a VERY creepy site for a shrine). Horace’s guilt compels him to finish the house and he stays there.

Now such a violent, angry moment right before death MEANS THAT SOMETHIN’S GETTING HAUNTED. SO Constance’s spirit possesses the house and begins “defending” itself from the people of the growing town that happen to get too close. ESPECIALLY on Halloween... ya know one of the nights where EVERYBODY goes out and willingly approaches people’s front doors.

Throughout the rest of the flashback we Mr. Nebbercracker trying to keep people away with more and more desperation. Likely because DJ and Chowder haven’t witnessed the first of Constance’s victims. As the movie’s climax pics up we see how Horace talks to the house, trying to placate the angry spirit by taking care of the house and trying to be the first responder when someone enters the lawn before Constance gets to use HER WAY.

From here, Horace’s relationship with the House begins to look...pretty abusive actually. When he gets back home from the hospital he’s grumpy to the kids, but then we see him pause, he’s apprehensive as he turns to get back to the house. From the expressions the house is given and the way Mr Nebbercracker responds, it’s TELLING him to get HOME NOW. He’s timid, and fearful, and the kids begin to get the idea that if he goes into the house now, he may not come out again. And when the house LITERALLY GETS UP AND STARTS CHASING PEOPLE, he’s desperate. He tries soothing her, he tries to redirect her away from the targets of her anger - the kids.

Can you just imagine the 45 years leading up to this? Horace having to isolate himself from the whole town until it’s just him and this angry house under the pretext of “IF YOU DO NOT DEFEND HOUSE THEN THE HOUSE WILL DO IT”. He even get’s the heart breaking line of “then i’ll have nobody”. Like so many victims that feel they CAN’T leave their homes. I like to imagine that the house is PRIMARILY motivated by the rage and fear that was driving Constance in her final moments but like... what if she hadn’t? Even if she didn’t kill those kids from 45 years ago, would they have been able to get her the help she needed? Like so many back in those days, Constance and Horace likely would’ve only had the option to self medicate or get her institutionalized (ie. Imprisoned again). Would that have devolved into Constance manipulating Horace with things like “i won’t make it without you” and similar tactics. Would have maybe gone the other way? with Constance still not technically being free because Horace would (intentionally or unintentionally) encourage her dependence on him...

Anyway, when pleading to the house to just leave the children alone fails, he makes the decision to stop her. with dynamite from his Demo days.

Constance does not take this well.

From there we get the exciting confrontation where the main characters destroy the house WITHOUT the self-sacrifice that Mr. Nebbercracker may have been planning. We even get a nice little moment where constance’s spirit (unattached to the destroyed house) get’s to move on after a quick goodbye to Horace. And now we get our kids movie happy ending with DJ, Chowder, and Jenny helping Mr. Nebbercracker begin redistributing the pile of toys still in what’s left of the basement to trick-or-treaters and the living things that the house ate somehow climb out of whatever pocket dimension they were trapped in. Nobody seems to question why Nebbercracker’s house is just a crater now....and that this old man that left the hospital without a discharge is now homeless....

Buuuuuuuut i’ve been typing for like 2 hours now. I still have thoughts about other side characters and maybe more exploring the dynamics of technically being in a relationship with a haunted house. buuuuut i need to sleep.

Stay nerdy fellow overthinkers.

#Monster House #movie rant #overthinking to the max #long #rambly

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kiwigreenflame · 5 years

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It’s been a while since the Top 10 religion and comics installments, and I’ve been meaning to post a number of other comics that didn’t make it into that list but are still worth mentioning in passing. No commentary on these apart from the official blurbs. As always, YMMV reading these.

Testament

Creators: Douglas Rushkoff & Liam Sharp Publisher: Vertigo (DC Comics) Date: 2006-2008

From the imagination of best-selling author Douglas Rushkoff, one of the most iconoclastic and acclaimed minds of our era, comes a graphic novel series that exposes the “real” Bible as it was actually written, and reveals how its mythic tales are repeated today. Grad student Jake Stern leads an underground band of renegades that uses any means necessary to combat the frightening threats to freedom that permeate the world. They employ technology, alchemy, media hacking and mysticism to fight a modern threat that has its roots in ancient stories destined to recur in the modern age.

Chosen (American Jesus)

Creators: Mark Millar & Peter Gross Publisher: Image Comics Date: 2009

From the writer of the Universal hit, Wanted, comes his next graphic novel on the way to becoming a feature film! American Jesus Volume 1: Chosen follows a twelve-year-old boy who suddenly discovers he’s returned as Jesus Christ. He can turn water into wine, make the crippled walk, and, perhaps, even raise the dead! How will he deal with the destiny to lead the world in a conflict thousands of years in the making?

The 99

Creators: Naif Al-Mutawa Publisher: Teshkeel Comics Date: 2007-2014

Young heroes gain superhuman abilities when they bond with 99 powerful gemstones. These Noor Stones were forged from the destruction of ancient Baghdad to preserve the wisdom of the ages, and were lost for centuries, but they are being found, one-by-one…

Vampirella Strikes

Creators: Tom Sniegoski & Johnny D. Publisher: Dynamite Entertainment Date: 2013

For years, the raven-haired heroine Vampirella has hunted the world’s supernatural threats, all the while fighting back her own bloodthirsty nature. After a night out in Boston leads to particularly brutal violence, she seeks comfort in her Brownstone home… but discovers the most unexpected surprise of all. Angels have been sent to her by God — and they come asking for help! Enter Janus, a former soldier in the legion of Heaven, who skirts the line between the damned and divine. Only a fallen angel can navigate Vampirella through the seedy, demon-run underworld, where she hopes to find the source of an addictive, body-altering drug derived from archangel blood. Will Vampirella’s mission redeem her… or will she uncover secrets so shocking that their discovery will damn her forever?

Loaded Bible: Jesus vs. Vampires

Creators: Tim Seeley, Nate Bellegarde & Mark Englert Publisher: Image Comics Date: 2006-2008

In the near future, nuclear Holy War has decimated North America and humanity’s last stronghold is the dome metropolis of New Vatican City. When vampires attack, the Church turns to a clone of Jesus Christ Himself to protect them! But all is not as it seems for the Test Tube Messiah, as he’s drawn into a web of betrayal, bloodshed, and seduction!

The Sisterhood

Creators: Christopher Golden, Tom Sniegoski, Wellinton Alves, & Andrew Dalhouse. Publisher: Archaia (BOOM! Studies imprint) Date: 2008

The Order of the Holy Sepulchre is an elite group of specially trained nuns, the world’s most powerful exorcists. But they don’t just get rid of the demons they exorcise…the Sisters draw the demons into themselves, using their own bodies as cages of flesh. If they die a natural death, the demons die with them, small pieces of the world’s evil gone forever. But if the Sisters should dies violently…the demons are released into the world again!

Now someone has sent assassins to kill the oldest of the sisters, releasing the captive demons out into the world. Eden Parish is assigned the task of discovering who is behind this massacre, and why. In her journey she will uncover dark secrets about the Order, and about their enemies. And the real reason behind all this murder.

Blankets

Creators: Craig Thompson Publisher: Top Shelf Productions Date: 2003

Blankets is the story of a young man coming of age and finding the confidence to express his creative voice. Craig Thompson’s poignant graphic memoir plays out against the backdrop of a Midwestern winterscape: finely-hewn linework draws together a portrait of small town life, a rigorously fundamentalist Christian childhood, and a lonely, emotionally mixed-up adolescence.

Under an engulfing blanket of snow, Craig and Raina fall in love at winter church camp, revealing to one another their struggles with faith and their dreams of escape. Over time though, their personal demons resurface and their relationship falls apart. It’s a universal story, and Thompson’s vibrant brushstrokes and unique page designs make the familiar heartbreaking all over again.

This groundbreaking graphic novel, winner of two Eisner and three Harvey Awards, is an eloquent portrait of adolescent yearning; first love (and first heartache); faith in crisis; and the process of moving beyond all of that. Beautifully rendered in pen and ink, Thompson has created a love story that lasts.

A Contract with God and other Tenement Stories

Creator: Will Eisner Date: 1978

This semi-autobiographical work captures with pen and ink the drama of the city and its all-too-human inhabitants. Set in the same Bronx neighborhood as later works Dropsie Avenue and A Life Force, the four stories that comprise the book – “A Contract With God”,”The Street Singer”, “The Super” and “Cookalein” – examine the world of immigrant life in New York City in the 1930s with a unique look at the emotion and character of its denizens.

Warrior Nun Areala

Creator: Ben Dunn Publisher: Antarctic Press Date: 1994-2002

Follows the exploits of Sister Shannon Masters who is part of a militant Catholic organisation, the Order of the Cruciform Sword, who protect Church and world from supernatural threats. Plays fast and loose with things Catholic the series still manages to portray characters with genuine faith, humility and the odd bit of theology.

The Four Horsemen of the Apocalypse

Creator: Michael Mendheim; Mike Kennedy; Sean Jaffe; & Simon Bisley Publisher: Titan Comics Date: 2014

Raised by the ancient Order of Solomon, Adam Cahill is one of a rare handful of highly trained warriors bound by bloodline to guard the Seven Holy Seals that contain the End of Days.

But ageless forces have conspired towards a prophetic event foretold by numerous cultures and multiple religions… and when that cryptic date arrives, they strike against the order without mercy!

The Lone and Level Sands

Creator: A. David Lewis and mpMann Publisher: Archaia (Imprint of BOOM! Studios) Date: 2005

Pharaoh Ramses II hasn’t seen his long-lost cousin Moses in nearly forty years. Yet while pressed by the Hittites to the North and construction delays in the South, Ramses must make time for this ancient desert rascal, the long-ago mystery he represents, and the impossible demands of an alien deity. Drawing on the Bible, the Qur’an, and historical sources, writer A. David Lewis (Mortal Coils) and artist Marvin Perry Mann (Arcana Jayne) present a retelling of the Book of Exodus through the eyes of the man who is either its greatest leader or its worst villain: a man trying to rule wisely, love his family well, and deal justly in the face of a divine wrath.

Some New Kind of Slaughter, or Lost in the Flood (and How We Found Home Again)

Creator: mpMann & A. David Lewis Publisher: Archaia (Imprint of BOOM! Studios) Date: 2009

If there is one constant throughout most of Earth’s historical nations, cultures, and religions, it is the threat and the destruction of the Great Flood. In the wake of the recent Indian tsunami, Hurricane Katrina, and alarm over global warming, the award-winning creators of The Lone and Level Sands return to plumb the depths of the world’s great myths with this graphic novel exploring how this legendary fear may be more relevant now than ever before. Like Noah, sea-bound Ziusudra and other heroes across time must strive against the coming Floods and the baffling will of the gods.

Judas

Creator: Jeff Loveness & Jakub Rebelka Publisher: BOOM! Studios Date: 2009

Judas Iscariot journeys through life and death, grappling with his place in “The Greatest Story Ever Told,” and how much of his part was preordained. In a religion built on redemption and forgiveness, one man had to sacrifice himself for everyone…and it wasn’t Jesus.

Kismet: Man of Faith

Creator: A. David Lewis; Noel Tuazon; Rob Croonenborghs; Taylor Esposito; & Tyler Chin-Tanner Publisher: A Wave Blue World Date: 2018

Punching Nazis used to be more than a meme. In 1944, it was a vocation. And no one put his gloved fist in the faces of more fascists than the Man of Fate, the Algerian Operative, our man in Occupied France — Kismet.

Then, he disappeared. Gone without a trace…until now.

Back from beyond, Kismet finds a new world of gay rights, quantum physics, and computer technology along with the old evils of bigotry, greed, and ignorance at a crossroads. Twenty-first-century America needs more than a superhero. It needs an ally.

Religion and Comics – Wrap Up It's been a while since the Top 10 religion and comics installments, and I've been meaning to post a number of other comics that didn't make it into that list but are still worth mentioning in passing.

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deltastorm101 · 5 years

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Mirror’s Edge Catalyst - A (critical) love letter.

Hello and welcome back to another episode of “a review I thought I could never write because I’m way too emotionally attached to this game which I know insanely, almost creepily well”, mixed with a healthy dose of “I should do everything but write this review because I want to finish school at some point but I have to use the surge of inspiration while it lasts”!

Today we will be talking about Mirror’s Edge Catalyst, which was released 2016 as a prequel-ly reboot (saying it like this because for the longest time I’ve thought it to be a prequel but turns out it’s a lot more like a reboot... my bad) to the first Mirror’s Edge from 2008 (which, by the way, still looks fantastic today considering its release year). I will occasionally throw in references and aspects from the first game as well, but this will primarily be about Catalyst.

Time for game 👏 review 👏!

And as always - warning: spoilers. I’ll try to keep the really huge ones out of this or at least mark them well, but going off and playing for yourself first is recommended.

To start this off, I want to say that I initially loved the first Mirror’s Edge - however, only after playing Catalyst, I realized how bad the controls and bugs in it actually were, which is another way of saying Catalyst is a miracle when it comes to naturally flowing controls and crisp and polished looking environments. The city it takes place in, “Glass”, is breathtakingly gorgeous, period. Shiny, clean, it is just on point and one of the biggest reasons I consider it to be my favourite game from the day I first played it, hands down. Not even one of the new Tomb Raider games or one of my childhood-reminiscent games were able to top it and that means something.

The game takes place in an open world map complex under a totalitarian government, drawing parallels to George Orwell’s “1984” – big brother is watching you, all that. A dystopian world if I’ve ever seen one. The open world aspect is one of the best decisions the developers could have made; I have no words to describe how beautiful the different city districts are, and being able to run in freeroam through the city of Glass like parkour runners are meant to feels so much better than being trapped in closed-off levels like it was the case in the first game.

When I first wrote down some key aspects for this review while I was playing it once more, I noted that apparently, you only truly understand the game’s backstory and the protagonists’ origins if you’ve bought and read the comic, Mirror’s Edge Exordium, and that I think it’s not that important because you can well understand what’s going on at the beginning without it – the game starts with Faith, the main protagonist, getting out of jail/a sort of juvenile detention, making her way back into her old circle of friends and family and, of course, old unresolved and new unconsidered problems and conflicts. The comic basically explains what has been messed up by who to make her end up in juvie in the first place and, as I said, it’s not really necessary to know. But, after having bought it now after literal years of consideration, I can say that it’s definitely very nice to know, and totally worth it. There are a lot of elements from the game carefully and lovingly worked into the comic and vice versa (I don’t know what was written first, comic or game, but they fit together very nicely), and just having more reasons, more answers, a larger overview and even partly some explanations for the first game feels... right.

The voice acting is good overall – not strikingly awesome but definitely up there, especially during emotional cutscenes. Sometimes the controls are a bit wonky and Faith might not immediately do what your fingers tell her to but that could definitely be on me - in games where fast reaction is important, quick time events can go wrong occasionally, nothing new. There are some passages you could consider a QTE but they’re being displayed early enough for you to be able to mentally prepare for them as far as I see it. And in my book, that’s a massive improvement from the first game, where you were able to press a button perfectly in time even while having reaction time (= a temporary slow mode) activated, and still watch Faith gracefully fall down the side of the building while flailing her arms in fear because she didn’t grab onto that perfectly grabbable practical white ledge. Why, you ask? I don’t know, ask Faith. Oh, you can’t, obviously made clear by the nasty sound of her hitting the road and her neck being snapped apart. Seriously, I cringed to the moon and back when I first heard that ugly sound. Which is another thing they improved in Catalyst; now all you hear is her quick, raspy, fear-filled breaths and a blissful silence paired with a white death screen after you’ve hit a death barrier. Not the ground, a death barrier. There’s a shitload of them. Which is a pity regarding the fact that a whole lot more out-of-bounds areas would be reachable and playable if there weren’t. Honestly, I find it kind of disappointing that there’s this many invisible walls, fall-through grounds and death barriers. I can see why, conserving computing resources to avoid loading screens, blah blah, but still... let me go off the map, dammit. The game is about a group of people living “off the grid”, why can’t the player actually do that? Hm? Hmmm?

Another aspect tying into this is the social playing mechanic(s), which I found interesting but indeed totally unnecessary. We all know leaderboards of races and stuff, which were incorporated here as setting the best time in short, timed courses (“dashes”), which naturally have been hacked and cheated into ridiculousness. No, RunnerMaster69, I do not believe you ran that dash in three seconds and 420 nanoseconds, I just don’t. Upon completing a dash, you leave an ‘echo’, so basically a ghost other players can compare themselves to, and for you to see which route another player took. Nothing too groundbreaking on that front. There’s a way of tagging locations you’ve been to: so-called Beat Link Emitters (Beat L.E.s) are like little chips shining red in the world you can put down wherever you’re able to stand safely and have them appear in other people’s games to touch, which is a nice way of incorporating a way of saying “Hey, look where I was able to climb!” (And yes, I have abused this system; there’s a glitch making it possible for Faith to float down high buildings onto lower ones, which aren’t death-barriered but not reachable on a normal way. You bet I was a floating gurl putting down Beat L.E.s whereeeeever I could. So much fun. Sorry.)

The same goes for hackable billboards, which can also appear in your friends’ games, but they could have been designed a lot more interestingly. If you hack a billboard, your runner tag appears on it, which consists of a visual symbol, a frame around it, and a background. You can customize the tag in a companion app, which again I didn’t really find necessary. But it is pretty self-explanatory and a nice gimmick if you’re into that kinda stuff.

Maybe an irrelevant aspect: Faith is wearing the same outfit (almost) throughout the whole game. Only at the beginning while getting to the runners’ lair she’s wearing something different and I see missed potential there: let the player run in these clothes, or in the prison clothes, or in the clothes from Mirror’s Edge 1, or in some of the fancy clothes Glass’ high society is wearing, or generally different runner’s attire which still stays true to the style, or Black November garb... endless opportunities, missed. Not at all crucial, but in my opinion maybe better than some different-looking billboard...

Coming back to the (back-)story aspect once more; as with all of today’s big triple-A games, there’s a looooot of documents and recordings to find, to give the player a loooot of backstory, which I found terribly overdone. It always felt like there was too much to collect and too few actual story told; not to mention some story bits not being in either of the games or their collectables, but in a separately sold comic, well done EA, well done.

Additionally, a lot of the documents were about literal history of the state called Cascadia and the ‘conglomerate’ and Omnistat and the November Riots (don’t worry if you have no idea what these words mean, I don’t either...) and regarding the fact that I finished taking history in school with a D ( ͡° ͜ʖ ͡°)... you can imagine I wasn’t that interested in the actual history elements. Give me story anytime, but get the hi- prefix outta here please.

Another thing that I just very recently discovered: Some of the performed parkour movements are inaccurate. Thanks to my new interest of binging parkour tutorial videos I’ve seen actual mistakes in movement (in both games), which I can understand sometimes because some of them have been implemented on purpose and for a reason. For example: A parkour safety roll is performed sideways, with one of your shoulders hitting the floor first and the impact being absorbed and reduced by your whole back rolling over the ground in a diagonal line, ending in one of your feet carrying over the fall’s momentum for you to be able to stand up and run right along, probably even faster than before the drop. In the first game, this was handled straight up terribly; not only did Faith not roll diagonally but straight on her spine, which fuckin hurts if you perform it after you took a fall and is dangerous as all hell, but all her momentum got lost as well - it didn’t make any difference if you took a hard fall, the screen flashed red and you had to build new momentum, or if it was a soft fall with a nice (hurting and dangerous) roll, her stopping dead in her tracks like “Oh wow, did you see that, I made a roll” and then continuing to build new momentum because it all got lost. BUT since this is about Catalyst: Faith is still performing a straight spine-hurting-dangerous-as-all-hell-roll, but at least she keeps her momentum when she does it. Regarding to what I said at the beginning of this semi-rant-paragraph because I’ve “studied” (emphasis on the quotation marks) parkour theory so much at this point, yet am not able to actually perform any moves because I don’t have the strength, stamina or willpower to- Uh, where was I...? Ah, yeah, the reason for the incorrectly performed roll. It’s obvious when you think about it: motion sickness, a gamer’s best friend when it comes to first-person perspective. If Faith was performing a correct roll, it would turn and shake the camera around too much, which could potentially make the player motion sick over time. Period. Look up some first-person safety roll footage on YouTube and you’ll see what I mean. So, there’s a reason, and we should be thankful the roll is a straight gymnastics roll. Sorry Faith, looks like your spine and neck have to suffer a little longer. However, I can and will not understand why they have Celeste, a character from the first game, climb up ledges with her knees and elbows. No. NO. Feet first. If you can’t do feet first, then do one foot first and then pull up the rest. If you can’t do that, train more and don’t call yourself a runner yet, doing this for a living on top of I-dunno-how-high-rooftops.

My feelings are kind of ambivalent on the no-guns mechanics - all you can defend yourself with is your fists (and legs and momentum, of course), while in the first game, you could snatch people’s guns and start some weaponized combat. I liked both of these strategies, not really caring when they announced Faith not being able to do shootieshootie-pewpew this time around.

One thing I liked a lot considering the open world aspect is that if you die, you respawn exactly where you last stood on safe ground before dying (except in missions, of course). It makes freeroaming very comfortable because you don’t have to worry about respawn- and checkpoints; you can just try again when you messed up a jump.

They also changed the beacon- and navigation system (“runner’s vision”) a bit too, which was also definitely necessary for the open world (which they’ve praised as a lot less linear, but honestly? It isn’t really. I knew my way around in Glass pretty well after a mere month of playing), but they did include options for how much you want the game to help you. There’s normal runner’s vision, with a red streak appearing every few seconds, showing you exactly where to run; there’s classic runner’s vision, made to be like in the first game, with environmental beacons and indicators being coloured in red when coming close to them and without the red streak; and of course, you can switch it off completely, which I occasionally like to do to test how well I really know my way around in Glass.

The soundtrack is outstanding. Straight up phenomenal. It can empower and hype you up, but can also be relaxing during a relaxing sightseeing trip through Glass. And it’s also great to leave on as background music while studying (I’m making use of that when preparing for graduation exams), or driving.

There is dynamic day- and night time - I liked that a lot, it’s a good way of showing off the lighting at all sorts of times. Only problem I had: a night sky is supposed to be black, not royal blue.

Note: almost all the “problems” I’ve listed here have been made mods for (e.g. more exciting looking billboards, more outfits, a changeable day-night cycle and a black night sky). If I had enough experience with (and patience for) modding, I’d definitely try it myself but the ‘flaws’ aren’t grave enough for me to feel a desire to manipulate and tweak some game files.

Okay, time for a spoiler. Not a bad one, but one that could give you ideas if you know how Mirror’s Edge rolls, or if you’ve played the first game... which is basically a spoiler in itself too. Ahem, anyway.

Towards the end of the game, when I was profoundly convinced of it being one of my all-time favourites, I was like “Yes, finally a game that improves and learns from past mistakes and listens to their players and what they want”... and then came Noah. I bawled my eyes out and I will be forever angry at the devs for doing this. That’s all I’m saying.

That ultimately didn’t stop me from loving the game though. From an objective standpoint I’d say it’s an overall good prequel/reboot/requel/preboot. Faith’s universe became a bit more mainstream but also a lot more polished and they definitely listened to their fans to some degree. From the very subjective standpoint I have written this review from, I’m saying that Mirror’s Edge Catalyst holds a very special place in my heart and I am truly glad it saw the light of day, after everyone waiting 8 years for it to be released after the first game. (I didn’t wait quite that long; I got Mirror’s Edge 1 in January 2016 and was completely and utterly hooked and hyped for Catalyst in May 2016.)

And that concludes it. If you’ve read this far – thank you. I’m aware that this is a bit different from my other reviews tone-wise - I have put every ounce of sass I possess into this because I... felt like it :D I hope it was fun to read!

#and now please scream at me to study xD #mirror's edge #mirror's edge catalyst #faith #games #stefs game review

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genderfreakxx · 2 years

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I don’t think I’m emotionally prepared for the broader queer community to watch heartstopper tbh.

It was such a comfort comic series for me.

Back almost ten years ago.

Now that it’s a god damn mother fuxking NETFLIX series holy shit- like-

I’m just. I’m still too raw for it I think.

I can’t fathom people watching this without having read it. Without having spent years with these characters because it was the only queer thing they could find online. The only wholesome queer narrative. Full of love.

Because it really was. It really was just a mostly wholesome queer narrative for me when I was just so fuckin raw and hurting in my queerness.

And of course they had to add a little drama to it with Imogen and stuff for the show. I get it. A mainstream show needs a bit more conflict- and they really did handle it super well I can’t even complain-

But. I just. The comic was almost purely good feelings- it resolved conflict almost immediately and I loved it for that. I loved not having to dwell in conflict when I was already facing so much conflict in my life around my queer identity.

I still love the show with my entire heart- I can’t believe Netflix agreed to host it- it’s really fucking groundbreaking and incredible.

But. Just. It was my feel good comic. And now it’s- it’s just different. And it’s a me problem completely. I know that. But ahh. Man. I’m just. I’m so raw for this fucken narrative. Okay.

#I love it dearly don’t get me twisted #but I’ve never had such a ‘READ THE SOURCE MATERIAL FIRST FOR THE LOVE OF GOD’ moment before #and I’m trying to reign it in SO bad #heartstopper #blithering on

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aion-rsa · 3 years

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Michelle Gomez: Meet Doom Patrol Season 3’s Madame Rouge

https://ift.tt/eA8V8J

Michelle Gomez is one of our generation’s best character actors. She’s been blessing genre fans with incredible performances like Missy in Doctor Who, Madame Satan in Chilling Adventures of Sabrina, and most recently as the dynamic and dangerous Miranda in The Flight Attendant. So the announcement that she’d be joining HBO Max’s groundbreaking superhero series Doom Patrol was a match made in heaven. Gomez will be playing Madame Rouge, a sometime ally, sometime antagonist of the motley crew. To celebrate her arrival, we spoke to Gomez about her new role, her penchant for playing complex women, and the grotesque hilarity fans can expect when Madame Rouge joins the show.

Madame Rouge is a lesser known character, like most of the Doom Patrol team. How would you describe your take on her for viewers who are excited for her to join the team?

She’s kind of complicated and a little eccentric. She arrives at the manor and she has this very specific mission, but she can’t really remember what it is. She’s fairly enigmatic.

You’ve been on a roll with these complex, and in many cases, villainous roles with Missy, Madame Satan, Miranda, and now Madame Rouge, if she follows her role in the comics. What draws you to these kinds of women?

I think it’s just my face. It’s hard to act out from under this particular set of features, so I’ve kind of leaned into that over the years. I have fun with it. In terms of screen and for casting, I guess these angles are my strengths. I’ve heard myself saying this many times in interviews before but it’s true, I have a face that was born to play witches and bitches really until the day I die. Listen, if there’s a casting director out there who wants to cast me as Fiona or Alison the girl next door, I’m ready to play a decent, loving human being!

What’s that like for you? You obviously embrace these roles, you’ve carved out this space for yourself, but how does that feel? Have you shaped it into something you enjoy? Or are you still like, where’s Alison, where’s the girl next door?

You know what? I always play the girl next door. You just have to look for her. And I hope I’m not being two dimensional and playing good or evil. I would hope it’s more complex than that. Certainly for me as an actor I try to make the baddy as well rounded and as lovable as possible. But then I guess that that’s always the danger as well, you can’t really afford to let your guard down and get too close. But along the way I’ve embraced it. I enjoy it because I get to be reliably bad in a good way. Unpredictable in that unpredictability. You can sort of unsettle the audience and there’s fun to be had there.

With Sabrina and now Doom Patrol you’re carving out a space as a go-to performer in these cult comic book shows. Would you call yourself a comic book fan, or have you become one through playing and researching these roles?

I certainly have fallen in love with that genre. Then to transpose that and turn it into a show where we get to kind of bust out of the page is such a delight. I’m still pinching myself that I was in Doctor Who playing the Master. And now I’m trundling into my second “Madame” role. I’m thoroughly enjoying it, and I’m so flattered and privileged really to be part of it and to be part of that world, where I think we all need a little bit of fantasy at the moment.

You’ve had some intriguing powers, from timelord-ing to impeccable knife skills, but Madame Rouge has some unusual superpowers of her own. How much fun was it to dive into a truly weird full-on superhero world like Doom Patrol?

I felt like I had come home. I really felt like with all the shows that have gone before, it was all kind of leading to Doom Patrol. I really felt immediately comfortable in this world because it was bringing to bear everything that I’d done before. The thing about Doom Patrol is that it’s a show for adults that enjoy the sort of anarchic world that we’re all actually living in on a day to day basis. But it takes that stuff, a crazy world where people are really struggling with who they are and are kind of running in the opposite direction of whatever their powers may be. It’s like an illustration of where we’re at as human beings.

It’s about the great questions that we’re constantly plagued with. Who are we? Why are we here? What are we doing here? It’s that sort of massive existential crisis that you pick up as you’re becoming an adult, like ‘Oh shit, this stuff is real, I don’t get to be a kid anymore. I need to work out how I fit in the world.’ Doom Patrol is kind of like that. How do these people or these creations, how do they fit in the world? And how do they exist and survive?

Then, of course, you have the struggle and the drama and the comedy. I mean, it’s funny but it’s not funny for no reason, it’s funny because we relate to it. Then it’s just bonkers, right? There’s an episode where she shows her powers; she’s a shapeshifter, she can basically turn into anything she desires or just kind of thinks about. And when I turn into something which I’m not going to reveal… you cannot believe what I’m about to turn into, there is no way. In fact, I would love to set you the challenge to try and imagine what it is you think I’m going to turn into in Doom Patrol because none of you will get it.

You touched on this earlier but Doom Patrol can be a really funny show And while The Flight Attendant and Chilling Adventures of Sabrina both have a dark comedy to them, Doom Patrol definitely leans closer to the comedy of your early days like Bad Education and Green Wing. What was it like to return to that?

It’s so strange. I’m asked about this a lot and the thing is it’s always a surprise to me that I’m funny or that I’ve been employed again. So I never come to it trying to be funny, right, it’s the situations that are funny. And a lot of the situations in Doom Patrol are kind of tragic, and you can’t play the tragedy without the comedy. That’s just basic flip of the coin, mathematics, you can’t just be doing one thing without the other.

I have to say that because you mentioned Green Wing and you mentioned Bad Education. Those were kind of my early years. There’s a lot that has happened between Green Wing and Doom Patrol. And it’s been a journey for me. What I have picked up along the way, what I have learned, has been useful. With each job you learn a new trick, or you learn what doesn’t work, or you want to explore something more. So with Doom Patrol, as I said, I really felt like I had come home, I really felt like everything was there. Green Wing was there, Bad Education was there, me being in Taming of the Shrew was there. All of those experiences were allowed to blossom, they were allowed to live. I felt very comfortable, and for good reason because all of that made sense, right when I walked on that first day. Walking on a set with others that had been there before, and the whole team, the whole crew, the whole cast were so welcoming, it felt very effortless actually just to kind of bleed into that world.

One of Doom Patrol’s biggest strengths is its in-depth emotionally-driven character explorations that hide behind the odd powers and eclectic heroes. Could you tease that journey for Madame Rouge?

I think she’s like the other characters in that she has a journey through discovery. She’s finding out things about herself that may or may not be things she can live with. I can’t really say more than that, but it’s similar to the other regulars in the show, and where they’re having to live with themselves. And how do you do that, when some of it is pretty dark and at times unacceptable? And how do you decide to move forward? And so that’s in there for her, too. And it’s a pretty crazy ride that she goes on, not just for herself but with the others as well.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Doom Patrol Season 3 hits HBO Max on Sept. 23.

The post Michelle Gomez: Meet Doom Patrol Season 3’s Madame Rouge appeared first on Den of Geek.

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#aion-rsa #Den of Geek

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kyashin · 6 years

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Voltron: The Fandom of You

Soooooo, hi. I want to talk about Voltron fandom, because I have some positive things to say about it. But first, I want to talk about due South.

due South is one of my favorite shows, and the fandom produced some of my favorite fan content. All around, it was a fantastic contribution to the universe. Well done, humanity.

For the uninitiated, the show is: Canadian Mountie Benton Fraser, the most upstanding and honest (and sarcastic) person imaginable, first came to Chicago on the trail of the killers of his father; and, for reasons that don't need exploring at this juncture, he remained, attached as liaison officer with the Canadian Consulate. It was a buddy cop show, and for seasons one and two, his cop buddy was an Italian-American dude named Ray Vecchio. Some people shipped it.

The show was canceled, and then, after enthusiastic fan campaigning, lovingly revived for two more seasons with Paul Gross––the actor who played Fraser––at the helm as executive producer. Unfortunately, David Marciano was unable to reprise his role as Ray Vecchio, so yikes! Now what? The entire premise of this thing was “sincere Canadian Mountie and cynical American cop shenanigans”. The solution was to replace Ray Vecchio. Literally. Like...in the show.

The first episode of season three has Fraser arriving in Chicago after a vacation in Canada to find this hot blond dude with a way different accent claiming to be Ray Vecchio, who is dark-haired and different-accented and just...you know...an entire different human being. Aaand let’s skip to the end of the episode where it turns out that Actual Ray Vecchio is undercover with the mob, so this new dude is gonna pretend to be him ‘til Vecchio gets back. New dude’s name is Ray Kowalski. People also shipped that.

But the fans who’d like, worked feverishly to get their show back on the air weren’t counting on having half the duo they wanted back erased from the show. !!!!!!!!!!!

Enter the Ray Wars. (Seriously, there’s a whole thing about them on fanlore.)

And a disclaimer: I wasn’t in the fandom for the height of the rage and fury, but I did saunter in as things were winding down, and even then some of the wreckage was still smoldering. That whole kerfuffle was Fandom Infamous for a super long time––and people who’ve been in Fandom long enough definitely know the Ray Wars by name AND reputation. For years, I’d see the Ray Wars held up by others as one of the ultimate examples of “intense fans” and just how Not Good a Look fandom can make for itself.

Here’s the thing though: the Ray Wars took place in the late 90s. No social media, no widespread understanding of fandom throughout the population. Fans were, like, on mailing lists and shit. The people who created AO3 were posting fic on web hosts like Geocities and Angelfire. Some people still called the internet “the web”, AOL was the gatekeeper to the internet things for a lot of people, and fans were figuring out that we could do ~*~*~*this*~*~*~ to make our user names look super unique and cool (not that I did that, just to be real, real clear). In that time, fandoms were very, super insular worlds with very tall, very robust fourth walls separating fans from creators and actors.

And for decades, these niche-occupying fans were accustomed to consuming very heterosexual content––shows and movies and comics and video games––and then writing whole-ass essays about how you could interpret this same-sex ship as legitimate within canon if you tilted your head 23 degrees, closed one eye, ignored the heterosexual ending, and stared long enough at these four screenshots from that one scene in episode 13.

You’d see flinches of contact between Fandom and The Established Source Material Creators sometimes. but it was rare. Anne Rice, for example, haaaaaaaaates fanfiction, and she’d go to great lawyery lengths to erase all she could find of it from the internet. Generally speaking, though, creators lived over there, and fans lived here, and we didn’t have much of an opportunity to interact with each other outside of, like, letters and conventions. There were still disrespectful fans, but you had to, like, make an effort to be a direct nuisance to the cast or crew.

Also, admitting to liking “slash” fanfiction as a woman back then got you “you just like slash because you’re too jealous to imagine your favorite male characters with women” at best and “that’s disgusting” at worst. ...Eh, there was probably worse, let’s be real.

So you can imagine the reaction many of us had when Paul Gross was interviewed about due South’s upcoming third season in 1997 and said of Callum Keith Rennie, the actor who’d play Ray Kowalski, “I tell you, slash fiction is going to go crazy when they see the new guy. He is really good-looking and sexy, the dangerous side of Fraser. It will be totally homoerotic.” THESE WERE THINGS AN EXECUTIVE PRODUCER SAID. IN 1997. KNOW WHAT ELSE HAPPENED IN 1997? ELLEN DEGENERES CAME OUT. AND THEN LOST HER CAREER BECAUSE OF IT FOR A LONG-ASS TIME. WILL AND GRACE WASN’T EVEN A THING YET (1998). NEITHER WAS THE ORIGINAL UK VERSION OF QUEER AS FOLK (1999).

Like, holy shit???

And the thing is? He wasn’t baiting. The show intentionally included a LOT of subtext between Fraser and Ray Kowalski, to the point where the last episode of the show showed Ray having a literal identity crisis because he could tell Fraser wanted to go back to Canada permanently and like, “who am I without him” and then the series ends with the two of them sledding into the actual sunset no I’m not exaggerating that happened WHAT EVEN WAS THIS BLESSING IN 1999.

Were they canon? Eeeeeh. Kinda? It was 1997, I’d call whatever they were groundbreaking, at least for me. And the reason I say it wasn’t baiting is because all Paul said was, “Slash fans will like this,” and many of us did. So, y’know. Truth in advertising. Well done, Paul.

AND NOW IT IS THE YEAR OF OUR QUEERS, 20gayteen, and SO MANY THINGS have changed for the better for LGBTQ folks in the last two decades. Like, Voltron fandom is WILD to me sometimes (in a fantastic way) because some of the fans are actually young enough to have been born after the AIDS crisis, after Matthew Shepard was brutally murdered, after Don’t Ask Don’t Tell––after all these horrible, devastating wounds were inflicted on our beautiful queer family. There are actually fans in Voltron who believe, without a sliver of doubt, that a same-sex pairing can and will become canon.

That’s bananas to me. That there is hope like that! Belief like that! Because I was born at the very end of the AIDS crisis and I didn’t hear the word bisexual until I was, like, twelve, let alone have enough of a support system around me to embrace that label for myself. B A N A N A S.

So of course––of course––there’s a part of me that hopes a same-sex pairing will happen in Voltron. Just thinking about how Dreamworks almost made Miguel and Tulio a canon couple in The Road to El Dorado in 2000 makes my heart twinge with disappointment. (Yes, Chel is great, but.)

See, I’m super attached to Voltron even when the writing is clearly stifled and bridled in by the people whose job it is to sell lots and lots of Voltron toys. I read klance fic and reblog VLD fanart and I have one (1) friend who also watches the show. We talk about it sometimes, and I throw fanart of Shiro at her because he’s her favorite. She doesn’t ship anything, and I am a cheerful little klance-shipping demon. I am in a fandom of two, and it’s pretty great in here.

But.

Voltron’s a lighthearted kid’s show about humans and aliens piloting mecha lions in space to save the universe from space colonialism, and while I will be dizzy with glee if a same-sex couple becomes canon in this show, I want it more for the intended audience of Voltron: kids.

I met a kid last year at Osaka Pride whose mother said, “He came home from school and told me, ‘I don’t feel like a girl or a boy,’” so this young mother brought her child to Pride to learn more about the community that her baby might belong in. And that lovely little human stayed on the fringes at first, apparently shy, until their mother told them, “Go on,” and then they spent the next ten minutes literally jogging around all the booths and beaming at everyone: the trans women in neon dresses cooing at how cute this little sunbeam was, the booth folks selling rainbow-themed merch, the couples hand-in-hand without shame or fear. And when they came back to their mom, they were completely carefree. And I thought, I wish that had been me.

And maybe it could’ve been, if every single cartoon I consumed as a child wasn’t coding gay men as villains, overtly implying that LGBT people had a direct link to actual pedophilia, and aggressively promoting heterosexual romance as The Only Acceptable Way of Love. If I’d grown up in a world where Ruby and Sapphire were on TV being happily in love every week, I might’ve realized what was in my own heart sooner than college.

So there is part of me who understands why people are so emotionally connected to the possibility of a ship like klance becoming canon. I’ve felt that urgent hope, that wild hunger, again and again and again and again in my life, and the only time I’ve ever had that hope realized in canon was in 2016 watching Viktor and Yuuri skate together in Yuri!!! on Ice. I cried. A lot.

I understand the emotion fueling the very, very bad decisions being made. In the simplest possible terms, the people who repeatedly harass the Voltron cast and crew are people who want a thing and are prioritizing getting that thing over the mental health of real people. I think it’s a symptom of internet detachment. When one is flinging words into a void, one doesn’t have to see how they’re received. Their actions––if I haven’t made it clear––are objectively harmful, and I don’t condone them.

But what I want to say––what I wrote this whole thing to say––is that Voltron isn’t a terrible fandom, and it isn’t the first fandom to have loud, overzealous fans who cross the line and make people inside and outside the fandom alike think, Yeesh they’re/we’re all lunatics. Voltron fandom is not The Worst, because I guarantee you if The Ray Wars were happening today, there’d totally be people on Twitter attacking Callum Keith Rennie directly for daring to replace David Marciano. It could have been so, so much uglier than it was, and it was already Bad.

In 1997, the fourth wall still more or less existed, and LGBT content––let alone respectful content––was scarce to say the least, so Fandom Discourse at the time remained generally contained to fan-on-fan unpleasantness. Today, that fourth wall is utterly gone, and I think all fandoms have to adapt to that and learn a whole new code of etiquette. LGBT rep is important, but there are respectful and effective ways to get it that don’t involve harassing the cast and crew. The voice actors and creators and crew of Voltron deserve basic human decency, and to be seen as people first and content creators second. It’s entirely possible for the majority of fandom to interact respectfully with the creators––it’ll just take time and patience, like most things that last.

So listen, everything’ll be fine. Try to have patience with each other. To quote a manga I’ve been translating: “There will be times in your life when you won’t be able to avoid being angry. Don’t make little things bigger than they have to be. Laugh and forgive.” Or, in this case, laugh and ignore. If you like a thing, awesome! Tell people! Or don’t! And if you don’t like something, carefully consider the consequences of what you do after you realize, I don’t like this. I don’t ship sheith at all, but for the last two years I’ve managed to leave alone the fans who do ship it and not send Shiro’s voice actor and his family angry, threatening messages. It wasn’t even difficult, guys. I just, like, read some klance fic instead.

I felt compelled to make this because I keep seeing posts from Voltron fans calling Voltron fandom a raging garbage fire and sure, there’re people playing near dry kindling with flamethrowers more than is advisable, but Voltron fans have created and will continue to create some beautiful content and friendships just for love of a show, and that’s lovely as fuck. If you’re feeling ashamed of your fandom and you haven’t done anything wrong, remember that you’re fandom, too. Keep being respectful, kind, and good. The terrible people won’t go away, but they won’t define the fandom for you unless you let them.

Be kind to each other, and things will improve.

And if anyone tells you your ship is bad, don’t talk to that person anymore, because that person probably has some dry kindling and a flamethrower.

And hey, if you’re at the end of this post and you’re like: Wow, this was way too short, and I would like to read more things this person has written, there’s always my Team Voltron-in-Japan AU. It has klance and Nyma/Allura and I enjoy writing it.

Wow, I’m hungry. Bye! :D/

#voltron #vld #voltron legendary defender #fandom #due south #klance #sheith #other pairings #etc.

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stagesofabreakup · 7 years

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Stages of a Breakup: Week 11

1. Have your last day of work at the Museum

2. Go to a potluck in the park with co-workers you mostly don’t know

3. Have fun and eat cupcakes and those twizzlers that have filling in them (very weird)

4. Get a little tipsy, go host your mic by yourself, make 71 dollars

5. Stay up til 4:00am watching a Confederate monument being taken down

6. Make quiche

7. Go to a new therapist

8. In response to something emotional you share, she asks if you’ve ever seen Finding Dory

9. Meet with a comic and brainstorm sketch ideas for a show you’re doing

10. Go to a writers meeting, pitch ideas, eat pizza and drink daiquiris

11. Go to the library for a few hours to read & write

12. Return then check out again the book you’re reading because it’s 900+ pages and you need more time (1Q84)

13. Feel centered

14. Go to work

15. Discover Vixen.com

16. Drive to Lafayette for a show with your friend Lane

17. Things are back to normal even though y’all kissed one time

18. Have a really interesting conversations about prisons and the death penalty

19. Get to the show an hour after it was supposed to start, and the host is just finishing their host set

20. Realize there’s 19 people on the open mic before you all doing 5 min

21. Buckle up

22. Really lose yourself in an “article” of Romper memes

23. Laugh and laugh

24. Order fries because you’re so hungry and Lane wouldn’t stop at Burger King on the way up

25. They’re late and basically chips because they’re potatoes round cut so thin & fried they’re crunchy

26. Simmer with rage

27. Do the show

28. Make 1 million dollars

29. End the show by asking people to tell you what kind of porn they like, so some of the dollars have “lesbian” or “gang bang” written on them

30. Give Lane some

31. Drive back home

32. Work

33. Go back to Lafayette the next night with your ex-boyfriend and a friend to do their show

34. Have a fucking emotional reckoning in the car

35. Read your book and cry a little in the backseat

36. Do the show

37. Have a good set

38. Drink free beer

39. Make 20 dollars

40. Get told by an attractive tall man named Cody that you’re funny while petting a dog

41. Try to sleep in the car on the way back

42. Your ex-boyfriend is DJing in the car and all the music is emotionally significant

43. Remember to look up the band “Cherry Glazerr”

44. Work

45. Go to the opening of a Dave & Buster’s with a friend, only to find out it’s the wrong night

46. Do karaoke instead

47. Have a ginger-ale with tobacco bitters

48. Sing “Where Are You Christmas” by Faith Hill & Steely Dan

49. Have fun and spend no money

50. Go home

51. Eat quiche

52. Wake up for but then decide to sleep through the groundbreaking ceremony for the museum that was 8-12 on Saturday that you would have been paid for

53. Work out

54. Write a listicle about depression, send it to an editor

55. Cry on the phone to your dad

56. Arrange for when he’s going to come down and help you pack to move

57. Do a show

58. Have a great set where you talk mostly about fishing t-shirts

59. Have a middle-aged white man high five you as you get offstage and whisper, “That was the shit”

60. Have anxiety because you’ve been having trouble connecting with a friend and she’s hurting your feelings

61. Talk to her at the show

62. Say “I’m just having a hard time right now” like 5 times

63. Cry in public

64. Have two women interrupt you crying on the street to tell you how funny you are

65. Sit in your car and talk about New York a lot

66. Clear the air on a lot of stuff and feel 10x better

67. Take pictures in a store front that is 98% stuffed animals

68. Text with a friend at a festival about hot comics

69. Masturbate twice

70. Feel bad because your Facebook statuses haven’t been getting the response you want/need

71. Get ready to write some sketches because you have another meeting at 12 and you didn’t write any of them yet

#break up #stages of a breakup #ex-boyfriend #stuffed animals #New York

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pagedesignhub-blog · 7 years

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Agencies held to ransom as software hacked

New Post has been published on https://pagedesignhub.com/agencies-held-to-ransom-as-software-hacked/

Agencies held to ransom as software hacked

Cyber police are going through a brand new venture. They have got learned that at least 10 Agencies’ laptop structures had been hacked and the Corporations under assault have been forced to quick pay a ransom in change for…

Quality and Worst laptop Hacking Movies

Wargames (1983): The top of the list! What can you assert about this film apart from wonder at its greatness? What is that you say? You’re now not satisfied it is the Quality… well then you’re likely beneath forty. For those people that were around for the duration of that point, the accuracy of the equipment and methods used had been a hundred% spot on. I will forgive a little poetic license with the voicebox (despite the fact that they did exist at a more primitive level), but in case you needed to read what changed into at the display the film might get tiresome real rapid. It added to the creepiness of the emotionally void WOPR when the voice says, “To win the sport.” The voice, BTW, turned into provided by means of the director who recorded the strains with the aid of speak them in the opposite, then performed back within the opposite reverse ahead route…??? You realize what I imply. It absolutely represented the air of secrecy of the time. if you purchase the DVD that has the director’s comments, you will discover that they purposely used a hodgepodge of older PC equipment so it’d correctly constitute what a youngster might be capable of having the funds for or scrounge up at some stage in that time. Notable accuracy, mainly the part displaying the way to jack a pay phone with a soda can pull tab. What is a pull tab? Depart youngster, ya hassle me!

Tron (1982): despite the fact that this film got here out in the 80’s, it seems like a late 70’s movie. I don’t know why. Essentially it’s about a hacker this is transported into the virtual universe inside a laptop, and have to live on the fight as a cyber gladiator with the intention to prevent the villainous Master Manage. It wanes a touch in locations, but make no mistake this became a groundbreaking adventure at the time. The snap shots, at the same time as dated now, were an extraordinarily cutting area on the time and wowed film audiences lucky enough to see it at the massive display.

Pirates of Silicon Valley (1999): no longer so much a hacking movie as a company espionage film… concerning computer Companies. Exquisite story from begin to finish. My only gripe is that it does leave out some key information. For instance, the handiest reason Bill Gates were given in to see the better up’s at IBM became that his mom served at the equal board of directors for a charity that the IBM chairman served on. She was given the wheels rolling on the assembly. It also makes Bill Gates out to be a few rebellious drop-out who risked the whole lot to start his employer. The reality is, Bill became a multi-millionaire by the time he went to university thanks to a beneficent agree with fund from his grandparents and dad and mom, who have been also very rich. So was Paul Allen, who knew Invoice from their grade faculty days at one the most exceptional and high-priced private faculties in Seattle. They weren’t hurting for whatever… unlike Jobs and Wozniak. Nevertheless, the ancient bend of this film makes it one of the Great biopic movies for computer nostalgia nerds.

WORST:

Footwear (1992): Some of the hacking become Good enough, however, the social statement peppered throughout by way of Robert Redford made this movie unwatchable. in case you need in charge Republicans for the entirety, watch a Michael Moore film. in case you want to make a hacking movie, go away your left wing garbage out and just make a rattling hacking film. Is that too much to ask there, Bobby? The story revolves around university pals who take exceptional paths in lifestyles. One turns into a “moral” hacker, and the opposite…properly, he isn’t quite so noble, although rich. The underlying message is that capitalist greed is awful but being broke, jogging from the FBI, and running in a run down, the deserted warehouse is morally advanced. a few terrific plot twists and comic scenes ruined by over the pinnacle political grandstanding make this a movie I might only watch if it were loose… And beer turned into loose.

The Net (1995): Ugh. The best saving grace of this film is Sandra Bullock. Era at that point become rising at a tremendous tempo. This aspect referred to as ‘Internet’ was eventually starting off and the filmmakers and writers took a variety of poetic justice to painting what computer systems is probably capable of doing in the 2 months among capturing the movie and liberating it. It had its moments but the whininess of Bullock and the entire portrayal of the safety software program hack made it nearly unwatchable. An excellent MST3K candidate.

Swordfish (2001): This movie’s tagline ought to inform you just how unrealistic the hacking is: “Log on. Hack in. Cross anywhere. Steal the whole thing.” Yeah, it is that smooth. in case you watch the film, you’ll recognise it truly is exactly what the filmmakers agree with. John Travolta is a villain who is grand scheme is to Scouse borrow billions from the U.S. government via sure, you guessed it… Hacking. The entire premise of the plot is that inside the huge, automated global of modern finance, $nine.five billion could slip thru the cracks so that a clever hacker should, with hacking, transfer it to his own account overlooked. Heck, I may want to use a new car… I’m gonna hack a few grand right now the usage of my Hollywood generated CGI screens with 3-D hacking gear in which the mouse movements even though your hands are busy typing! It’d have fooled the unwashed masses, however we recognise better.

Six (6) Sure Signs You have Been Hacked There are several approaches in which antivirus scanners try to come across malware. Signature-based detection is the maximum common technique.

This involves searching the contents of a laptop’s programs for patterns of code that suit acknowledged viruses. The anti-virus software program does this via checking codes in opposition to tables that contain the traits of known viruses. Those tables are known as dictionaries of virus signatures.

Due to the fact hundreds of recent viruses are being created each day, the tables of virus signatures need to be up to date constantly if the anti-virus software is to be effective. however although the software program is being updated each day, it typically fails to realize new threats that are much less than 24 hours old.

To overcome this limitation and discover malware that has not but been regarded, anti-virus software program monitors the behaviour of programs, seeking out peculiar behaviour. This approach is called heuristics. The software may also use machine monitoring, community visitors detection and virtualized environments to improve their probabilities of finding new viruses.

Though anti-virus software is never a hundred percent successful and each day new malware infects computers at some stage in the arena.

Getting hacked

There are three main ways you could get infected with malware.

Those are: (a) going for walks unpatched software, ie software that you have didn’t update; (b) falling for a perfect freebee and downloading a Worm in conjunction with the freebee; and (c) responding to fake phishing emails.

If you can manipulate to keep away from These 3 failings, you might not have to depend on a lot on your anti-virus software.

Awaiting that some day someone will release anti-virus software program that could detect all viruses and other malware with complete accuracy is a useless hope. The First-class you may do is to preserve your protection updated, keep away from the 3 major approaches you can get inflamed, and discover ways to understand the Symptoms that recommend your pc has been hacked so that you can take appropriate movement.

Here are a few Positive Symptoms you have been hacked and what you could do about it.

[1] fake antivirus messages

A faux virus caution message doping up on display screen is a quite Positive signal that your computer has been hacked-supplied you are aware of it’s fake. (With the intention to recognise a fake warning, you need to recognise what a proper virus caution out of your anti-virus software looks like.) The warning will reassure you through saying that it’s miles can experiment your system to stumble on the malware.

Clicking no or cancel to prevent the experiment may not assist, Due to the fact you laptop has already been compromised. The motive of the faux virus warning (on the way to usually discover plenty of viruses that want to be eliminated) is to entice you into shopping for their virus removal service or other product.

When you click on at the link provided for that cause, you may possibly land on a totally expert-looking website. There you may be invited to shop for and download the product with the aid of filling to your credit score card information.

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wiremagazine · 7 years

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SPOTLIGHT FILMS: 24 OF THE BEST 2017 MIFO LGBT FILM FESTIVAL MIAMI EDITION MOVIES

Photos provided by MiFo LGBT Film Festival

A CHANGE OF HEART (U.S., 2017) Director: Kenny Ortega Cast: Jim Belushi, Virginia Madsen, Aimee Teegarden, Gloria Estefan

Frustrated with his life, Hank (Jim Belushi) is man whose circumstances have driven him to fear diversity, yet his Central Florida town is adhering less and less to the white, straight profile with which he's comfortable. After suffering a heart attack, Hank's life is saved by a transplant… from a Puerto Rican drag queen? Playing on both the literal and symbolic significance of that most treasured of organs, A Change of Heart reminds us that even the most hardened among us can learn to embrace difference, accept love, and move on with life.

APRICOT GROVES (Armenia, 2016) Director: Pouria Heidary Oureh Cast: Hovhannes Azoyan, Narbe Vartan, Samvel Sarkisyan

Aram, an Iranian-Armenian trans man living in the U.S. since childhood, returns to Armenia to meet his girlfriend's conservative family. Over the course of the day-long journey, Aram's brother helps him prepare for the meeting, while also coming to terms with his transition. Aram sees many cultural, religious, and national differences on the one-day trip, but harder obstacles are ahead. Apricot Groves is a quiet and introspective film which beautifully illustrates the bittersweet notion of reconnecting with a culture that may not be accepting of who you've become.

B&B (UK, 2017) Director: Joe Ahearne Cast: Sean Teale, Paul McGann, Tom Bateman

Handsome gay Londoners Marc and Fred plan a weekend of mischief, returning to bait the owner of a remote B&B who they successfully sued a year prior for not allowing them to share a bed. Events take a deadly turn when another guest, with far more sinister intentions, arrives. Marc and Fred's weekend of fun turns into a suspenseful battle for survival in this smart, comedic dark thriller. B&B will keep you guessing 'til the end.

BOYS IN THE TREES (Australia, 2016) Director: Nicholas Verso Cast: Toby Wallace, Gulliver McGrath, Mitzi Ruhlmann

It's Halloween 1997 – the last night of high school for Corey, Jango and the rest of their skater gang. When Corey encounters Jonah, a former childhood friend now victimized by Jango's cruel streak, Corey takes pity on him and agrees to walk him home for old time's sake. What starts off as a normal walk through empty suburban streets descends into something darker and magical. On the night of the grave's delight, even the most buried truths will surface.

CENTER OF MY WORLD (Germany/Austria, 2016) Director: Jakob M. Erwa Cast: Inka Friedrich, Sascha Alexander Gersak, Thomas Goritzki

After a summer spent with his best friend Kat to escape his family, Phil goes back to school and starts to question his feelings towards Nicholas, a new classmate.

HANDSOME DEVIL (Ireland, 2016) Director: John Butler Cast: Fionn O'Shea, Nicholas Galitzine, Andrew Scott

This hilarious coming-of-age comedy follows Ned, a willowy, rebellious music-loving outcast forced to share a room with mysterious star athlete Conor, after being sent away to a rugby-obsessed all-boys boarding school. Opposites in almost every way, the pair form an unlikely bond over the course of the school year as they navigate the trials and tribulations of being teenage misfits. When a new English teacher arrives at the school, the oddball friends finally begin to see a way to have their voices heard.

KEPT BOY (U.S., 2017) Director: George Bamber Cast: Jon Paul Phillips, Thure Riefenstein, Greg Audino

Interior designer/reality show star Farleigh Knock has a knack for keeping beautiful things around his home – like Dennis. So when Fairleigh gives him the unthinkable ultimatum for his 30th birthday to get a job or get out, Dennis goes from kept boy to lost man. Based on a novel by Robert Rodi who specializes in gay satires on queer archetypes, George Bamber directs this dark gay comedy that shows life with a sugar daddy is bittersweet and poses the question, what is love and what is the price to keep it?

LIKE FOAM (Spain, 2017) Director: Roberto Perez Toledo Cast: Sara Sálamo, Diego Martínez, Daniel Muriel

An emotional journey of lost human beings trying to find themselves takes place in what could be considered a fairly strange place �� an orgy in a Spanish mansion. A message circulates from mobile phone to mobile phone and it is started! All at once, a diverse range of strangers get together, searching for sex, and in doing so they expose their funny, sexy and profound sides. Like Foam shows that things are not always what they seem and never has an orgy been so funny and full of love.

POLITICAL ANIMALS (U.S., 2016) Directors: Jonah Markowitz and Tracy Wares Cast: Jackie Goldberg, Christine Kehoe, Sheila Kuehl

Political Animals tells the story of one of the largest civil rights struggles of this century – the gay rights movement – through the eyes of four elected women, often left out of LGBT histories until now. An emotionally charged film, it follows four groundbreaking lesbians who took the fight for the causes most personal to them and their communities off the streets and into the halls of government. Fierce, determined, focused and passionate, these women had the courage and foresight to begin the critical work of legal rights for the LGBT community.

PROM KING, 2010 (U.S., 2017) Director: Christopher Schaap Cast: Julia Weldon, Mikaela Izquierdo, Lionel Thomas

Charlie is a college student who loves love. He loves the way James Dean and Natalie Wood passionately kiss with the sublime punctuation of a swelling orchestra and Laurence Olivier's vow to take Joan Fontaine behind a tree and make "violent love" to her. But when Charlie finds his romantic pursuits leading to icky online encounters, seedy back rooms in leather bars, and the unexpected tears of cute freshmen who aren't "really out," Charlie starts to worry that his homosexuality is an incompatible factor with the classic, Hollywood romance he's always aspired towards.

REBELS ON POINTE (Canada, 2016) Director: Bobbi Jo Hart

Exploring universal themes of identity, dreams, family and love, Rebels on Pointe is a film celebrating the famous Les Ballets Trockadero de Monte Carlo. The all-male, comic ballet company was founded in the '70s on the heels of New York's Stonewall riots and has a huge worldwide cult following. The film juxtaposes behind-the-scenes access, rich archives and history, intimate character-driven stories, and amazing dance performances. It's a story which ultimately proves that a ballerina is not only a woman dancing, but an act of revolution in a tutu.

SEAT IN SHADOW (UK, 2016) Director: Henry Coombes Cast: Henry Coombes, Ross Hunter, Jonathan Leslie

Out of the imagination of acclaimed artist-filmmaker Henry Coombes comes Albert, an eccentric, aging painter doubling as an unconventional, Jung-inspired psychotherapist. When Albert's friend asks him to counsel her lethargic grandson Ben, whose ongoing boyfriend problems are rapidly fueling an already deep depression, their subsequent therapy sessions reveal as much about Albert as they do about the troubled young man. Coombes' debut feature is a witty, perceptive study of social mores, sexual excess and the bizarre, symbiotic relationship between doctor and patient; teacher and pupil; artist and muse.

SOMETHING LIKE SUMMER (U.S., 2017) Director: David Berry Cast: Grant Davis, Davi Santos, Ben Baur

Benjamin is the only guy at his high school with the courage to come out of the closet. Putting up with the bullies and his classmates' whispered condemnations keeps him from pursuing his dream of being a singer. Instead, Ben spends his summer vacation stalking Tim, the handsome athlete who just moved to town. Something Like Summer follows the course of true love over the span of a dozen years, from awkward adolescence through challenging adulthood, featuring seven original musical numbers and the artwork of a talented young artist.

THE LAVENDER SCARE (U.S., 2017) Director: Josh Howard

With the United States gripped in the panic of the Cold War, President Dwight D. Eisenhower deems homosexuals to be "security risks" and orders the immediate firing of any government employee discovered to be gay or lesbian. It triggers a vicious witch hunt that ruins tens of thousands of lives and thrusts an unlikely hero into the forefront of what would become the modern LGBT rights movement. The Lavender Scare shines a light on a chapter of American history that has never received the attention it deserves.

THE PASS (UK, 2016) Director: Ben A. Williams Cast: Russell Tovey, Arinzé Kene, Lisa McGrillis

Nineteen-year-olds Jason (Russell Tovey) and Ade have been preparing themselves for a lifetime in professional football for as long as they can remember. On the evening before their first big match, the two of them play out their insecurities in a Romanian hotel room; mock-fighting, preparing their kit, slinging insults, and then one of them kisses the other. The ramifications of this 'pass' reverberate throughout their careers. In a profession where image is everything, fame and fortune comes closely tied with secrets and lies.

VARICHINA: THE TRUE STORY OF THE FAKE LIFE OF LORENZO DE SANTIS (Italy, 2017) Director: Mariangela Barbanente and Antonio Palumbo Cast: Totò Onnis, Federica Torchetti, Ketty Volpe

Varichina was the first openly out homosexual man in Bari in the '70s. Ugly, flashy and campy, he was well known for making coarse advances to every man he saw. He was gay, had nothing to hide, and lived a life of celebration! Funny and heartwarming, Varichina: The True Story of the Fake Life of Lorenzo de Santis is a documentary/fiction hybrid looking at someone who was way out, long before it was socially acceptable.

MEN'S SHORTS: MAN, OH MAN

FAW Director: Dany Campos, Spain, 22 mins.

IN THE PAINT Director: Ashton Pina, U.S., 7 mins.

JOHNNY IS GAY Director: Pablo Tobon-Gallo, Spain, 11 mins.

LIGHTRIPPING Director: Marcio Miranda Perez, Brazil, 22 mins.

MARZ Directors: Bobby Yan, U.S., 11 mins.

MY SUGAR DADDY Director: Dawid Ullgren, Sweden, 13 mins.

ONE DAY TO THE NEXT Directors: Julio Montesino & Alexis Bosch, U.S., 16 mins.

THE NIGHT CLEANER Director: Blair Fukumura, Canada, 6 mins.

This was originally published in Wire Magazine Issue 16.2017

#wire magazine #wiremag.com #wire #miami #miami beach #south beach #sobe #fort lauderdale #wynwood #wilton manors #gay #lgbt #glbt #spotlight films #16.2017

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aion-rsa · 7 years

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Shutter Brings Classic Image Characters Together… for Brunch

With its 25th issue, “Shutter” found a whole new way to be groundbreaking. How, exactly? Well, the book managed to crossover Image Comics’ flagship characters, including Spawn, Savage Dragon and Shadowhawk for a brunch — yes, brunch — of epic proportions.

In a conversation with the “Shutter” creative team of writer Joe Keatinge and artist Leila del Duca, we discussed the influence of the series, its merging of various art styles, what lies ahead, and of course, that crossover brunch that fans have been waiting for.

CBR: Why do you think Shutter is so popular among fellow creators?

Joe Keatinge: It’s not my place to speak on why anyone reads our work, whether they enjoy it or not, whether they make comic books or not, other than to say, “thank you.”

I will say the comic books I find myself enjoying most these days are by Emma Ríos. While she may be most well known for her visual art in titles such as “Pretty Deadly,” over the last few years she’s become one of my favorite writers, in comics and otherwise. The best work stays with you long after its over and this is certainly true of her graphic novel, “ID,” which was serialized in her anthology, “Island.” I think about it often, both in the high quality of its production, but what she examines in humanity, politics and the arts. I was happy to see this continue on with Mirror, the title she co-creates with artist Hwei Lin. Again, it’s not just the great quality of their collaboration, nor is it limited to how they both stretch the bounds of storytelling to do something wholly their own, but it keeps coming back to me – thematically, emotionally, symbolically. They do what so many strive to do, connecting in with a reader in a way which sticks forever and never fall into cliché. No question, “Mirror” is my favorite ongoing comic book currently on the stands.

Del Duca: I think my fellow comics creators really like the idea of “anything goes” in our series. My friend and studiomate, Terry Blas, said that he loved with every turn of the page he’s constantly being surprised by the crazy visuals, being blindsided and wowed on many an occasion. I’ve had other studiomates say they dig seeing the different styles implemented in the series. “Shutter” is a visual and storytelling playground for us, and I’m always thrilled that Joe is fearless in writing such an experimental story with vast room for exploring the medium.

What’s some inspiration for the meta nature of the series and how that’s reflected visually?

Keatinge: Comics is a relatively young medium when it comes to visual arts, but its history is rich with so many tools built by generations before – it makes sense to use them.

Ever since the early 2000s – I imagine correlating with comic book feature films suddenly being a hot commodity – there’s been a move to make comics more “cinematic,” a term I’m not entirely comfortable with, but does result in some of my favorite work. Look at an early example, with Brian Hitch and Warren Ellis on “Authority” or Brian Hitch and Mark Millar on “Ultimates.” Brian understands which storytelling toolsets can be adapted, while still making sure it works well as a comic book. Gabriel Hardman and Sean Philips are other examples of contemporary artists who do this phenomenally – and I recommend their work overall for great examples (“Invisible Republic” and “The Fade Out,” for more specific recommendations).

The danger gets into when you’re striving to make a movie on paper instead of a comic book, which are two different things. With Shutter, it was a conscious effort to make a comic book as a comic book to be a comic book, utilizing the history set before it as a tool set to tell our own story. Then there’s the challenge of what storytelling tools we can bring in, from other media besides the “cinematic” which we haven’t had the opportunity to implement. It’s been a fun experiment through and through.

Issue 25 didn’t take on different art styles, like you’ve done in the past with flashbacks.

Leila Del Duca: The only stylistic differences are with Owen’s coloring. As usual, present-day (more watercolor textures) is colored differently than the flashbacks (a more cell-shading style). This last arc, Joe and I wanted to stop doing the Other Styles. Joe is still being pretty damn creative with the writing side, but he kindly agreed that I could settle into my own style in this last arc. I had so much fun emulating other artists during this series, but after issue #22 I realized I wanted to concentrate on developing my own style more instead of furthering the exploration into styles that weren’t me. I do think that some day I want to revisit the Ligne Claire style we used once, but other than that I kind of want to delve deeper into my own stylistic evolution.

How did the Image founders’ characters come into play?

Del Duca: I love how randomly this came about! I was on a panel with Erik Larsen at Boston Comic Con, and on the panel someone asked if he minded when people drew his character, Savage Dragon, into comics, or something to that effect. Erik replied that he likes having his character in other books and doesn’t care if people use them or not. Joe is friends with Erik, and I think Savage Dragon is super cool, so I asked Erik if we could put him in “Shutter” and Erik was like “Sure, that’s fine.” I told Joe, Joe asked “Hey, why don’t we put each of the Image founder’s characters in there,” and I was like “What, no, that’s way more than I was imagining, I wanted to keep things simple” and then he was like, “Okay, what about six instead of seven, and there’s brunch involved? And by the way, this is perfectly timed because next year is Image’s 25th anniversary and it’s ‘Shutter’s’ 25th issue” I said, “Woah, that is a pretty cool coincidence, so sure, as long as you can get me script on time while you’re waiting for permission from all of these founders.” And then it magically worked out, thank you to all the Image folks, and I had a blast drawing them, especially Glory because I love her.

Keatinge: When Leila mentioned Erik’s Savage Dragon offer, it made me think about how grateful I am for the Image Founders for opening the door to make this book possible. They could have easily made a lot of money in 1992, called it quits and not offered what they built to others. Same goes for Robert Kirkman – again, he could have easily kept his successes to himself, but he formed his imprint, Skybound, and they’ve directly helped both my career and life ways direct, above and beyond. It felt right to make a tribute to them within “Shutter” and the confluence of events, timing, and most importantly, the story we were telling made it essential to have their characters appear.

Was there a particular character you’ve been eager to work on that you finally get your hands on with the special?

Keatinge: This might seem like a cop out, but I don’t think I can choose – again, it’s the group which makes this work, not just any one individual, not just for what they did but for how they allowed others to do the same. That said, “Spawn” #10 had a massive influence on me as a kid, which was Todd McFarlane and Dave Sim’s tribute to those who went before, so it was nice to have something which sort-of acted as an unofficial sequel, at least thematically.

Del Duca: Glory. I love Joe and Sophie’s version of Glory. But I’m also a huge “Invincible” fan, so drawing Mark Grayson was a dream!

Why are they having brunch?

Keatinge: Why not?

Will we see any more of those characters after issue 25? Would you like to work with those characters again, and in what way?

Del Duca: I think the brunch event will be referenced in a later issue’s flashback, but those characters won’t be featured more than that again in “Shutter.” I’m totally up for drawing those characters again. If anyone wants to commission me for pin-ups, that is something I’d be very interested in doing. I think it’d be a pipe dream to ever draw “Invincible,” but if Kirkman, Walker, and Ottley ever wanted me to do a fill-in issue, I’d very insecurely and vigorously draw the hell out of it and hope I don’t die of happiness during the process.

“Shutter” #25 by Keatinge and Del Duca is in stores now; “Shutter” #26 hits stands on January 25.

The post Shutter Brings Classic Image Characters Together… for Brunch appeared first on CBR.com.

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