#but its also extremely funny that the image tom seems to present is that of a fairly composed n intelligent person

[corvidexoskeleton]

Sometimes I think it's a shame that like 99.9% of the music from celtic frost/triptykon is in english, but then I think about what the alternative is and realize that hearing those sounds coming out of my man's mouth might not be the best experience

[ransomedrogue]

Tales of Woe - Scenes from S1 

kiss time! yesssss. well, except everything goes downhill from there

anyhow, this week’s scenes - aftermath of an eventful evening...

1.10 

Weller ushered his nephew up to his apartment, his physical body now inside the building but his mind still stuck out on the stoop. Images and emotions swirled together, with most of his consciousness locked on the memory of kissing Jane, while the rest of his brain did its best to fend off Sawyer's seemingly endless questions about what he'd seen.

"Why were you kissing her?"

"Isn't kissing kind of gross?"

"Was that your friend from when you and mom were kids?"

"Is she your girlfriend?"

Shit. He had to get that under control before they got back to the apartment and Sawyer outed him to Sarah.

But it was nearly impossible to get his thoughts in any sort of order at the moment, and Weller didn't want to outright lie to his nephew. Yet he also didn't want to face Sarah's scrutiny when he hadn't even had time to process what had just happened.

"Um, yeah, that was uh… Taylor. But she's not my girlfriend. So that was kind of a surprise," Weller finally replied, doing his best to focus his attention on the present.

"Oh. So she wants to be your girlfriend," Sawyer concluded.

His nephew was only nine but he'd pretty much nailed the question in the centre of Kurt's mind.

"Er. I don't know. We're going to have to talk about that," he said.

"You think we could not tell your mom about this until I figure that out?"

Sawyer gave him a blank look and for a moment Weller thought he was going to have to bribe the kid to keep him quiet. But then his nephew nodded sagely, and made a confession of his own.

"A girl in my class kissed me last year. I didn't tell mom either."

"She would have made a big deal about it."

Kurt grinned and ruffled Sawyer's hair. He figured that was a fairly normal thing for a boy that age to keep secret from his mom. And it certainly helped him out in the whole scheme of things.

"Yeah. That's kind of what I was thinking," Weller replied, with a breath of relief.

They entered the apartment and, true to his word, Sawyer ran off back to his favourite game without any mention of what he'd seen. Sarah was in the kitchen prepping things for dinner and barely looked up when they came in so Kurt started putting groceries away, hoping to hide the fact that he was in complete turmoil.

Weller was halfway through unloading the bag when he jolted, realizing suddenly that he'd just let Jane go off without her detail after giving her shit for sneaking out. For a full minute he stood there staring at a can of beans, stuck between running after her futilely and calling her right then, even though she most likely hadn't brought her phone on her illicit mission.

"Kurt?"

Shit. Busted.

He had no idea what Sarah had just asked him so Weller looked up blankly, trying to push the sudden panic out of his throat. His instinct was to sprint out the door and drive all her possible routes home but he had enough sense to resist immediately giving into his anxious impulses. Though mostly because he'd have to explain his behaviour to his sister, which could then easily lead to Sawyer spilling his secret.

"I asked if you wanted white rice or brown rice?"

"Oh. Brown please."

Weller finally put the can of beans down and tried to shake himself out of the moment. He forced back his emotions by repeatedly telling himself that Jane could take care of herself. Anyone that tried to attack her would regret their decision immediately. Also, he was already too late to catch up with her, so it would likely be a wild Jane chase that would require ditching dinner and lying about everything.

It took a lot of effort to turn his attention to cooking, but with Sarah insisting on helping him, Weller did his best to not let his mind drift. Yet still he constantly found himself lost in the memory of Jane's mouth coming up to meet his; how it felt, finally kissing her after desiring it for so long.

A huge part of him wanted to drive over to her safe house after dinner and experience that feeling again. Despite where that was likely to lead, including all the complications it would create. It had felt so right with Jane, more so than it ever had with anyone else. Which really wasn't surprising considering the way they'd fit together perfectly, right from the start.

Dinner was a complete blur but thankfully Sarah was questioning Sawyer about a school presentation due the next day so Kurt got away with fixating on what had happened and what he should do next. Jane had said she'd see him tomorrow and that was definitely the wisest course of action. Yet he absolutely could not stop thinking about her and waiting until the next day to see her again seemed torturous.

"Kurt?"

Dammit. Caught again.

He looked up blankly at Sarah, who was giving him a suspicious look. Sawyer, on the other hand, was grinning at him slyly.

"Sorry, I've been thinking about a case," he said, figuring it wasn't entirely a lie.

His sister was still eyeing him strangely but in the end she just shook her head at his inattention.

"Must be some case," she commented.

He couldn't quite tell if she suspected what was going on in his head but forced himself to swallow his instant defensiveness. He didn't need to give Sarah any more indication of where his mind had been during the meal.

"Yeah, sorry," Kurt repeated. "My head's not here right now. Why don't you guys go work on that project and I'll clean up dinner."

Again, Sarah flashed him a funny look but was, thankfully, more concerned about helping Sawyer practice his presentation than quizzing Kurt on his odd behaviour. He breathed a sigh of relief when they headed off and left him to deal with the dishes.

As soon as he was alone, Weller pulled out his phone and stared at it for a moment. He knew he should call first, before making any rash moves. Yet he didn't feel ready to address what had happened between them. Telling her the truth about his feelings seemed risky to the extreme. Even though she'd been the one on his doorstep initiating the kiss, it still didn't seem prudent to tell her that she had completely blown his mind.

He finally dialled her number, his heart pounding in his ears. And when the call went through to her voicemail, Weller felt more deflated than he should have been.

He'd really wanted to talk to her – partly to make sure she'd gotten home okay but mostly just to hear her voice. It was hard not to think that she was avoiding his call and didn't want to talk to him. Which was stupidly crushing despite everything that had happened between them that night.

Weller hung up after leaving a message and stared blankly out the window. Resisting the urge to dial again, he put the phone down and clenched his hands into fists. Going over to her safe house now would certainly get her detail gossiping about his late night visit.

Forcing back both his worry and his desire, Kurt decided the best course of action was to pour himself a drink. Sitting down at the couch, he sipped at his whiskey and tried to drown out all of his impulses.

He shouldn't drive over there, no matter how much he wanted to see her. So Weller forced himself to stay planted on his sofa, trying not to stare at his phone. Instead, he slugged back the rest of his shot and let his mind drift back to where it had been all night. At the memory of Jane's body, tight against his, and the taste of her mouth on his lips.

###

Jane crawled in the window of the safe house and immediately collapsed to the ground, shaking.

It was as if all the physical and mental shock hit her at once, as soon as she made it back inside. Her lungs still burned with the pain of aspirated water and she was unnaturally cold even though she'd run most of the way back and was finally almost dry.

Shivering on the floor, Jane curled up into herself like she had the first night of her new existence. It seemed absurd that she now wanted to return to that state of innocence, without a single memory or revelation about her past. After all that time and so much effort, it had turned out to be better not knowing anything at all.

Who the hell had she been? 

What kind of person would voluntarily choose to do this to herself?

While it was still possible that her former self had been forced to make that video and that none of it was true, Jane had an ominous sense that it was. Oscar's tattoo had gone a long way in making her believe his story and the video he'd shown her. They'd been engaged, presumably in love. She remembered feeling regretful when returning the ring, knowing that he would be upset with her decision.

Jane groaned, desperately wanting to believe that it was all a ruse. She'd already had so many doubts about her past, even before that night's mindblowing revelation. Now she hated the mere thought of who she had been. Especially as all the implications kept flooding through her.

She had done this, planned this all. Purposely involved Kurt in it for some reason, probably a nefarious one. Oscar had been short on details, yet had implied that her team was involved in something illegal. But the idea that Weller was anything but an honest FBI agent seemed completely insane.

God. Had it really only been hours since she'd kissed him?

It felt like a lifetime had passed, especially the time spent being waterboarded by Tom Carter. Jane shuddered again just at the memory of it; the terror of being unable to breathe, feeling like she was drowning. She noted again that she felt frozen despite finally being dry. Knowing that she needed to get warm, Jane tried to push her way off the floor. But it was as if all the trauma of being physically tortured then emotionally devastated had finally caught up to her and she was stuck in her position.

Images of the night kept flashing through her mind, like a frantic slideshow whirling out of control. Sitting on his doorstep, nervous but determined. Walking away from his place, lost in the memory of her lips against his. Being grabbed and thrown in a van before she even had a chance to react. Then the bag and the water and the drill. The gunshots. Oscar and the video.

Jane felt herself starting to hyperventilate as the cycle of images wouldn't stop; always culminating with that picture of herself, telling her that this was all her idea. Even the thought of betraying her team and being a mole was devastating. She owed them so much and trusted them completely. Especially Weller.

Weller.

A part of her still wanted to see him, even though the idea of telling him what had happened was unthinkable. Because, more than anything, Jane needed comfort at that moment and he was her only source for it. The thought of his warmth wrapped around her shaking body was almost inviting enough to push away the horror of the other thought, the one that had been plaguing her ever since she'd seen that video.

What if Weller found out that she was a terrible person, who'd plotted her way into his life? He would obviously despise her, even if she really was Taylor.

Jane moaned again, desperately wishing that it had all been a dream. There had certainly been an unreal quality to her night, yet her misery and self-hatred were entirely too real.

She was about to spin back into the same cycle of remorse and despair when a familiar noise finally broke through her consciousness. It was her cell phone, which she'd left at the safe house so her movements wouldn't be traceable.

A part of her registered that it was the middle of the night by now, so any call would likely be important. Yet still it seemed impossible to get up and answer the phone.

Eventually Jane waited long enough and the ringing stopped, but now that question was occupying a piece of her mind as well. Who was calling her so late? A part of her worried that it was Oscar, or someone else involved in the conspiracy she was tied to.

Trying to get her limbs back under control, Jane growled at her own weakness. The events of the evening had finally caught up to her, especially the stress her body had been put under. But she didn't have time to cry about it, or tremor alone on the floor. Especially if her phone was ringing at that hour.

As if in a trance, Jane found herself pushing herself onto her elbows first then onto her knees. After that, she somehow managed to get to her feet and stumbled towards the phone, feeling as if she wasn't inhabiting her own body. Everything seemed so unreal still; her entire world had collapsed to reveal something she'd never expected.

Jane finally got to her cell and saw that she had missed a number of calls from Weller. Just seeing his name on the screen made her heart clench with dismay. She couldn't talk to him; he would immediately know that something was wrong.

As she listened to her voicemails, Jane's roiling mind went into overdrive, trying to come up with a solution. If she didn't answer at all Weller was liable to show up at her door, despite the time - he certainly sounded concerned enough. Which would then lead to all sorts of complications she couldn't face at the moment.

It seemed to take forever before the obvious answer finally made its way through her anxiety. She could send him a text to let him know she was safe and put off talking to him until she'd had more time to recover.

Somehow Jane forced her fingers to operate the phone and managed to cobble together an excuse for not answering for so long. Even though she was still shaking, unable to get warm despite being dry and safe.

Sorry, out thinking, no phone. Home now. Talk to you tomorrow.

Goodnight. See you in the morning, Weller replied immediately.

Jane pictured him at home, up late worrying about her. The image, along with the text would normally have made her feel warm, though a little guilty too. Now, she could only think what he would say if he knew who she really was.

He'd hate me, she thought once more. 

As much as I hate myself.

Goodnight, Jane texted back, even though it was clear she wasn't going to be doing any sleeping. She could only hope that Weller would be able to get some rest, after keeping him up so late. As for herself, she had hours left to spend ruminating on what had happened and what she was going to do.

The images still wouldn't stop pouring through her mind, forcing her to relive her terror at being repeatedly drowned, then threatened with a drill, then shown that video. And yet there was that other memory too, that brought on a different sort of panic. Reaching up towards Kurt; seeking comfort in the warm sensation of his lips on her mouth, the feeling of his body right up against hers.

She wanted that, wanted him. But not if it was part of a plot. And definitely not if he was going to get hurt.

Jane realized that tears had started to slip down her cheeks and she didn't have the energy to push them back. Soon they were pouring out and and she didn't bother to try controlling them or even wiping them away. Curling up on the couch, Jane just kept sobbing until her lungs ached and daylight was peering through the blinds.

Opening her eyes and groaning at the light, Jane peeled herself off the sofa and stood in a burning hot shower, trying to wash the dirty feeling from her skin. Yet she didn't feel any more cleansed when she emerged from the water, nor had it lifted any of the heaviness in her soul.

Whatever had happened to her, it was obviously all her own fault. Now all she could do was protect everyone from the fallout of what she'd done. No matter what it took, she wasn't going to let any of them get hurt.

Whoever she'd been before the memory wipe, that wasn't who she was anymore. And this version of her wasn't going to let anyone hurt the people that she loved. Not even herself.

[eddycurrents]

For the week of 21 October 2019

Quick Bits:

Action Comics #1016 continues brilliantly integrating Naomi into the broader DC Universe as she helps Superman with the Red Cloud and introduces Batman to her mom. Some very nice double-page spreads in this one from Szymon Kudranski and Brad Anderson, with a nice structure from Brian Michael Bendis in the form of a investigative journalist format.

| Published by DC Comics

The Amazing Mary Jane #1 is an interesting debut from Leah Williams, Carlos Gomez, Carlos Lopez, and Joe Caramagna. It plays upon MJ’s resumed career as an actress and a different turn for Mysterio (I need to go back and read some of his stuff with Kindred, because something seems off).

| Published by Marvel

Amazing Spider-Man #32 begins the next stage in Marvel’s seeming neverending onslaught of event after event with the prelude into the upcoming 2099 thing, including the Marvel debut of Patrick Gleason providing line art. The thing that gets you is that it’s good. Nick Spencer, Gleason, Matthew Wilson, and Joe Caramagna give us an interesting hook in a future and a present that have apparently gone wrong, but we’re really unsure what’s happened yet, just that a seemingly powerless Miguel, back in his original costume, needs to find Peter. It’s compelling.

| Published by Marvel

Amazing Spider-Man: Full Circle #1 is a rather fun and funny story that you really have to go into blind in terms of most content. It’s better to be surprised by the experience. It’s an all-star team of talent including Jonathan Hickman, Chris Bachalo, Gerry Duggan, Greg Smallwood, Nick Spencer, Mike Allred, Kelly Thompson, Valerio Schiti, Al Ewing, Chris Sprouse, Chip Zdarsky, Rachael Stott, Jason Aaron, Cameron Stewart, Mark Bagley, Tim Townsend, Al Vey, Karl Story, John Dell, Laura Allred, Mattia Iacono, Dave McCaig, Tríona Farrell, Nathan Fairbairn, Frank D’Armata, and Joe Caramagna playing a game of exquisite corpse, with each team coming up with a more outlandish cliffhanger for the next team to extricate Spider-Man from. It’s hilarious and incredibly well done.

| Published by Marvel

Angel #6 gives us another perspective on the “Hellmouth” crossover event, as a dejected Spike is tracked down by Fred and Gunn. I really like how Bryan Edward Hill, Gleb Melnikov, Roman Titov, and Ed Dukeshire are continuing the ongoing narrative of the series, while still dovetailing seamlessly into the event. It doesn’t miss a beat on either side of the equation, while still presenting an entertaining story in its own right regardless of whether you’ve read anything previously. All while introducing another player that’s already causing complications. Very nice layered storytelling here.

| Published by BOOM! Studios

Aquaman Annual #2 seems to have been oddly scheduled, with a story taking place after the still ongoing “Amnesty” arc in the main series, but Kelly Sue DeConnick, Vita Ayala, Victor Ibáñez, Jay David Ramos, and Clayton Cowles still deliver an entertaining story that plays into the DOOM that’s been spread by the Legion of Doom and Perpetua. There’s an undercurrent of animosity, anger, and paranoia that seems to be fostered by the doom mark hanging in the sky, and this story nicely builds on it.

| Published by DC Comics

Ascender #6 begins the next arc, though it is much more a direct continuation from the story unfolding, with Andy captured and Mila on the run by boat. Jeff Lemire continues to inject humour into this story through the sheer ineptitude from the vampires. It’s a wonder that they can control anything.

| Published by Image

Avengers #25 is the finale to “Challenge of the Ghost Riders” from Jason Aaron, Stefano Caselli, Jason Keith, Erick Arciniega, and Cory Petit. It does a good job of building Robbie back up, while showing more of the cracks that we’re seeing in Johnny Blaze that were shored up in Ghost Rider. 

| Published by Marvel

Bad Reception #3 goes hard into more traditional themes around horror and, more specifically, slasher films and it’s absolutely wonderful. Juan Doe is giving us a very compelling mystery here, adding more layers as to why the killer is doing this and adding complications through the different characters. Great stuff.

| Published by AfterShock

Batgirl #40 escalates Oracle’s plans as she launches an offensive on Burnside in order to draw out Batgirl. The art this issue from Carmine Di Giandomenico and Jordie Bellaire gets taken to a completely new level. They layouts and colours are absolutely beautiful.

| Published by DC Comics

Batman/Superman #3 goes deeper into the Batman Who Laughs’ machinations for the Infected and what he’s trying to unleash on the DC Universe. Joshua Williamson, David Marquez, Alejandro Sanchez, and John J. Hill are very nicely executing this story, playing with the darker elements that have been bubbling since Metal, but presenting it in such a way that it’s not a dour, grim and gritty story. Also, though it doesn’t have the branding, this is still absolutely integral to the overall “Year of the Villain” event.

| Published by DC Comics

Black Adam: Year of the Villain #1 aims the infected Shazam at Khandaq at lets explosions ensue from Paul Jenkins, Inaki Miranda, Hi-Fi, and Tom Napolitano. This gives us an interesting look at leadership, humility, and responsibility, seemingly entrenching Black Adam again as a somewhat heroic figure.

| Published by DC Comics

Bloodborne #16 concludes “The Veil, Torn Asunder”, revelling in some of the madness that really grips the world. There’s a real unnerving sense of reality crumbling here, somewhat more horrific than what we’ve seen before. Great art from Piotr Kowalski and Brad Simpson.

| Published by Titan

Contagion #4 gets darker in this penultimate chapter from Ed Brisson, Damian Couceiro, Veronica Gandini, and Cory Petit. Things get even more grim as more and more of the heroes fall and we’re left with a rag tag band of street-level heroes and the z-list ring of magicians.

| Published by Marvel

Count Crowley: Reluctant Monster Hunter #1 is an entertaining debut from David Dastmalchian, Lukas Ketner, Lauren Affe, and Frank Cvetkovic. It revels beautifully in the low budget local network horror programming of the ‘70s and ‘80s, following an alcoholic reporter who gets fired for her behaviour, before taking the job as the host to a b-movie segment like Elvira. Great stuff here.

| Published by Dark Horse

Criminal #9 distances us a bit from Jane and that story in this chapter of “Cruel Summer”, instead giving us a look at what Leo is up to as his father plans a heist and Ricky’s recklessness. It’s a nice side track, giving us a different perspective again along with a seriously messed up robbery. Love the washes for the flashbacks from Jacob Phillips.

| Published by Image

Detective Comics #1014 brings Nora Fries back. And aside from just the extreme lengths that Victor has gone to in order to accomplish it, something about all of this feels very, very wrong and that some new horror is about to be unleashed on Gotham. Beautiful artwork from Doug Mahnke, Christian Alamy, Mark Irwin, and David Baron.

| Published by DC Comics

Dial H for HERO #8 gives us the origin stories for The Operator and Mister Thunderbolt from Sam Humphries, Paulina Ganucheau, Joe Quinones, Jordan Gibson, and Dave Sharpe. There’s a rather neat format for the storytelling here as we get parallel stories of The Operator and Mister Thunderbolt, told forwards for one and then backwards for the other.

| Published by DC Comics / Wonder Comics

Doctor Mirage #3 has some gorgeous and trippy art from Nick Robles and Jordie Bellaire. The oddity in the colours and the impressive layouts and double page spreads really adds to the overall feel and atmosphere of the story, immersing you into the surrealism and unsettling feel that even Doctor Mirage herself is feeling.

| Published by Valiant

The Flash #81 concludes “Death and the Speed Force” from Joshua Williamson, Scott Kolins, Luis Guerrero, and Steve Wands. There are some major ramifications here for the DC Universe as a whole and some interesting developments for Hunter Zolomon himself. Like last issue, it’s pretty fitting that this is being handled with Kolins’ art. Also, we see a bit of what might be happening because DOOM won.

| Published by DC Comics

Ghost Spider #3 keeps things interesting as we get a continued build for two different Miles Warren stories on both Earths-65 and -615, from Seanan McGuire, Takeshi Miyazawa, Rosi Kämpe, Ian Herring, and Clayton Cowles. There’s also a feeling that through school and superheroics across two realities, Gwen might be wearing herself out more than she already has been with a hungry costume, which is a compelling fact that might feed into to forthcoming stories.

| Published by Marvel

GI Joe #2 takes a bit of a step back from the explosions of the first issue, still following Tiger, but in a much more introspective and measured way as he keeps getting his ass handed to him by Scarlett. Paul Allor, Chris Evenhuis, Brittany Peer, and Neil Uyetake are giving this a very different feel from any previous GI Joe incarnation and it’s very interesting. Some neat twists and some very welcome humour.

| Published by IDW

Hellboy and the BPRD: Saturn Returns #3 concludes this excellent mini-series from Mike Mignola, Scott Allie, Christopher Mitten, Brennan Wagner, and Clem Robins. I quite like this new approach to the historical series, giving a broader view of the previous years. Also, the development of Liz and Hellboy is wonderful, just great character building.

| Published by Dark Horse

Immortal Hulk #25 is very strange. Very, very strange. The lead story is set in the future where the Hulk has become the Breaker of Worlds and everything is slated for destruction. A pair of former lovers are trying to stop him. From Al Ewing, Germán García, Chris O’Halloran, and Cory Petit. There’s a lot of your usual dystopian future stuff, plus sending something back to save the future, but there’s more to this. The set up plays into some of the Kabbalistic themes and ideas that Al Ewing has been using through this series and we get an interesting interpretation of Binah and Chokhmah here. Though it might be more appropriate to consider them as their Qliphoth. Granted, you don’t need to get into any of this to enjoy the comic. Especially since it will appear much more straightforward in the present as the usual team of Ewing, Joe Bennett, Ruy José, Paul Mounts, and Petit reintroduce a familiar evil face.

| Published by Marvel

Josie and the Pussycats in Space #1 is a digital original from Alex de Campi, Devaki Neogi, Lee Loughridge, and Jack Morelli. It’s a pretty damn good reimagining of the characters, putting them on an intergalactic USO tour, and then eventually cranking up the weird and the horror.

| Published by Archie Comics

Justice League Dark #16 is incredible. “The Witching War” continues in this story from James Tynion IV, Alvaro Martínez Bueno, Fernando Blanco, Raul Fernandez, Brad Anderson, and Rob Leigh as Wonder Woman confronts Circe and everything gets doomed. The stakes here feel real, especially as the team continues to fall apart.

| Published by DC Comics

King Thor #2 is as epic as the first issue with Jason Aaron, Esad Ribić, Ive Svorcina, and Joe Sabino seriously bringing the thunder here. The artwork is drop dead gorgeous and the magnitude of the confrontation between Thor, Loki, and Gorr is massive.

| Published by Marvel

Marauders #1 gives us our first look at an X-book in “Dawn of X” without Jonathan Hickman at the helm. It’s really good. Gerry Duggan, Matteo Lolli, Federico Blee, and Cory Petit give us a somewhat more lighthearted approach to some of the concepts, featuring a Kate Pryde who for some reason can’t go through the Krakoan gates, so is recruited by Emma to helm a vessel for the Hellfire Trading Company. It then sets up the more serious element of rescuing mutants who wish to accept Xavier’s offer, but are stuck in hostile regimes. Very nice humour here.

| Published by Marvel

Martian Manhunter #9 rounds the corner for the homestretch, with Steve Orlando, Riley Rossmo, Ivan Plascencia, and Deron Bennett plumbing the depths of one of Charnn’s victims and discovering a bit of a plan for what’s to come. The artwork from Rossmo and Plascencia remains some of the most inventive currently on the stands.

| Published by DC Comics

Middlewest #12 puts together the pieces of where Abel and Bobby have been taken and gives us an introductory glance at the horrible place that they’re being forced to work. Skottie Young, Jorge Corona, Jean-Francois Beaulieu, and Nate Piekos continue to work magic on this story.

| Published by Image

Money Shot #1 is definitely unique. Tim Seeley, Sarah Beattie, Rebekah Isaacs, Kurt Michael Russell, and Crank! give us a story of a group of scientists who turn to making alien porn in order to fund their science projects. There’s humour and a lot of oddity here. Also, alien sex.

| Published by Vault

Punisher Kill Krew #4 sees the Black Knight enlisted to the team as they continue to navigate the Ten Realms to get vengeance for the orphaned war children. The art from Juan Ferreyra is absolutely gorgeous.

| Published by Marvel

Resonant #4 dives into the two new regions of Honcho’s island and the Congregation. It’s interesting to see how other areas are dealing with the waves, even in horrifying ways. The art from Alejandro Aragon and Jason Wordie is incredible.

| Published by Vault

Second Coming #4 sees Sunstar enlist help to find Jesus, while Jesus laments Christians with his new friend Larry in jail, from Mark Russell, Richard Pace, Leonard Kirk, Andy Troy, and Rob Steen. Some very interesting ideas presented here about how a religion can get away from apparent foundational messages. This issue is rounded out by the usual text pieces and short stories.

| Published by Ahoy

Sera and the Royal Stars #4 has us still in the underworld, from Jon Tsuei, Audrey Mok, Raul Angulo, and Jim Campbell. It’s very interesting to see the zodiacals interacting with variations on various deities. Also, Mok and Angulo remind us that they’re an incredible art team. The visual shifts throughout this issue are beautiful.

| Published by Vault

Star Wars Adventures: Return to Vader’s Castle #4 gives us a central tale featuring Jabba the Hutt’s extended family and a bunch of disembodied brains, as illustrated by Nicoletta Baldari. We’re also getting to the end of the framing tale from Cavan Scott, Francesco Francavilla, and AndWorld Design and this issue gives us an interesting cliffhanger to take us home.

| Published by IDW

Strikeforce #2 maintains the high level of storytelling from the first issue, continuing to keep us on our toes about this oddball group, and deepens the threat of the Vridai as the team heads to Satana in Vegas. Tini Howard, Germán Peralta, Miroslav Mrva, and Joe Sabino have hit on a winning combination here and it just keeps getting better.

| Published by Marvel

Unbound #1 is kind of a cyberpunk/fantasy series with this first issue focusing on Lukas, a famous hunter who takes on a helper for his current hunt, from Ralph Tedesco, Oliver Borges, Leonardo Paciarotti, and Carlos M. Mangual. There’s some nice world-building here, but the real hook comes later in the story that’s really compelling. I won’t spoil it, but it definitely takes it above what you’d expect.

| Published by Zenescope

Valkyrie #4 unveils a lot more of the context of what happened in the first three issues in a rather interesting way, while bringing back a trio of really old Dr. Strange villains. One of whom will be familiar to moviegoers. Al Ewing, Jason Aaron, CAFU, Jesus Aburtov, and Joe Sabino are telling a very interesting story here with some great twists and gorgeous art.

| Published by Marvel

Wonder Woman #81 concludes “Loveless” and with it G. Willow Wilson’s run on the title, here with Tom Derenick, Trevor Scott, Scott Hanna, Romulo Fajardo Jr., and Pat Brosseau. It’s not bad, progressing with a few changes and setting up Steve Orlando’s incoming arc.

| Published by DC Comics

You Are Obsolete #2 gets creepier, playing up even more of the Midwich Cuckoos vibes and revealing that the kids are actively spying on people, with the implication that they’d use more salacious details to their benefit as potential blackmail. We’re still not entirely sure why anything is going on, but the series is definitely setting up a creepy atmosphere.

| Published by AfterShock

Other Highlights: Absolute Carnage: Lethal Protectors #3, Agents of Atlas #3, Archie vs. Predator 2 #3, Black Canary: Ignite, Books of Magic #13, Fearless #4, Freedom Fighters #10, Future Fight Firsts: Luna Snow #1, Immortal Hulk: Director’s Cut #6, Journey to Star Wars: The Rise of Skywalker - Allegiance #3, Kaijumax - Season 5 #1, Lumberjanes #67, Marvel Action: Spider-Man #10, Rat Queens #19, Red Sonja & Vampirella meet Betty & Veronica #6, RWBY #5, Sharkey: The Bounty Hunter #6, Spider-Man: Velocity #3, Star Wars #73, Tony Stark: Iron Man #17

Recommended Collections: Amazing Spider-Man - Volume 5: Behind Scenes, American Carnage, Ascender - Volume 1, Evolution - Volume 3, GI Joe: A Real American Hero - Volume 23, Harrow County: Library Edition - Volume 4, Hex Wives, Infinity 8 - Volume 5: Apocalypse Day, Invisible Kingdom - Volume 1, The Long Con - Volume 2, Naomi: Season One, Spider-Man: Life Story, Star Wars: Galaxy’s Edge, Teen Titans - Volume 2: Turn It Up, Wonder Woman - Volume 1: The Just War

d. emerson eddy is not a pineapple.

[hartsummers64-blog]

Spider-Man: Into the Spider-Verse

Spider-Man: Into the Spider-Verse is an upcoming American computer-animated superhero movie based mostly on the Marvel Comics character Miles Morales / Spider-Guy, produced by Columbia Images and Sony Pictures Animation in association with Marvel, and distributed by Sony Pictures Releasing. It is set in a shared multiverse known as the "Spider-Verse", which features various alternate universes. The film is directed by Bob Persichetti, Peter Ramsey, and Rodney Rothman, from a screenplay by Phil Lord and Rothman, and stars Shameik Moore as Morales, along with Hailee Steinfeld, Mahershala Ali, Jake Johnson, Liev Schreiber, Brian Tyree Henry, Luna Lauren Velez, and Lily Tomlin. In the film, Morales becomes one of several Spider-Guys. Programs for an animated Spider-Man movie to be created by Lord and Christopher Miller had been first revealed in 2014, and officially declared in April 2015. Persichetti, Ramsey, and Rothman joined in excess of the next two a long time, with Moore and Schreiber solid in April 2017. Lord and Miller needed the film to have its own exclusive type, combining the in-home pc animation of Sony Pictures Imageworks with traditional hand-drawn comic e-book methods influenced by the function of Miles Morales's co-creator Sara Pichelli. Finishing the animation for the movie required up to one hundred forty animators, the biggest crew at any time used by Sony Pictures Animation for a movie. Spider-Guy: Into the Spider-Verse is scheduled to be unveiled in the United States on December 14, 2018. The film has gained acclaim from critics, who praised its progressive animation, voice performing and people, tale, and humor. A sequel and spin-off are in development.

Premise

In the "traditional Spider-Male mold", Miles Morales should juggle his higher faculty life with his status as a superhero, as he is introduced to the "Spider-Verse" the place there can be more than just 1 Spider-Gentleman.

Development

Pursuing the November 2014 hacking of Sony's computer systems, emails in between Sony Pictures Amusement co-chairman Amy Pascal and president Doug Belgrad have been introduced, stating that Sony was planning to "rejuvenate" the Spider-Guy franchise by creating an animated comedy movie with Phil Lord and Christopher Miller. Sony executives were established to examine the project even more in a discussion concerning a number of Spider-Man spin-off films at a summit in January 2015. At the 2015 CinemaCon in April, Sony Images chairman Tom Rothman announced that the animated Spider-Man film had a July twenty, 2018 launch date, and would be made by Lord and Miller, Avi Arad, Matt Tolmach, and Pascal, with Lord and Miller also composing a therapy for the movie. Rothman said that it would "co-exist" with the reside-motion Spider-Gentleman movies, although Sony shortly stated that the film would "exist independently of the initiatives in the reside-action Spider-Gentleman universe", as it is set in an alternate universe from those films with out Tom Holland's model of Spider-Gentleman. That December, Sony moved the film's release day to December 21, 2018. By June 2016, Lord had created a script for the movie, and Bob Persichetti was set to direct. Miller stated the movie would come to feel diverse from prior Spider-Male movies, and "will stand on its possess as a distinctive filmgoing experience." It experienced also been rumored to concentrate on the Miles Morales variation of Spider-Man, which Sony verified at a presentation for its approaching animated films in January 2017. Peter Ramsey was co-directing the movie by that point. The next month, Alex Hirsch was unveiled to have contributed to the film's story alongside with Lord and Miller, and Christina Steinberg was explained to have changed Tolmach as a producer on the movie. In April 2017, the film's release date was pushed up one particular 7 days from December 21, 2018, to December 14, 2018. Lord and Miller announced in December that the movie was titled Spider-Gentleman: Into the Spider-Verse, and revealed that several Spider-Men would look in the film. By then, Rodney Rothman was also co-directing the movie.

Producing

The film's script is credited to Lord and Rothman from a story by Lord. Persichetti observed that there had been several Spider-Gentleman films manufactured presently, so the 1st step was to decide why this movie essential to be manufactured, and the answer for the imaginative crew was to explain to the new and special story of Miles Morales, who experienced but to be showcased in any movie. Brian Michael Bendis, the co-creator of Miles Morales, consulted on the movie adaptation. The initial complete minimize of animatics and storyboards for the movie was above two-hrs extended, which is unusual for animated films, and the administrators attributed this primarily to Lord and Miller and their approach of introducing as several elements to the movie as they could at the outset with the intention of observing what it could "manage" and then shaping the film from there. They said that the final runtime will be between that and 90 minutes, the common length of an animated movie, with a equilibrium having to be discovered between the expectations of an animated movie that will have a large kid-based audience and the needs of the story which the administrators felt was equivalent to the reside-motion Spider-Man films specially due to the large quantity of figures in the film. By August 2018, the administrators experienced deemed what a possible submit-credits scene for the movie could be given that audiences have appear to assume them from Marvel films.

Casting

Shameik Moore was cast as Morales in April 2017, together with Liev Schreiber as the film's unspecified main villain. A month afterwards, Mahershala Ali and Brian Tyree Henry joined the solid as Morales's uncle Aaron Davis and father Jefferson Davis, respectively. That December, Lord and Miller exposed that an grownup Peter Parker / Spider-Male would look in the movie, as a mentor to Morales, and Jake Johnson was declared as forged in the role in April 2018. At that time, it was uncovered that the figures Eco-friendly Goblin, Kingpin, and Prowler would also be showing up in the film, with their styles primarily based on the Final Marvel comics. In June, Sony verified the complete forged for the film, with Schreiber unveiled to be voicing Kingpin. Announced as joining the solid then ended up Hailee Steinfeld as Spider-Gwen, Luna Lauren Velez as Morales's mom Rio, and Lily Tomlin as Parker's Aunt Might. A thirty day period afterwards, Nicolas Cage was exposed to be voicing the character Spider-Gentleman Noir, and John Mulaney and Kimiko Glenn ended up declared as voicing Spider-Ham and Peni Parker, respectively.

Animation

Lord and Miller wanted the movie to really feel like "you walked inside a comedian e-book", and were thrilled to "inform the story making use of digicam moves and pushing the style in techniques a stay-action movie can’t". Persichetti concurred, feeling that animation was the very best medium with which to honor the fashion of the comics, making it possible for the creation staff to adapt 70-12 months-old strategies developed for comic e-book artwork into the film's visible language. It took about a calendar year for the generation crew to generate ten seconds of footage that they ended up content with the search of, and then animation function on the film designed from there. Throughout the first development stage, the directors labored with a single animator to establish the seem of the film. This quantity at some point grew to 60 animators in the course of creation, but it became very clear that this would not be enough to total the movie on time and so the crew was expanded more. The amount had attained 142 animators by August 2018, the biggest animation crew that Sony Images Imageworks experienced at any time employed for a film. The film was scheduled to be finished in October 2018. The CGI animation for the film was combined with "line operate and portray and dots and all sorts of comic guide tactics" to make it appear like it was developed by hand, which was described as "a residing painting". Dad and mom want to know that Spider-Guy: Into the Spider-Verse is a funny, unique, action-packed animated Marvel journey that facilities on Brooklyn teenager Miles Morales (voiced by Shameik Moore), who gets to be a new Spider-Guy and ends up meeting other Spider-people from parallel universes. It's certain to attractiveness to Spidey followers of all ages, and it's more tween helpful than the live-motion wall-crawler motion pictures, but it's nevertheless quite extreme. And while the violence is primarily cartoonish, there are tons of fights that include weapons (which includes guns), injuries, and even death. (Spoiler alert: One particular version of Spider-Guy dies, as does an important supporting character.) There is also huge-scale destruction, as well as repeated peril, suspense, and mortal hazard. Figures flirt a minor and occasionally use terms like "hell," "dang," "fat," "silly," and "dumb" a bad male has a cigar. But kids won't fail to observe the movie's diverse figures and clear messages about friendship, braveness, mentoring, perseverance, teamwork, and (of course!) the nature of electricity and duty. If you want to observe new Spider Male motion picture online and free, use that url - https://www.moviestarplanethackonlines.com/spider-man-into-the-spider-verse/.Lord explained the movie uses "a absolutely revolutionary fashion of animation", which brings together the in-property design of Sony Pictures Animation with the "taste" of comedian artist Sara Pichelli (who co-developed Miles Morales), and is offered in the anamorphic structure. The film's directors all felt that the movie would be 1 of the handful of that audiences actually "want" to watch in 3D due to the immersive mother nature of the animated planet designed, and the way that the hand-drawn animation aspects created especially for the movie generate a distinctive encounter Persichetti described this experience as a mixture of the results of an old-fashioned hand-drawn multiplane camera and a contemporary digital reality setting.

[hamrickasmussen5-blog]

Spider-Man: Into the Spider-Verse

Spider-Guy: Into the Spider-Verse is an impending American laptop-animated superhero film dependent on the Marvel Comics character Miles Morales / Spider-Male, produced by Columbia Images and Sony Images Animation in affiliation with Marvel, and dispersed by Sony Pictures Releasing. It is established in a shared multiverse called the "Spider-Verse", which characteristics distinct alternate universes. The movie is directed by Bob Persichetti, Peter Ramsey, and Rodney Rothman, from a screenplay by Phil Lord and Rothman, and stars Shameik Moore as Morales, alongside Hailee Steinfeld, Mahershala Ali, Jake Johnson, Liev Schreiber, Brian Tyree Henry, Luna Lauren Velez, and Lily Tomlin. In the film, Morales gets to be one of several Spider-Males. Programs for an animated Spider-Male film to be developed by Lord and Christopher Miller have been first uncovered in 2014, and formally declared in April 2015. Persichetti, Ramsey, and Rothman joined over the subsequent two many years, with Moore and Schreiber solid in April 2017. Lord and Miller wanted the movie to have its own unique design, combining the in-house computer animation of Sony Photographs Imageworks with conventional hand-drawn comic book strategies influenced by the work of Miles Morales's co-creator Sara Pichelli. Completing the animation for the movie necessary up to one hundred forty animators, the biggest crew ever employed by Sony Photos Animation for a film. Spider-Man: Into the Spider-Verse is scheduled to be launched in the United States on December fourteen, 2018. The movie has received acclaim from critics, who praised its revolutionary animation, voice performing and characters, tale, and humor. A sequel and spin-off are in development.

Premise

In the "classic Spider-Male mould", Miles Morales have to juggle his large faculty daily life with his status as a superhero, as he is introduced to the "Spider-Verse" where there can be far more than just a single Spider-Gentleman.

Improvement

Following the November 2014 hacking of Sony's pcs, emails in between Sony Photographs Amusement co-chairman Amy Pascal and president Doug Belgrad have been introduced, stating that Sony was planning to "rejuvenate" the Spider-Male franchise by developing an animated comedy movie with Phil Lord and Christopher Miller. Sony executives were set to talk about the task additional in a dialogue with regards to a number of Spider-Gentleman spin-off films at a summit in January 2015. At the 2015 CinemaCon in April, Sony Images chairman Tom Rothman declared that the animated Spider-Man movie had a July twenty, 2018 launch day, and would be developed by Lord and Miller, Avi Arad, Matt Tolmach, and Pascal, with Lord and Miller also creating a treatment for the film. Rothman stated that it would "co-exist" with the reside-action Spider-Guy films, although Sony quickly said that the movie would "exist independently of the assignments in the stay-action Spider-Man universe", as it is established in an alternate universe from these films without Tom Holland's edition of Spider-Male. That December, Sony moved the film's launch day to December 21, 2018. By June 2016, Lord experienced prepared a script for the film, and Bob Persichetti was established to immediate. Miller stated the film would feel diverse from preceding Spider-Man movies, and "will stand on its personal as a unique filmgoing encounter." It experienced also been rumored to target on the Miles Morales edition of Spider-Man, which Sony confirmed at a presentation for its impending animated movies in January 2017. Peter Ramsey was co-directing the film by that level. The next month, Alex Hirsch was revealed to have contributed to the film's tale together with Lord and Miller, and Christina Steinberg was said to have replaced Tolmach as a producer on the film. In April 2017, the film's launch date was pushed up 1 week from December 21, 2018, to December 14, 2018. Lord and Miller announced in December that the movie was titled Spider-Man: Into the Spider-Verse, and exposed that numerous Spider-Guys would show up in the film. By then, Rodney Rothman was also co-directing the film.

Composing

The film's script is credited to Lord and Rothman from a story by Lord. Persichetti mentioned that there experienced been numerous Spider-Male films manufactured already, so the initial action was to decide why this movie needed to be manufactured, and the solution for the inventive team was to notify the new and unique tale of Miles Morales, who experienced yet to be featured in any film. Brian Michael Bendis, the co-creator of Miles Morales, consulted on the film adaptation. The first entire minimize of animatics and storyboards for the film was over two-several hours long, which is uncommon for animated movies, and the directors attributed this mostly to Lord and Miller and their method of incorporating as many elements to the movie as they could at the outset with the intention of looking at what it could "handle" and then shaping the film from there. They stated that the closing runtime will be amongst that and 90 minutes, the regular duration of an animated movie, with a stability possessing to be discovered in between the expectations of an animated film that will have a huge youngster-based mostly viewers and the demands of the tale which the directors felt was related to the reside-motion Spider-Male movies particularly because of to the big sum of people in the movie. By August 2018, the directors had regarded as what a likely submit-credits scene for the film could be offered that audiences have appear to assume them from Marvel films.

Casting

Shameik Moore was solid as Morales in April 2017, together with Liev Schreiber as the film's unspecified principal villain. A thirty day period later on, Mahershala Ali and Brian Tyree Henry joined the solid as Morales's uncle Aaron Davis and father Jefferson Davis, respectively. That December, Lord and Miller unveiled that an adult Peter Parker / Spider-Man would look in the film, as a mentor to Morales, and Jake Johnson was declared as solid in the position in April 2018. At that time, it was unveiled that the characters Eco-friendly Goblin, Kingpin, and Prowler would also be showing in the movie, with their types dependent on the Final Marvel comics. In June, Sony verified the entire forged for the film, with Schreiber uncovered to be voicing Kingpin. Announced as signing up for the cast then ended up Hailee Steinfeld as Spider-Gwen, Luna Lauren Velez as Morales's mother Rio, and Lily Tomlin as Parker's Aunt Might. A month afterwards, Nicolas Cage was exposed to be voicing the character Spider-Gentleman Noir, and John Mulaney and Kimiko Glenn ended up introduced as voicing Spider-Ham and Peni Parker, respectively.

Animation

Lord and Miller desired the movie to come to feel like "you walked inside a comic ebook", and had been excited to "notify the story utilizing digicam moves and pushing the style in approaches a reside-motion movie can not". Persichetti concurred, sensation that animation was the best medium with which to honor the style of the comics, allowing the creation team to adapt 70-yr-aged methods designed for comedian ebook artwork into the film's visible language. It took about a year for the generation group to create ten seconds of footage that they were satisfied with the seem of, and then animation work on the movie produced from there. Throughout the initial improvement section, the administrators labored with a solitary animator to build the seem of the film. This number ultimately grew to 60 animators throughout generation, but it turned distinct that this would not be ample to comprehensive the film on time and so the crew was expanded more. The amount experienced reached 142 animators by August 2018, the largest animation crew that Sony Photographs Imageworks had at any time used for a film. The movie was scheduled to be concluded in October 2018. The CGI animation for the movie was blended with "line perform and portray and dots and all types of comic e-book techniques" to make it appear like it was developed by hand, which was described as "a residing portray". Lord mentioned the film utilizes "a completely innovative type of animation", which combines the in-residence design of Sony Photographs Animation with the "taste" of comedian artist Sara Pichelli (who co-produced Miles Morales), and is presented in the anamorphic format. Mothers and fathers require to know that Spider-Male: Into the Spider-Verse is a funny, first, motion-packed animated Marvel experience that facilities on Brooklyn teen Miles Morales (voiced by Shameik Moore), who gets to be a new Spider-Male and ends up assembly other Spider-folks from parallel universes. It's certain to attractiveness to Spidey fans of all ages, and it truly is more tween pleasant than the dwell-motion wall-crawler movies, but it truly is nevertheless quite extreme. And while the violence is mostly cartoonish, there are tons of fights that include weapons (including guns), injuries, and even loss of life. (Spoiler inform: One particular version of Spider-Guy dies, as does an critical supporting character.) There is also huge-scale destruction, as nicely as recurrent peril, suspense, and mortal risk. People flirt a minor and from time to time use words like "hell," "dang," "unwanted fat," "stupid," and "dumb" a bad guy has a cigar. But youngsters is not going to fail to recognize the movie's varied characters and very clear messages about friendship, courage, mentoring, perseverance, teamwork, and (of training course!) the nature of electricity and accountability. If you want to look at new Spider Gentleman movie on the web and cost-free, use that hyperlink - https://www.putlocker123-movies.com/movies/spider-man--into-the-spider-verse.The film's directors all felt that the movie would be a single of the couple of that audiences in fact "need to have" to watch in 3D due to the immersive character of the animated globe produced, and the way that the hand-drawn animation elements created especially for the film develop a exclusive encounter Persichetti described this knowledge as a blend of the consequences of an aged-fashioned hand-drawn multiplane digital camera and a modern day virtual reality surroundings.

[sciencevsromance]

Film 2017: "Top 10″ (see also: Another Dozen)

Between MoviePass and film festivals (Seattle, Orcas Island, Telluride, and an absurd daytrip to Marin to see Call Me By Your Name at the Mill Valley Film Festival),  I saw more movies in 2017 than any other year (somewhere around 140, including oldies and re-watches) and liked quite a few of them. 

Convergences in the top ten:

Ghosts (3); France (4); crying in cars with moms (2); bloody noses (2), strangers in hostile settings (5), sexually-charged produce (2)

A Ghost Story opens with a bump in the night, but it isn’t a horror movie, unless you find the contradictorily vast and fleeting nature of time to be scary, which it absolutely is. One character ceases to be alive, yet lingers under an evocative sheet; a wife remains, grieves, consumes the better part of a pie in a single sitting. Time passes (and passes) and David Lowery captures its infuriating swells and contractions in a truly haunting cinematic meditation. 

In Faces Places (Villages Visages) ninety-three-year-old Agnes Varda and thirty-something photographer J.R. travel to small French towns to take and install extremely large pictures onto unconventional surfaces. Her eyesight is failing; he refuses to take off his sunglasses. Between their effervescent charm and the moving effect that being seen has on the people of the photos, I had tears in my eyes during most of the film’s running time. An utter delight. 

Call Me By Your Name’s gift to those of us with more mundane lives is how sensuously it conveys the feeling of a being a exceptionally bright-yet-bored teenager in Italy, all those dull summer afternoons stretched endlessly ahead, until suddenly you’ve fallen in love with Armie Hammer and those endless days are disappearing all-too quickly. Luca Guadagnino works here is fully naturalistic mode, languid camerawork, softly-shifting focus, letting the bike rides, swims, and meaningful glances speak volumes and the impeccable soundtrack (with songs echoing) picks up the rest. Timothée Chalamet’s performance -- rangy curiosity, restrained vulnerability, eager determination -- is one for the ages. Elio, Elio, Elio. 

Following the conventional rhythms of a senior year in high school, we see Saorise Ronan’s Lady Bird as she falls in love with a theater geek, a nihilistic dirtbag in a band, her mother, the city of Sacramento, and eventually herself. Where lesser, lazier filmmakers might allow a focus on the lead to crowd everyone else out, Greta Gerwig demonstrates exceptional humanity in allowing every supporting character to be absolutely essential with three dimensional stories of their own. Each of them could’ve sustained their own spotlight, but their intersection with Lady Bird form a rich tapestry of class and geography, family, friendship, and the life-changing power of acknowledging your love of an objectively terrible Dave Matthews Band song. 

I can’t believe how the summer’s greatest and most expensive spectacle, Dunkirk, seems to have completely disappeared from the year-end awards conversation. Christopher Nolan gets to indulge his fondness for clockwork shenanigans, depicting the unlikely rescue of all those sad doomed Brits from that treacherous beach, from three perspectives: the land (sorry, the Mole), sea, and air. There’s very little dialogue; we barely see the Nazis; and there’s no helpful voiceover to refresh you on forgotten history lessons. Yet, with great storytelling economy and absolutely dazzling cinematography, the disjointed timeframes induce a sense of the confused desperation, an utterly harrowing sense of looming death, and the ever slim prospects for escape.  Despite being told with a cool interiority and a restrained chin-up sense of duty, noticing the first hints how the three timeframes intersected were among the year’s most thrilling, the IMAX images among the most indelible, and those little boats finally arriving over the horizon seemingly moments before Tom Hardy valiantly glides that plane down onto the beach of certain doom to be among the most moving. 

Had I seen Phantom Thread even slightly earlier in the year, it might’ve been my only number one (instead of in this artificial six-way tie for a top five). I’ve seen it twice in two weeks and feel like I could watch it forever. Of course, there’s the bravura acting -- Daniel Day Lewis, fussy, controlling, and comedic; Vicky Krieps, clever and constantly adjusting; and Lesley Manville’s placid omniscience -- in an ever-uncertain power dynamic that’s elegantly orchestrated by Jonny Greenwood’s tremendously insightful score. But it’s also how funny the film is throughout (where are my Woodcock GIFs) and genuinely touching it becomes and how surprisingly delightful the late twists pay off. Much has been said about how much Timothée Chalamet accomplishes with just his face in those magnificent closing minutes of Call Me By Your Name; a close runner-up is what Vicky Krieps and Daniel Day Lewis accomplish over a fateful dinner scene.

--

Rounding out the list: perpetual favorite Olivier Assayas’s Personal Shopper (the third, most menacing ghost story on the list, Kristin Stewart’s restrained affect perfectly suited to a bored and grieving medium/celebrity assistant, complete with an unsettlingly suspenseful sequence conducted entirely by oddly-punctuated text messages); BPM (effectively intertwining a vital AIDS-era love story into a ground-level behind-the-scenes account of the talky and evocative activism of ACT-UP Paris); Get Out (on first viewing: a comedy of too-real awkwardness of white liberalism turned all-the-way up to an absurdly scary premise; seen again: a horror documentary); Beatriz at Dinner covers similar territory as Get Out (Salma Hayek’s wholistic healer, entirely out of her element at a wealthy client’s business dinner with a devil developer) but with the limits of kindness and the futility of action portrayed in devastating fashion -- and with crushing application to our present political nightmare -- by Mike White and Miguel Arteta. 

And, as “honorable mentions”, two 2016 films that I didn’t see until 2017: Toni Erdmann, the longest and most uproariously funny comedy about family and globalism I saw all year (the idea of the impending Nicholson-Wiig remake deeply offends me already) and watching 20th Century Women in the winter felt like having a thousand emotionally electrified felting needles applied to a heart that you’d forgotten was even there. I don’t know if anyone captures the sense of the past, present, and future colliding and occurring in a kaleidoscopic collage better than Mike Mills. It’s dumb how quickly this movie came and went and how Annette Bening didn’t even get an Oscar nomination (let alone a win).   

[aion-rsa]

The Knick Is An Ugly, Atmospheric Delight

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Most early photographs look haunted. Perhaps it’s because we view these images with the knowledge that the people inside them are already ghosts. In some early photos the subject had actually already expired at the time of their capture. Photography was expensive and the first and best occasion for many families to pay for a portrait was recently after a loved one died.

But some old timey photos are just ineffably creepy beyond any easy explanation. Consider this snapshot of a surgical operating theater in 1890.

Boston City Hospital operating theater, circa 1890 | A. H. Folsom of Roxbury

The experience of seeing primitive surgeons dressed in angelic white, surrounded by seats of mustachioed men wearing their Sunday best and staring down at a lifeless body is so intensely bizarre. Photos like this are dripping with a grim atmosphere that very few documents or art can really capture. One recent entry into the prestige TV canon, however, did a shockingly good job of recreating that eerie sensation and maintaining it over two full seasons.

Both seasons of Cinemax’s The Knick are now available to stream on HBO Max. Cinemax may no longer be in the original content business, but some of its better shows are finally, thankfully making their way to the WarnerMedia streaming venture. In addition to The Knick other recent Cinemax titles arriving to HBO Max include Banshee and Warrior. All three are superb shows and worth checking out, but let us highlight The Knick in particular as one of recent television history’s most underappreciated gems.

The Knick is quite simply one of the most stylish and atmospheric TV shows ever made. Premiering in 2014, it is set in a fictionalized version of the real Knickerbocker Hospital (a.k.a “The Knick”) which was located in Harlem at the turn of the 19th century. The series begins in 1900 and follows Clive Owen’s Dr. John W. “Thack” Thackery, the chief surgeon at The Knick, as he runs the hospital while barely controlling his addiction to injecting cocaine. Other cast members include André Holland as new assistant chief surgeon Dr. Algernon Edwards, Jeremy Bobb as hospital manager Herman Barrow, and Eve Hewson as nurse Lucy Elkins.

The plotting on The Knick from creators and head writers Jack Amiel & Michael Beglerare is tight and effective. The show capably balances multiple story threads at once, from the series- long arc of Thack’s drug abuse and addiction to season-long arcs about infectious diseases spreading throughout New York to episode-long stories presenting patients simply in need of help. 

But what sets The Knick apart from fellow medical dramas (and just about everything else) is the imagery involved and the tone it invokes. Watching The Knick is like staring at the uncanny oddness of that old operating theater photo until the people within it start to move around and vacuum blood out of a patient’s open abdomen. 

Television has always been seen as a writers’ medium, with the head writer on many shows often serving as de facto “showrunner” and maintaining the visual style. The Knick, however, benefits greatly from the involvement of filmmaker Steven Soderbergh, who produces and directs every episode. Soderbergh’s cameras, era-authentic gaslamp lighting, and superb production design all conspire to create one hell of a visual mood. That’s not even to mention Cliff Martinez’s excellent, synth-heavy score, which one would be forgiven for thinking is the work of Trent Reznor and Atticus Ross. Just about every scene sounds like a tense mission leading up to a boss battle in an NES game. 

Thack and his fellow doctors Bertram “Bertie” Chickering (Michael Angarano) and Everett Gallinger (Eric Johnson) are fond of calling the Knick their “circus.” And like any circus, The Knick is only as good as its performers. Thankfully the doctors, nurses, administrators are all more than up to the task. 

Despite being only six years old now, The Knick has proven to be quite an acting talent factory. The series was Hewson’s first TV role and the Irish actress is now on her way to modest stardom thanks to roles in The Luminaries and Behind Her Eyes. Jeremy Bobb has since turned up in everything, including Russian Doll, Jessica Jones, and The Outsider. Chris Sullivan, who plays ambulance operator Tom Cleary now plays Toby on This Is Us. And Juliet Rylance portrays Della Street on Perry Mason. 

Meanwhile, Owen is a perfect fit as Thack. The actor seems to relish hiding his handsome movie star features behind sweat, matted hair, and a thin mustache. The effect makes Thack physically resemble some kind of familiar early 1900s pugilist archetype more than a Hollywood leading man. The lifelike performance flows out from there.

Holland as a talented Black surgeon extremely unwelcome in a white hospital is also superb. The actor has racked up award nominations for Selma and Moonlight, but he’s never seemed like a more capable protagonist than he does in The Knick, even if his character isn’t technically the lead. 

It does at times feel as though this is really Edwards’ story. Which makes sense, given that the most attention is frequently paid to him as a perceived trespasser in a white world. Also: it probably goes without saying, but one should know before watching that The Knick pulls absolutely no punches in its depiction of early 20th century racism. It’s admirably honest storytelling about the time period but it’s also just brutal to sit through. One season 2 plotline even involves a central character becoming a full-on eugenicist. 

Thought that understandably all sounds quite bleak, The Knick isn’t just all crushingly real depictions of racism, gore, and nifty camerawork. The show fills an important prestige TV quotient by frequently bringing something new to the table. In the absurdly crowded TV landscape, oftentimes the best thing any show can do is to present something to the audience that they’ve never seen before. The Knick has many such moments…unless you’ve somehow seen someone inject cocaine into Clive Owen’s penis before. The series also has one of the wildest series finale of all time. The finale of season 2 (which wasn’t necessarily a series finale at the time) features one moment that should take even the most veteran drama watcher by surprise. 

The show has some sturdy themes to go along with the stylish flourishes and surprising storytelling. In the series first episode, Thack describes what is simultaneously appealing and devastating about healthcare to him, saying: “God always wins. It’s the longest unbeaten streak in the history of the world.” 

There is nothing that any doctor or surgeon can do to stop death. The best they can hope to do is forestall it’s arrival. Thack and the doctors at the Knick have done the best they can in this mission. When Thack proudly announces that life expectancy has gone from 39 to 47 in the past 20 years, it’s a darkly funny moment to the modern viewer. But any small medical advancement or deeper understanding of the human body always feels like a sincere victory throughout The Knick – particularly because we see the very literal blood, swat, and tears it takes to achieve them. These drug-addicted surgeons and frightened, shivering patients are indeed ghosts from an stained old-timey photo of an operating theater. They’re also people. And that’s something that the show is able to capture in addition to capturing all the terrifying gore of 20th century medicine. 

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

Back in September of 2020, Soderbergh revealed that he and producer Barry Jenkins were planning to go through with The Knick season 3, with a pilot script having been written. Given that the Hollywood landscape is particularly turbulent at the moment, who knows if that script will ever find a home. Whether or not The Knick gets a third season, its first two will fit in quite comfortably alongside the greats in its new HBO Max home for years to come. 

The post The Knick Is An Ugly, Atmospheric Delight appeared first on Den of Geek.

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[ethanalter]

HBO Oz 20th Anniversary Oral History

(GIF: HBO)

In today’s Peak TV landscape, television creators have a multitude of content-hungry outlets eager to attract an audience for their wares: Streaming services and premium cable compete alongside basic cable and network television, while viral video-generating Internet hot spots like YouTube and Funny or Die are cranking out original programming as well.

It’s a brave new world, one that began to take shape 20 years ago on July 12, 1997. That’s the date that Tom Fontana’s sprawling prison drama, Oz, premiered on HBO, setting a channel best known for replaying movies and the occasional cult comedy series like The Larry Sanders Show on a course to becoming a dramatic powerhouse that lived up to its famous tagline: “It’s Not TV. It’s HBO.”

And Oz was the kind of bold, provocative experiment that only could have aired on a restrictions-free cable network looking to shake up its image. Set in Emerald City, an experimental incarceration unit inside the fictional Oswald State Correctional Facility, the show offered an addictive fusion of gritty prison drama, dark comedy, graphic violence, and even a touch of soap opera romance. Oz‘s serialized storytelling and ensemble cast — J.K. Simmons, Eamonn Walker and Dean Winters were just some of the future stars who passed through Emerald City’s glass cells — attracted the attention of critics, as well as those within the industry. Two years after Oz premiered, HBO debuted a new show from David Chase called The Sopranos, and the rest is Peak TV history.

To commemorate the prison drama’s milestone anniversary, Yahoo TV talked with 13 key players in Oz‘s groundbreaking premiere and eight-episode first season. (Sorry, Keller and Beecher ‘shippers, that means no Chris Meloni, who joined in Season 2.) Read on to discover which famous hip-hop star played the role of narrator Augustus Hill before Harold Perrineau, how Simon Adebisi acquired his name (and famous hat) and the unsung heroine behind both Oz and the premium cable boom.

The Participants (In Alphabetical Order) Kirk Acevedo (Miguel Alvarez) Adewale Akinnuoye-Agbaje (Simon Adebisi) Chris Albrecht (CEO of Starz; Former CEO of HBO) Jean de Segonzac (Director of Photography; Director) Tom Fontana (Creator/Showrunner) Ernie Hudson (Warden Leo Glynn) Terry Kinney (Tim McManus) Darnell Martin (Director) Tim McAdams (Johnny Post) Jon Seda (Dino Ortolani) Lee Tergesen (Tobias Beecher) Dean Winters (Ryan O’Reily) Luna Lauren Velez (Gloria Nathan)

‘Oz’ creator Tom Fontana (Photo: Getty Images)

Chapter One: The Wonderful Wizards of Oz Tom Fontana never set out to be a premium cable pioneer. The Buffalo-born writer was a creature of network television, getting his start as a writer and producer on the beloved NBC medical drama St. Elsewhere, before collaborating with Barry Levinson and Paul Attanasio on NBC’s acclaimed police series Homicide: Life on the Street. It was during the making of Homicide that Fontana found himself contemplating what happens to criminals after they entered the penal system. That germ of an idea eventually grew into Oz, which he developed in collaboration with Levinson. As Fontana quickly discovered, his show never stood a chance at making it onto a broadcast network.

Tom Fontana: I grew up watching cop shows where at end of the episode the bad guy traditionally got arrested and went to prison while the cops sat around in the last scene and did a funny little joke. Then we all went to bed feeling [satisfied]. While I was doing Homicide — where the bad guy didn’t always get arrested — I thought, “Maybe the more interesting story is what happens to these people when they go to prison.” In David Simon’s non-fiction book [that inspired Homicide] there’s a section about a prison riot in Baltimore, and I decided to expand on it for an episode, [Season 5’s “Prison Riot”] and bring back some of the murderers we had seen in previous seasons. That was my first swing at seeing what writing a prison show might be like.

While developing Oz, I spent about two years going to prisons all over the country, and I saw that there were two kinds — these old Gothic horror chambers, and new, experimental prisons. But there was never a place where the two were together, and it was important to me that you had the old and the new butting up against each other. When I talked to prisoners who were in places like Emerald City, they were very clear that it was worse for them because they had no privacy. I found that very moving, and so that’s where Emerald City came from, and the idea of glass so that everybody could see everybody else at any given moment.

Back then there were only four networks, and none of them were the least bit interested in my version of a prison show. I sort of pathetically adapted it as I got each rejection. I can’t remember which network I pitched which version to, but one of them was set in a juvenile detention center, and another was a Club Fed, where it was rich white collar guys who been sent up the river. Once I really started to examine what I wanted to do, I went back to the idea of that Homicide episode, which was a down-and-dirty prison with all sorts of crazy characters.

I was lucky that Chris Albrecht at HBO was looking to start doing original material. At that time, HBO had a comedy side — they had Dream On and a few other comedy shows — but they hadn’t really had a drama side yet. Chris had the vision to say, “We need to expand the reach of our network.” He told me that the [network] had had success with prison documentaries, so he had an instinct that a prison show might appeal to his subscribers. He said, “I’ll give you a little bit of money to shoot a presentation, about 15 to 20 minutes, and let’s see what it looks like.”

Chris Albrecht: The show had been in development for quite a while before we were really even contemplating doing a lot of original programming. There was a change in management, and we wanted to ramp up our originals. We hadn’t ever done an hour-long drama before. I went to Tom and said, “Look, we’ve put you and Barry [Levinson] through the ringer here. I’m not going to ask you to make any more changes, but we need to shoot something, so, here’s a million dollars. Shoot as much of this as you can.”

Fontana: I probably shouldn’t say this, but I will — it wasn’t enough money! We shot it in Baltimore while we were shooting Homicide, so we would book a location and I would say, “Okay, we’ll shoot the Homicide scene here, and then we’ll shoot the Oz scene.” So, in a way, NBC paid for it a little bit, if you know what I’m saying.

Darnell Martin: I had directed a feature, [1994’s I Like it Like That], but Homicide was my first television experience. They gave me the script for “Sniper: Part 2,” and it was written like a film, with helicopter shots and blockaded streets. I kept trying to figure out how to do that for the budget and time that we had. Maybe that was a seller for Tom. He asked me to direct the Oz presentation.

Fontana: The cast of [the presentation] was different. Jon Seda and Terry Kinney were in it, but the part that Lauren Velez [now Luna Lauren Velez] played, Dr. Gloria Nathan, was played by Jennifer Grey. The reason I later made the change was I really felt like the cast was [too] white, and I also liked the idea of a Latina woman in the midst of all these men. And there was a different guy playing Augustus Hill than Harold Perrineau.

Martin: I cast Mos Def as Augustus. He was amazing. Amazing. He was recast. It was crazy! I begged and I fought — not with Tom. It was above Tom; Tom couldn’t change it. Harold is wonderful, but you know, Mos Def had something really special.

Harold Perrineau as Augustus Hill ‘Oz.’ The role was played by Mos Def in the original presentation (Credit: HBO)

Terry Kinney: Tom had cast me in a Homicide episode, [Season 4’s “Map of the Heart”] and he said that he’d always wanted to make up for that, because it was an indecipherable episode. I played an NSA mapping guy, and to this day don’t know what it was about! I remember meeting Tom and Darnell for the Oz presentation, and they were talking about a character that was a die-hard liberal in a way that seemed extremely naïve. I basically played the warden, whose name was still McManus.

Jon Seda: I worked with Darnell on I Like It Like That, and she raised the bar for me. I told her that anything she ever does, I’m going to say yes to it. Sure enough, they said, “Hey, listen, there’s a script that’s called Oz. It’s a presentation. Darnell Martin’s directing.” I said, “Okay, I’ll do it.” I didn’t even know what the role was. What a lot of people don’t know is that at the same time that I was shooting that, I was also shooting the movie Selena. So when I met with Darnell, I said, “You’re going to have to help me, because I’ve been living as this sweet guy Chris Pérez for a couple months already, and now I have to play this ruthless Dino Ortolani.” I didn’t know how I could do it, but she said, “Just trust me. Put everything in my hands and it’s going to be great.”

Jon Seda in ‘Oz’ (Credit: HBO)

Tim McAdams: I had built a pretty strong relationship with Pat Moran, who was the local casting agent for Homicide. When they decided to do the presentation for Oz, I auditioned and got cast. Nobody knew what Oz was or really thought anything of it; I just knew it was a show I got hired for and I was a young actor trying to work. We shot this presentation, and Mos Def and Jennifer Grey were in it, so I was like, “Wow! We got some names in this thing, and maybe it’s gonna get some traction!” I was honored to work with Jennifer Grey; I remember how excited I was and how friendly she was. And growing up in that era, having a chance to spend time around Mos Def and watch him transition to becoming an actor was really exciting. Sometime later I got a phone call about the show being picked up by HBO, and they said, “They’re gonna be doing a lot of recasting, but they’re going to allow you to play Johnny Post.”

Fontana: That initial presentation was more tonal; it was a real attempt to say, “This is the kind of subject matter we’re going to cover, and these are the kinds of characters we’re going to see.” You have to remember, this was before we built the Emerald City set, so it was all hallways and rooms, but it wasn’t what the show eventually looked like. Though, if you watch the first episode of Oz, there are a couple scenes that are from the original presentation, like the shower scene where Seda gets the s**t beat out of him by the COs. And I think the hospital scenes are from the original presentation.

Ernie Hudson as Warden Leo Glynn and Terry Kinney as Tim McManus on ‘Oz.’ In the pilot presentation, Kinney played the warden. (Credit: HBO)

Kinney: Jon Seda and I were two of the survivors of that 15-minute presentation. I didn’t think that I was going to make it to the series. I remember that I was in Los Angeles doing something else, and I called Tom and he said, “You know what, you’re my guy. Let me work this out.” What I think they’d done is they wanted the warden to be African-American. They wanted Ernie [Hudson], and they had a relationship with him. So Tom made me the keeper of the Emerald City section of the prison. I was grateful [for] his loyalty.

Albrecht: At the end of the presentation, the lead guy, Dino, gets killed in his cell. I said to Tom, “He comes back next episode, right?” And they said, “No, he’s dead.” I go, “What do you mean, he’s dead? He’s the lead in the show!” They go, “That’s what’s happening here.” That’s when I realized that they were gonna change the rules.

Seda: What’s funny is that I remember that the death scene wasn’t supposed to carry over [to the pilot]. I was expected to come on and be a regular on the show. I think what happened was that HBO just really loved the idea of the lead guy actually dying. That kind of set off the trend on Oz.

Fontana: We got an eight-episode order. I was literally yelled at by friends of mine and peers of mine on the drama side of television. They said to me, “Why are you going to work over at HBO? It’s a movie channel. Nobody watches it.” And I said, “Well, who cares if nobody watches it? They’re going to let me make the show I want to make.” Literally people thought it would kill my career, that I made the wrong tactical move and that I should be doing Touched by an Angel! I’d like to tell you that I’m the visionary who had this incredible sense that cable would someday dominate the television world, but it wasn’t that. It was simply that there was an open door and I went through it.

Chapter Two: Populating Emerald City Having walked through that open door, Fontana’s next task was assembling his prison population. At the time, and still today, Oz stands as a model og diverse casting; it’s large ensemble encompasses a multitude of races, religions and sexual orientations. And shooting in New York, Fontana tapped into a deep reservoir of veteran actors and fresh faces.  

Fontana: Our feeling about the penal system in America is very cyclical; you go through periods of “[Prison] should be about redemption” and then “[Prison] should be about retribution.” At that time, it was about retribution and there was this sense that prisoners were bad people, and there were no heroes in those stories. The truth is, I wasn’t interested in writing heroes per se. And that was the great thing about Chris. I’ve often quoted him as saying, “I don’t care if the characters are likable as long as they’re interesting.” That was what I needed to hear because I wasn’t planning to make likable characters — I was planning to make interesting characters.

J.K. Simmons in ‘Oz’ (Credit: HBO)

Throughout the life of the series, we were able to get some wonderful, brilliant New York theater actors. We’d used J.K. Simmons in an episode of Homicide, so I gave him the part of Vern Schillinger because I knew he could do it. Dean Winters had done Homicide episodes, and was my favorite bartender before that, so I wrote Ryan O’Reilly specifically for him.

Dean Winters: Tom had come up with the idea of Ryan O’Reily by watching me bartend. When I was a bartender, I was a real hustler. My motto was, “If you leave my bar with cab fare, then I failed.” I would try and drain you of every dollar you had. I quit my bartending job and was in Los Angeles doing my first movie, Conspiracy Theory. It was a real leap of faith. Tom came out to visit, and we had a long talk. I told him, “You know, I really don’t think this acting thing is for me, it doesn’t feel right.” And he goes, “Listen: I was doing a little presentation for HBO about a prison, and I think it might turn out well for all of us.”

Dean Winters as Ryan O’Reily on ‘Oz.’ (Credit: HBO)

Ernie Hudson: The first time I heard of Oz was when I got a call from Tom. I did a six-episode arc on St. Elsewhere [in 1984], where Tom was a writer and producer. I got to know him a little bit on set, and when he called me about Oz he said, “Do you remember we talked about working together on a project?” I didn’t remember that conversation, but I pretended that I did. I based Leo loosely on Robert Matthews, the first black warden of Leavenworth prison in Kansas. I read a book where he talked about how father was a minister, and wanted him to go into the ministry. Later on, he said to his father, “This is my ministry.” I thought of it that way. He was a guy who finished college, but probably started at junior college, and went to night school. He’s worked his way up. He’s the guy who loaned money to the friend and never got paid back.

Luna Lauren Velez as Dr. Gloria Nathan on ‘Oz.’ (Credit: HBO)

Luna Lauren Velez: My first film was I Like It Like That, directed by Darnell Martin. She called me and said, “Do you want to do this show, Oz?” And I said, “Well, I’m doing this other show, [the Fox drama New York Undercover].” She said, “It might be a one off, I’m not even sure what’s going to happen with the character,” and then she said, “Jon Seda is doing it.” Jon and I had done I Like It Like That together, so I came onboard and they just kept asking me to come back. My understanding was that Jennifer Grey played Dr. Nathan in the [presentation]; everyone had glowing things to say about her, but said, “We decided to go a different direction.”

Adewale Akinnuoye-Agbaje: I went in and read for the casting director [Alexa L. Fogel]; there were only two lines and I read them in a British accent, an American accent, an African accent and a Jamaican accent just to show what I could do with it. She told me to wait, auditioned a few other people and then closed up shop and took me over to Tom’s office. He was in the middle of writing, and she told me, “Okay, he’s going to give you two minutes.” He didn’t even look up; I performed the lines in those various accents, and he said, “All right, stop. That’s enough.” That was it! He didn’t say I got the part — he didn’t say anything.

Adewale Akinnuoye-Agbaje in ‘Oz’ (Credit: HBO)

Alexa called me the next day and said, “Tom liked the African character, the Nigerian one. He doesn’t have one of those in the show, and he’d like you to play that.” I was a little bummed, because I wanted to play an American. Then she said, “What he wants to do is he’s going to write it as an American and he wants you to be able to translate it into the African character,” which was freaking great. When I met Tom again, he told me that he had a Nigerian friend he went to college with whose name was Bisi. So he said he would use part of my name and part of his friend’s name: that’s how Adebisi was born.

Fontana: Eamonn Walker was someone I didn’t know until he came into audition, but he was so incredible that it was a foregone conclusion he’d be part of the cast. I was obsessed with getting that character of Kareem Said right. And Eamonn was equally obsessive about getting it right. Some of the extras in his Muslim Brotherhood prisoner group were actual Muslims, so he would go once a week to the mosque, and pray and experience the whole religious side of what it is to be an Imam.

Eamonn Walker as Kareem Said on ‘Oz’ (Credit: HBO)

Kirk Acevedo: Originally Tom wrote Miguel Alvarez for someone else, and then I came in and I got the gig. I remember the exact audition: there were five actors ahead of me, and the scene was an emotional scene where you had to go in and scream and yell about some s**t. Every actor who went in before me screamed and yelled, and I was like, “Well, I can’t scream and yell, because no matter how good I can do it you’re gonna get tired of seeing the same fucking thing.” So I played it just the total opposite, and I stood out and got the gig.

Lee Tergesen: I had been doing a show for USA called Weird Science, which had just finished up, and I was working on Homicide for a couple of episodes. I was down in Baltimore and Tom said, “When you’re done, can you come up to New York? I want to talk to you about something that I have in the works.” So I went up and he and I started talking about something that ended up being Oz. We talked about a couple of different ideas he had for parts, one being a guard and the other one being this guy who ends up being in jail as sort of a fish out of water. I was like, “That sounds more interesting than a guard.”

Fontana: Initially HBO didn’t want me to cast Lee as Beecher. I was like, “Well, what’s wrong with him?” And they go, “Oh no, he’s a brilliant actor. It’s just not who we had in our head.” I said, “Well, he’s who I had in my head, because I wrote the part for him. So you’re stuck with him.” And then, of course, they were [ultimately] thrilled with him. But at first they were a little nervous, because he didn’t look like who they thought Beecher should look like. I never understood what that meant.

Albrecht: I do remember talking about that, because Lee was such a prominent character in the beginning. We were kind of new to it all. I had worked pretty closely with Garry Shandling on The Larry Sanders Show and Marta Kaufman and David Crane on Dream On, but this was really the first time that we had this size of a show, and this kind of serialized drama. So I think we were just babbling at Tom and Barry, who obviously had a lot more television experience than we did.

Lee Tergesen as Tobias Beecher on ‘OZ.’ (Credit: HBO)

Tergesen: In retrospect, I know that happened, but Tom didn’t make me aware of it at all in the beginning. But yeah, my understanding now is they [thought]: “This character is so important, and this guy has just being doing Weird Science.” And Tom was like, “Well, don’t worry — you’ll see, you’ll see.” I wonder what they think now!

Fontana: I had met Rita Moreno at a party at Elaine’s that was marking the end of The Cosby Mysteries, which she had been a regular on. I went up to her and said, “It’s such an honor to meet you — I’m such a big fan of your work.” And she went, “Well, if you’re such a big f***ing fan of my work, why didn’t you f***ing write me a part?” I went, “Okay, I will!” So years later, I took her and her husband to dinner and was talking about Oz. She goes, “It all sounds fantastic. What would I play?” And I went: “You would play the nun.” Well, she laughed for about a half hour and then said, “Tom, I’ve played hookers, I’ve played bandits, but no one’s ever had the balls to ask me to be a nun.” I also talked to her about my sister, who is from a very liberal order of nuns. In the summers, she would run the hospitality house at a prison near Buffalo. I always thought it was so incredibly ironic that my sweet sister was scheduling conjugal visits for prisoners. I told Rita all that, and she said, “Okay, just as long as I’m not going to be in one of those habits.”

Martin: Tom was fabulous in the way that I could say, “Tom, check this guy out. Is there a place for him?” And he’d say, “Yes, I’m going to write him into it.” There were some people that were just out there in the world, and not necessarily actors yet. He was really open to bringing people in, looking at them and trying to find the place for people who had this very specific New York vibe. With a network, you try to get someone hired and it takes so long. With HBO, it was fabulous: if Tom and I liked an actor, we would go to the one person over there and it turned around real quick.

Rita Moreno as Sister Peter Marie Reimondo on ‘OZ.’ (Credit: HBO)

Fontana: I was very clear in the auditions, and when people signed the contract that they might be asked to be nude, and that there would be violence. I didn’t want people who were going to be skittish.

Akinnuoye-Agbaje: Tom made it clear that this was going to be groundbreaking, and that he was really targeting authenticity, so that meant that it required certain actors and certain characters to go in places that may be uncomfortable personally. There were rape scenes and all kinds of complications that weren’t going to be comfortable. He made it clear that if you don’t want to do that, then you’re not the actor for the part.

Acevedo: No, he never warned us! I think there was a nudity waiver because there might be nudity. But every week it was like, “Alright, Kirk, today you’re gonna eat s**t out of the toilet.” Every week we were just like, “Dude, as long as I don’t get raped, I’m alright.” It wasn’t a scary thing, it was kind of titillating. It wasn’t like we were all nervous about it, because we would do it. It was more of like, “What’s he gonna have us do?” I don’t ever remember him warning me, but then I’m pretty sure there were people he didn’t have to warn because we were all game to do it.

Kirk Acevedo as Miguel Alvarez on ‘Oz’ (Credit: HBO)

Winters: I was there from the inception of the show, and I told Tom, “Look, I’ll do anything you want.” And I did. The smart actors knew that we were doing a show about a prison, not a show about a prep school, and it’s cable television. If you had half a brain you knew that this was not going to be everyone’s cup of tea, and it was not going to be a walk through the daisies. So that’s the way that I approached it, and obviously there were people who had a hard time with it. Some guys didn’t want to do this, some guys didn’t want to do that, but that’s the nature of the beast, I guess.

Kinney: I remember in the first episode that Edie Falco [who played a correctional officer] and I were supposed to have a love scene during an execution. As someone was being electrocuted, we were supposed to be having sex in a cell. As much as everybody took their clothes off on the show, both Edie and I felt it wasn’t the right choice, and asked if we could do it in a way that was less graphic. From that point on, that’s how my character was treated. I wasn’t one of the people who had to do [anything graphic].

Edie Falco as Officer Diane Wittlesey on ‘Oz.’ She later was cast on ‘The Sopranos’ but made occasional appearances on ‘Oz.’ (Credit: HBO)

Fontana: I have to say, over the course of the series, there was only really one actor who lied to me and said he would do whatever I asked him, and then when it came time he said, “No, I’m not going to do it.” But he wasn’t a regular and I was able to kill him off fairly quick. Let them guess who that was!

Chapter 3: Getting Into ‘The Routine’ Some TV shows take a little while to find themselves, but Oz‘s series premiere lays down the law about what viewers could expect from their time inside Emerald City. Written by Tom Fontana and directed by Darnell Martin, “The Routine,” swiftly establishes all the elements Oz would become infamous for, including densely-intertwined narratives, a parade of compelling characters, shocking acts of violence and a pervasive sense that nobody is safe within Oswald’s walls. Especially not the person you think is the main character…

Fontana: In terms of the writing of the first episode, Augustus was the first voice I heard in my head. In terms of the design of the show, Beecher was the first character that I came up with, and then McManus. One is there as a prisoner, and one is there as a warden. It just seemed like, for the audience, Beecher’s our Dante coming into the Inferno. He’s the one who’s guiding us into this world where we’re going to be exposed to these different cycles of violence.

Jean de Segonzac: The very first scene we did was in McManus’ office where he tries to put the glass on top of the cockroach. That was the very first shot on the very first day.

Kinney: I hated that scene. It was a trained cockroach; there was a cockroach handler, and back-up cockroaches. That’s a delicate area for me, cockroaches. We did endless angles on it, because Darnell did a lot of angles.

Winters: I knew no one on my first day besides Lee Tergesen. So it was like the first day of school at a juvenile delinquent reformatory. Everyone’s kind of looking around going, “Oh yeah, so you’re Alvarez, alright. I got to keep my eye on you.” Or “You’re Adebisi, alright, you’re big and scary, okay.” Or “You’re playing Said; okay, you’re kind of cool, but what’s up with the English accent?” In the first couple of days, it was just like, “What the fuck have I gotten myself in to here?” But in a good way, obviously.

Tergesen: Nobody really talked to me in the beginning. In the first four or five episodes, the extras would not talk to me. But once Beecher went crazy and attacked Schillinger [Episode 7, “Plan B”], all of a sudden everybody was like, “Hey Beecher, Beecher, Beecher, oh hey Beech!” It was so weird. It was like high school.

Fontana: This is a little piece of backstage history: we shot the pilot and the first season in Manhattan at what is now Chelsea Market, and what used to be the old Oreo cookie factory. The cafeteria had really high ceilings because the stoves had to go up to those windows to let out the smoke from baking the Oreos. We always had to cut if somebody left the cafeteria, because there was no way they could walk to the next set. It was all a bunch of different rooms.

McAdams: I’ll never forget the first time I arrived on set. You’d get off the elevator, and it would be like a normal office with people going about their duties. Then you’d turn the corner, walk down a little bit and you’re in prison.

Akinnuoye-Agbaje: We were about five floors up; the first four floors were offices, and then when you got to the fifth floor, it was literally Emerald City. At any given time, there were 300 or 400 extras in there. The cells were real cells, with the right size and proximity. It was hot, sticky and you felt claustrophobic, like you were in prison. In between takes, there were waiting room areas where we could go, but I chose to stay my cell for the whole time.

Seda: It was scary when the reality hit you that this is the life for so many; at least we were actors and able to walk away at the end of the day. All the details were incredible, and it just really added to making it just so authentic. The set itself was probably the biggest character of the show.

Hudson: It was like being transported to another world. I’d walk to work from the Upper West Side down to where we were shooting, and the contrast of being on the streets of New York and then going in and being on the set of Oz was cool.

Winters: People used to ask: “How did you prepare for the role?” It was very easy. You just got off the elevator, and walked down to the set. It was a f***ing prison! With the glass cells, you realized that everyone was being watched all day long. It was very unnerving. I remember Vincent Gallo came by the set one day, and he was looking around and goes, “Man, this set’s the f***ing cream.” Meaning, they really nailed that set. And my brother [Scott William Winters, who joined the cast in Season 2 as O’Reily’s brother, Cyril] actually spent the weekend on the set by himself, just to get that feeling of incarceration.

Adebisi and Beecher get to know each other in ‘The Routine’ (Credit: HBO)

Akinnuoye-Agbaje: For my scene with Beecher in the first episode, Lee and I were meeting for the first time as actors. It was kind of organic because his character was entering the prison, and it was a new world for him, whereas I’m a lifer. The thing for me was to establish that I own him. I own his life, I own his physical body; he was going to be my bitch and do exactly what I told him to do. I had the luxury of sleeping in my cell, and I would not wash. I became one with my own odor to stake my territory [despite] the complaints of the DP and the crew. Quite often they said, “Perhaps you should shower.” But I told them I was going to stake my claim. Whatever feeling I would evoke in the crew was exactly the feelings that were intended when the actors would come in my cell: repulsion, fear and disgust. It was lovely!

Tergesen: I don’t remember that! I do remember Adewale being ridiculous. He was so f***ing good in that part. I used to say that being in that cell with Adebisi was like being on a date from hell that lasted a month. I mean, he literally grabbed my penis more than women I had dated for a month.

Akinnuoye-Agbaje: I had two scenes in the first episode, and was meant to die in the second episode. But Tom liked what he saw [in the premiere], and kept liking what he saw. I’ve lived a life that gave me an insight as to what it was like to be in a gang in my teenage years, so I just brought that rawness to it. I wore my hat in the way that I used to wear when I was a teenager on the street myself. I knew that the tilt of the hat represented defiance. The costume and production were very much against me wearing the hat initially, because they wanted everybody in prison to be uniformed. I had to respect that, but I just knew that I needed to put my stamp on the character. That scene with Beecher was the first scene I shot, and when they said “Action,” I pulled the hat out of my pocket and put it on. When we wrapped and moved onto my next scene, the director said, “Wait a minute — he had the hat on. Now we have to keep it.”

Tergesen: I was so happy to get out of [Adebisi’s cell], but then I go to Schillinger’s cell. We didn’t rehearse at all on that show, so J.K. and I just met when we started shooting. The funny thing about him is when we’re playing those initial scenes, it’s like he’s the nicest guy on the planet. You know, he’s always smiling. It’s like, “I can trust this guy!” And then it just devolves. The branding thing ends up looking like I’m getting f***ed in the ass, which I didn’t realize was going to happen. Not that I minded, but when he was burning my ass it was causing me to like buck like I was getting f***ed. That was my ass, bro! No stunt ass.

De Segonzac: One image I have, which I can’t get out of my head, is Tergesen’s ass two inches from my face while Simmons is branding him. I’m just going, “This is the weirdest way of making a living that I can ever think of.”

Fontana: When it came to shooting the first episode, moments like the swastika on the ass were defining moments for the show. And the moment when Dino is naked and getting beat up in the shower was, at the time, as brutal, a scene I’d ever seen on television. Those are, to me the moments that said to people this isn’t your father’s [TV show].

Seda: The shower scene was wild. It showed how quick things can happen in prison. Dino wasn’t afraid of anyone, and I was so into being that guy that I carried that with me. I literally walked onto set butt-naked. I walked right up, and stood there talking to Darnell as if I had clothes on. I said, “Okay, let’s go. Let’s shoot this scene. What do you want me to do? You want me to do this? Want me to be here? Want me to do this? Okay. Great, let’s do it.”

Velez: The storyline with Dino and Emilio [a prisoner dying of AIDS] really resonated with me because I have friends and a family member who are HIV positive. I also loved working with Jon. There’s one scene where I could barely keep a straight face because we had done that movie together, so there was something delicious about watching him play this wise-ass character. It’s really one of the few times in the pilot that you see Gloria engaging with one of the inmates in a fun, slightly flirtatious way.

Seda: Jose Soto did such a fabulous job as Emilio. What I love about that scene was how well it was written. It wasn’t that Dino just didn’t like Emilio because he had AIDS; Dino actually found compassion for him. The fact that he honored his request to take him out was done from compassion. That was a way for Dino to be in touch with his heart. It was just brilliant.

Fontana: When I talked with Chris Albrecht, he said, “What’s the one thing you’re absolutely not allowed to do on a broadcast television?” And I said, “Kill the lead in the pilot.” And he said, “Well, then go ahead and do it.” So I hired Jon and told him this is what’s going to happen. He was cool with it, and then I hired him on Homicide, to sort of compensate for the fact that he was killed off.

Seda: For Dino, there’s a point where what was keeping him afloat was the fact that he still has his family out there. There’s a scene where his wife comes to visit him and the kids are there playing and that’s when he makes the decision that it’s never going to happen. The reality of the fact that he’s here for life really hits him. Darnell and I added a moment where Dino taps the glass, kind of like he’s touching her for the last time as a family. I don’t know if a lot of people realize or catch it, but that tap on the glass to her is basically saying that’s the last time she’s ever going to see him. From that point on, it’s just a matter of time for Dino.

Winters: I remember reading the script and going, “Oh, Dino’s a badass!” And by the way, Tom named the character after me, because my nickname is Dino. Then all of a sudden he’s dead, and I’m the one who has him lit on fire. My first thought was, “I feel pretty f***ing good, because I’m not the one dying!” But I was also blown away that this was what Tom was going to do.

McAdams: To say I was excited [to kill Dino] would be an understatement. At that point, I didn’t realize that I would be the first inmate to kill somebody on Oz. That didn’t connect until way later, what I realized the show had a reputation for killing people off. The idea that I was going to be killing someone was just a thrill, and I knew that it was going to be memorable. The fact that they were killing Jon off in the first episode told me how edgy the show was going to be. No one’s safe, and episode to episode, you don’t know what’s going to happen, who’s going to die, and how it’s going to happen. You just don’t know. You have to tune in and watch.

Seda: Talk about going out in a blaze of glory, right? That’s what he did. It was pretty wild how it was shot. I remember seeing the dummy that they had made up in the makeup trailer, and I said, “Oh my gosh, that dummy looks just like me!” When we were shooting it, I remember just looking up and telling Tim, “Hey, hey, hey, don’t actually light it.” A couple times, he kept forgetting and actually lit it. I’m like, “Wait! You’re going to drop this on my face, dummy!”

McAdams: Dropping that match under the camera and watching those flames come up was the most exciting and invigorating feeling. To this day when I see it, I still get excited. Because that wasn’t CGI, it was a glass plate. Also, being given the creative autonomy again to just go in there and have fun with it. Johnny Post wasn’t wired right, so just dropping the match would’ve been one thing. But dropping the match like, “Boom, you’re gone,” was so fun as an actor, because we were so deep in the character at that point.

Fontana: I wanted to do a show in which the audience never relaxed, because I these men who are in prison don’t get a chance to relax. So if I’m really going to try to convey what they’re going through, then the audience should never be able to kick back.

Winters: I’ve never seen this before or since: the scripts would come out, and people would take one and rush to their dressing room, a corner of the set or go in a jail cell, and read the script and see if they’re still alive at the end. It was nerve-wracking.

Seda: I don’t remember any [farewell] party. I think it was just, “All right, you’re dead. Goodbye.” But Fontana came to me and said, “Don’t worry. I’m going to bring you on Homicide.” So that worked out great! [Seda played Detective Paul Falsone on the final two seasons of Homicide.]

‘OZ’ director Darnell Martin (Photo: Getty Images)

Chapter 4: The Future was Female When the histories of cable’s rise have been written, they tend to dwell on the accomplishments of male showrunners like David Chase, Alan Ball and Shawn Ryan. While Tom Fontana is certainly part of that group, both he and Oz‘s cast are quick to note that one of the show’s key creative architects was a woman. As the director of the original pilot presentation, and then the series premiere, Darnell Martin established the innovative visual language that distinguished OZ from anything else on TV at that point. Having gotten her start as an independent filmmaker before landing television gigs, she sought to infuse the series with some of the same spontaneity and energy that defined that era of indie movies. Martin continues to alternate the occasional feature film, like 2008’s Cadillac Records, with a diverse slate of TV credits that includes such series as Grey’s Anatomy, Grimm and Blindspot. If Tom Fontana is among the founding fathers of the premium cable boom, than Darnell Martin is its founding mother.

Fontana: I’m not a director. I never aspired to be a director, and I have no real interest in it. So I rely very heavily on directors to create a visual style that goes with the storytelling, and I trust directors that I hire to bring their best game to the playing field. Darnell was there from the beginning. She and I had worked on Homicide together, and I thought, “Oh, she’s really got some stuff going on here.” I suppose back then the idea of a woman directing a male prison show didn’t make sense to some people, but it made sense to me because of Darnell.

Martin: The funny thing is, I didn’t want to do it at first! I had brought another project to Tom, and we brought it to ABC and ABC ended up not making it. I really didn’t want to do this show. Not because I didn’t like it, it was just because I had a thing about people in jail. I grew up in a very rough place, and I know a lot of people that really needed to go to prison because the neighborhood was a lot safer with them not there. I had my own very real and personal reasons not to want to glorify that. Then I said, “Let me go visit some [prisoners].” So I visited prisons, and said, “You know what? People in jail are human beings, and there but the grace of God go I.” I didn’t want to do it if they were going to be other than me. [But when I] saw people in prison and how they were living, that helped me emotionally get around dealing with the show and made me want to do it.

Albrecht: Darnell was such a critical part of setting the tone and the style; she worked with Tom on the production design and how to shoot this. I think we all set out to do something different visually. Drama has been a staple of network television obviously, and the fact that we [at HBO] were now entering that arena, the one thing that everybody felt was we really needed to differentiate ourselves. I don’t think if any of us on the HBO side had any idea that Tom and Darnell were gonna take that so literally, and just make something that startlingly different.

Winters: Darnell Martin is no joke. She came in with a vision, and her vision just happened to match Tom’s. I think she’s kind of left out of the conversation a lot of times when it comes to Oz, and she should really be part of the conversation, because she came in there as a woman, in a hyper-male environment and she laid down the law in this jail. She really did; and people took notice.

De Segonzac: She’s someone with a real vision. Tom was always telling me, “Just do your thing.” And I, of course, was trying to do Darnell’s thing. The [visual] theme was us being in these tight quarters, just participating. Basically, we just did whatever we felt like within the moment. As you’ll see, some scenes are all on a dolly and laid out, and others are completely handheld. For one shot, I remember being on a foot dolly, and going around the edge, while Jon Seda is trying to force feed a guy who’s dying of AIDS.

Jose Soto as Emilio and Seda as Dino (Credit: HBO)

Martin: There’s an idea in television that I don’t think makes the best television, and that is you have a plan before you get there. If you’re new at doing this, that’s probably helpful. The bad thing about it is that you can have a plan, and then all of a sudden the light is over here so you have to deal with shadows or maybe an actor has to go to the hospital. There’s always some kind of issue in this business. What you need to do, and what I like to do, is go to a place, sit in that place and come up with all the ways I could shoot it. I think shot lists are so reductive, because you can go through every scene [ahead of time], but in reality, you didn’t even work with the actor. You have an idea of blocking, but it’s only you know that knows exactly how you’re going to block it, and then you’re going to make that actor a puppet. That’s a big problem. These actors were very passionate about their characters, and had very strong ideas about their characters, and they all had their homework done when they came in. They were all willing to rehearse and find it and they were generous to one another.

De Segonzac: We had to go fast, fast, fast because there was so much to do. I remember that the dolly guys would just be sitting on the dolly [between takes], and I was like, “What the f**k are you doing? There’s not sitting around here.” At 7 a.m. all the cameras were built, the sound cart was ready and the actors were on set in costume. There was one time where we were running out of time, and Tom happened to be visiting the set. Normally, he wouldn’t be there, but he showed up and he was angry that we were going to go late. So I’m saying [to Darnell], “We’ve got to go fast, so if I do this and this, will you be happy?” And she was angry at me. Tom pulled me by the arm and said, “Why are you talking to her? Just do your thing. Just do whatever you always do.” 15 minutes later the scene was done.

Kinney: Sometimes somebody would be late, and that was a bad thing, because we had to start at 7am and finish at 7pm. If somebody showed up for the first scene late, then that person had sole responsibility for killing our day. We all understood that. For the most part, there was never a hitch in any of it. Darnell had a very specific shooting style; it was a lot of pushing in. The camera was its own character. It was cool to be a part of, but at the same time, you had to hit marks a lot in terms of your acting with that style. You had to turn at exactly the moment the camera arrived. She did a lot of things as one-offs, and that saves some time, but it also makes for very complicated shots. We used to get into little dust-ups about it, but it wasn’t anything that was bad. I would just say, “I’m trying.”

One of Martin’s signature push-ins (GIF: HBO)

Tergesen: She was a very strong personality, but I got along with her pretty well. Every once in awhile there would be something camera-wise [that was tough]. I remember I had a scene with Terry Kinney, and I thought, “Why would I stand right here in a place where he can look at me?” And she’s not letting up or even letting me have an idea about what I wanted to do. She’s rolling the crane across the big main room, and I’m like, “Is this about a crane shot?” She said, “No,” and of course it was about a crane shot. It was a cool shot! Sometimes you have to give up to the people who know what they’re doing.

Hudson: I like Darnell. I did not like the fact that she really liked Eamonn Walker more than me. That really annoyed the hell out of me. She kept praising him, and didn’t have a damn thing to say to me. Since then I’ve gotten to know her. In fact I did a series called APB for Fox, and she directed one of the episodes. I really like her a lot.

Velez: I can put any episode on, and say, “Darnell shot this.” She’s got a great eye; it’s the specific way that she’ll shoot something. Or those unexpected, beautiful tracking shots that Darnell does. It’s almost like a dance with her, and theatrical as well, because it has to be seamless.

Akinnuoye-Agbaje: Darnell would do these sweeping moving shots where she would literally introduce about 10 characters at the same time. There was a lot of movement, and you just had to do all your dialogue on the move, and interacting with other characters. It was very fluid style, which was tricky because as an actor you just have to be very ready, and very much engaged in your character so that you don’t miss a beat. You had to be in rhythm with the flow of the camera, because it moved a lot with Darnell. It was alive, and I think that’s what it was meant to capture.

De Segonzac: We shot everything on 16mm; there was never any question of going 35mm. Back then, the 35mm cameras were immensely huge, and very heavy. For the spaces we were crunching ourselves into, it never would have worked. We were just constantly doing stuff you could never do with a big camera or a huge dolly. At one point, I got enamored with the Dutch tilt [a canted camera angle], so I’d start my shot at a Dutch and then move back and straighten it out, or maybe even Dutch it the other way. I wanted to have fun. After a week of doing that, somebody tapped me on the shoulder and gave me a phone message from Tom, and it said, “Enough of the f***ing Dutch tilt.”

An ‘Oz’ Dutch tilt (Credit: HBO)

Fontana: The cube that Augusts is in was her idea. I kept saying to her, “We’ve got to find some place where he’s isolated, but I don’t want him to be in front of black curtains or something.” She was at some museum, and there was some kind of cube there. She told me, “You’ve got to see it, because that’s what I think we should use for Augustus.” Every director after her hated that cube! But I insisted that they had to use it in some way, shape or form because it was so expensive to build that I wanted to amortize it over the course of the series.

Martin: I was at the Whitney Biennial, and I saw this box in a room that was tilted on its side. I wanted to utilize something like that, and I brought that to the production designer [Gary Weist] who was phenomenal. From there, we started to riff; we riffed about 2001: A Space Odyssey, the way they’re kind of under this glass. We started talking the tricks we could do with the box and really show this idea of isolation, and no longer having any privacy. You can’t even go to the bathroom without the world videotaping you and watching you.

De Segonzac: I saw the same show at the Biennial. The box just looked like a silver box with windows; some kind of construction art. I was not impressed by this thing at all, and it didn’t occur to me to think twice about it. But she came while we were building the set, and she was talking all about this box that she saw. Perrineau’s character was supposed to be in a wheelchair, so he had to be able to get into so that his wheelchair would be latched down and the whole box would turn and move. We built a box that had a crank and a motor on it, and we could put Harold in there, strap him down, and send him upside down.

Seda: I got a chance to be in the box in one of the episodes where Dino comes back as a ghost. [Season 6, “A Day in the Death”] It was pretty wild. Harold had so much dialogue, and [I loved] the way he made it flow in that setting. I’m sure Harold would say he loved it because it made him become one with the character. That cube just became his M.O.

Tergesen: The crank made so much noise that you couldn’t shoot sound with it. So Harold had a lot of looping to do. I did a few things in the box, and, of course, J.K. and I did that Barry Manilow song, “The Last Duet.” [Season 5, “Variety.”] That was a song I was gonna do in the 10th grade with my girlfriend, but we never did it. As soon as I thought of it [for the episode], I knew Tom was going to love it. And then two years ago, I was sitting next to one of the guys who wrote the lyrics for that song. He said, “You used one of my songs in your show.” And I was like, “No s**t. I picked it!”

Kinney: I really liked the cube. In the two episodes I directed, [Season 3, “Cruel and Unusual Punishments” and Season 4, “Wheel of Fortune”], I did some very fun stuff with it. In my first episode, I remember making Harold be in smaller and smaller boxes, until he was inside a little dark thing. I didn’t find it an entirely successful exercise; I would have needed production values that we just didn’t have at the time. For the second one, I made the cube a big lottery thing. We spun it around with all the balls inside. I strapped myself in and tested it out before I put Harold in there to see if he was going to be able to talk and hang upside down a lot. He was amazing, that guy. He’s an acting machine. Every time he gets to the cube, he’s not only super-prepared with those monologues, but ready to take on any challenge to get it done.

Fontana: Where I get nervous is when a director creates a visual style that isn’t telling the story, because then I think they’re just showing off. But if you have a director who stages a shot like that great shot that Darnell does in the first episode where we see Emerald City for the first time, and the camera moves wide? That to me is excellent visual storytelling.

Martin: What’s great about Tom is that he understands filmmakers; he’s not trying to prove anything, and he’s really open to being collaborative. The problem now is that that we’ve dumbed down the idea of directing episodic TV. On a lot of these shows, anybody can walk in and do it. Directors like working for Tom, because Tom doesn’t consider them idiots. He created these wonderful stories, he had a great vision, and then he put it in the hands of other artists who gently put it through themselves and added new colors to it. I think he set a tone because he was not a dictator or micromanager. No one knows I directed the premiere. It started with a female director, and that was only possible because it was a forward-thinking man who thought that was important.

Chapter 5: Life in the Big House As Oz’s first season unfolded, the cast and crew became comfortable inside this prison of their own making. Largely left to their own devices by HBO, a familial atmosphere flourished on set that was nourished and encouraged by Warden Fontana. As with all families, tensions occasionally arose, but nothing like the prison riot that closes out the first season.

Fontana: What was important for me, and what I always worked very hard to do, was take a character who was despicable and turn him into a sympathetic person. And then, just when the audience was rooting for that person, have them do something despicable again. So if you watch the series over all the seasons, you’ll see character like O’Reily who do the worst possible thing and then have this incredible moment of vulnerability. And then as a reaction to that, he does something worse! The other thing I promised to myself was that every character in Emerald City belonged there. I didn’t want to do the wrongfully convicted story. Not that that isn’t valuable; it’s just that I met so many men in prison who told me they were innocent that it felt like almost like a joke. It would also feel more mainstream to suddenly have a character in there that was innocent.

Kinney: In the first episode, Darnell saw McManus as one of those misguided, but well-intentioned educated white guys. He thinks everybody can be rehabilitated, and put back out onto the streets. But the prison system itself teaches you otherwise. Given that conundrum, this character was an anomaly in the prison. In the first episode, I was campaigning with Tom to change that. I said, “We’ve seen that guy, and he’s going to wear out. You’re going to lose interest. Let me change. Let the prison system seep into me. Let me become more and more one with it.” Slowly but surely, Tom agreed to start shaving my head a little more, to grow the beard, and to start to look a little more like a prisoner.

Hudson as Leo Glynn in ‘Oz’ (Credit: HBO)

Hudson: I thought Leo was as balanced a guy as you can get under those circumstances, but I’ve heard people say, “He was the worst. He was an awful guy.” I’m like “Really?” There was a website in the late ’90s where fans could give their comments, and I remember going online and some guy had said, “Leo seems to have a stick up his ass. That actually broke me of the habit. Even now, 20 years later, I don’t go online to find out what people think. The thing I take away from my character is — and I’m sure Tom would hate me saying it — but he was the dumbest warden! He was a well-intentioned warden, and he could be stern, but he never got to the bottom of anything. He had a murder a week and he never figured anything out. I’m like, “Can I just solve one of these frigging cases?”

De Segonzac: During the first season, there was only one accident, which I was the fault of. We were doing the riot scene in the Season 1 finale [which De Segonzac directed], and with 150 guys running around, you had to find someone each of them could do. Tergesen had the fire extinguisher and was spraying it all over the place. He was like, “Really?” and I said, “Yeah, it’ll be great, you’ll see.” There was this one young guy — who I think in real life was a violinist and he somehow got a part on the show — the guards beat him up, and they put the cuffs on him behind his back. The scene felt like it was about to lose energy, so he screams at the guards, “Get them off!” They grab him by the arms, but he’s handcuffed and that’s exactly the wrong thing to do. Now the guy is squealing, and I thought, “Wow, that’s pretty f***ing good.” But it turned out that the cuffs had cut him to the bone! I was very embarrassed.

Velez: I wasn’t in the riot episode at the end of Season 1, and that’s because Tom said, “I don’t want you to be in that episode.” Because the prisoners talked about Dr. Nathan a lot, and would be like, “Oh, Nathan’s hot.” He said, “I’m afraid it would have to get graphic. They’d wind up raping Gloria, and I don’t want that.” Which I thought was very interesting. In some ways, it would have been predictable; you would expect that to happen to the character. But then she could never go back there and I think there were all those considerations as well. We’d have to lose her, because there’s no way she would come back to work in this prison. No way at all. Tom had the wherewithal to think about the totality of the show, and being able to see it going beyond what we saw.

Velez in ‘The Routine’ (Credit: HBO)

Acevedo: At the end of every season, what Tom would do is sit down with you and say, “How’d you feel about your arc? Where do you feel that you could’ve gone or that you maybe want to go next season?” I’ve worked with everybody, and no showrunner has ever done what Tom Fontana has done. The whole storyline in the third season about Miguel being too white, and not Latino enough was something I brought up with Tom, because it was a big issue for me growing up in the South Bronx. He put all of that into the show.

McAdams: I just remember not wanting Johnny Post to go out like a punk. So I loved reading my death scene, and realizing they set him to go out in all his glory, cussing and fussing and telling people to kiss his ass. The fact that they decided they were going to chop his penis off and deliver it back as their message meant that I knew I’d spend the rest of my life being laughed at. My only request was that it was delivered in a big box, not a small box.

Velez: Tom was always really great about discussing where he thought something was going to go, and it was always in a very off-handed manner. At one point, we hung out and had steak and whiskey, and he said, “I’ve got something I’m thinking about, and tell me if it’s crazy. Would this woman ever fall in love with a prisoner?” And I said, “Absolutely.” He said, “I’ve spoken to other women and they said no.” I replied, “When you fall in love with somebody, sometimes you can’t help who that is. The more complicated the better. Please make that happen!” So she fell in love with Ryan O’Reily. I’ve never had a woman tell me that they didn’t buy it or that they thought it was inappropriate.

Fontana: Initially, we had a consultant who had been in prison, but he wanted to be a writer and he just would have preferred if I had just handed him the pen and said, “You can write everything.” So that was very short lived. All I can say is I that did two years of research, and I continued to read and talk to COs and ex-cons, so I kept having conversations about what was going on in prisons. The thing about prison is that no two prisons are the same, so I had a lot of room to make up s**t. But I also took my responsibility very seriously; I didn’t want anything to be salacious or sensationalistic just purely for that. Anything that happened had to come out of character. On the other hand, you also find out stuff that really happened, like a guy who worked in the prison cafeteria hated this other guy so he fed him broken glass. My attitude was if something was real, then it was fair game. Oddly enough, as the series went, I would get yelled at for something I didn’t make up, but people assumed that I had made it up.

Albrecht: We were certainly put back on our heels a few times [by the content], and I don’t remember if we ever actually asked Tom to change something or just voiced our concerns about things. We really were charting new territory here. We had no idea what was possible to do, and the content of Oz was certainly beyond any of the content of the movies that were on HBO.

Winters as O’Reily in ‘The Routine’ (Credit: HBO)

Winters: I’ll tell you one thing: I had two friends in prison during Oz, and they were like, “You motherf***ers got that s**t right.” Prison is a microcosm of our society, and a lot of bad s**t happens in our society every day. I’ve been on panels where I’ve heard this question from some white guy whose face is melting into his khaki pants, blue blazer and red tie: “Oh, is this really [accurate]?” It’s like, go f**k yourself. Have you ever been in prison? Have you ever even visited a prison? Because I’ve visited prison, and it is not a cute place. There is some horrific s**t that happens there. I don’t think Tom went deep enough. He could have gone so much darker, because the stories that we heard while we were making this show, would never even pass the HBO censors. So, you know, suck on that.

Akinnuoye-Agbaje: In terms of the sexuality and sensationalism, there were occasions where I felt it was not always necessary. But then there are occasions where it would go there because it was written from an authentic place. I think there’s a wonderful balance, and Tom was always open to that collaborative dance. We all trusted Tom. We didn’t necessarily like him, and I mean that in the best possible way. He’d done meticulous research so you knew it was not just some flippant, sensational kind of thing.

Martin: There’s a scene with Schillinger after he’s branded Beecher where he’s just talking to him. I said, “You know what I want you to do? I would like you to have your shoes off and your foot in his lap, and you’re making him give you a foot rub.” For some reason, that just seemed right. The branding had nothing to do with sex; it was about power. There’s such an intimacy to the foot rub, and J.K. just ate it up; he was tickling Lee with his toe. That scene explains to me, in a weird way, how I handled [the sexuality]. Sex, in general, is not an empty thing to me, and sex scenes are not about, “Lay on top of this person and bounce harder, and then it’s over.” It has to be about something. Beecher probably massaged his wife’s feet, you know what I mean? So that scene is about something other than power, because we just played that beat with Schillinger tattooing the swastika on his ass.

Kinney: When the romance between Beecher and Keller started [in Season 2], here were two straight guys that were being asked to engage in a graphic depiction of a gay prison couple. They were a little bit shy going into it; one of the things that happened was that everything was out in the open. Everything was shot in a wide open space, so there was no sense of, “Hey, this is a private set.” We would all stand at the monitors and watch this stuff. And they went for it. The whole dynamic in that building was “Go for it,” and that’s what those guys did. What was surprising was how it caught fire. That was one of the first things that became a really popular element of the show. There were a lot of viewing parties for those two.

Chris Meloni joined ‘Oz’ as Chris Keller in Season 2 (Credit: HBO)

Tergesen: I loved the part of the show. In my opinion, it was never about them being gay, it was just about them being in love. If you can find love in a place like that, you’re lucky. My first memory of Chris is that he came to set for a costume fitting, and he was wearing a Tool shirt. And I was like, “This guy seems like a tool.” I told him, “Listen man, let’s go have dinner.” So we went out to dinner, and I said, “You’ve seen the first season, so you know we’re trying to push the envelope. I know the tendency is for two guys who are not gay to try and skirt around it, but I have a feeling we’re going to be doing a lot of this and I think we should try and make it sexy.” Chris looked at me for 10 seconds and then said, “Wow.” But I feel like we did that; there were some amazing moments of tenderness [between them], and I love that it was just about the love. The funny thing is, just as an aside, he and I went to a Tool concert the other night!

Acevedo: We worked together twelve hours a day, and then we would go out four to five nights a week with each other. We were all in our twenties, and we saw each other at work and after work. We all hung out with each other in general, but there was a devious mentality with the inmates. Adewale would get these scenes where it would be like “Adebisi rapes this guy,” and we would be like, “What you going to do?” He would say, “I don’t know,” so we would give him [advice]. Like, “I think you should grab him by the hair or rip his pants.” That was the best part, because the material was so heavy and emotional. You can’t walk on set and be like that the whole day; you’d be so burnt out. It was easier to joke around during those moments.

Akinnuoye-Agbaje: There were several times when we had extras on the set where altercations would break out. They would! They were quickly broken up, but it was just the nature of the beast. When you’re being pushed to be as defensive as you can without actually being the actual prisoner, there were times when it would spill over. I know for myself, certainly with the guards or the warden, I wouldn’t mix with them. Because they were guards, you know what I mean? Many times there were blurred lines, and in the heated scenes you’d go overboard sometimes. That’s why you got such great chemistry and great work coming out of it.

Hudson: I knew Adewale [before Oz]. We shot the movie Congo in Costa Rica together and we became, I thought, really good friends. When I first got the show and found out he was going to be on it, I was like, “Great!” Then he became Adebisi and suddenly I go, “Who the hell is this guy?” He maintained that character for years. Towards the end, in the last couple of seasons, we went, “Okay, we can let our characters go. We do know each other.” There was about four years there where I don’t think I could even speak to him.

Velez: I remember the first time I met Adewale on set, he literally almost skipped towards me! He took my hand, and with the most incredible smile said, “I’ve been wanting to meet you.” I was like, “What?” We just walked hand-in-hand across the stage just gushing about each other, and this is this guy who plays Adebisi! Take your pick between him and Schillinger about which is more reprehensible. I had the same experience with J.K. when he was in the infirmary. At one point, he was sitting there and he had the most beautiful, glowing smile. It was interesting. Sometimes in the beginning I couldn’t put two and two together between the actors and the characters.

Kinney: I went out with Adewale all the time. People would recognize him immediately because of that little hat and everything else. He’s a beautiful man. We’d go to bars, and he was quite popular. I hung out with everybody, especially Tom and his posse — Lee and the Winters brothers.

Adebisi abiding in his cell in ‘The Routine’ (Credit: HBO)

Winters: At the end of the day, we were all just a bunch of kids, even the guards. Most of us were new to this. You would want to think that there was animosity on the set between the guards and the prisoners, and there might of been a little tension off set here and there. But the truth of the matter was that we were just a bunch of golden retriever puppies in a storm box going bananas. In between scenes and during down time, there were guys break dancing, having a push-up contests, working on their one-man shows and reading poetry. It was really like the Royal Fontana Company, a kind of theatrical experience during the day. Tom and his crazy roving company of just insane bandits, just going, “What the f**k just happened?”

Chapter 6: What Oz Hath Wrought By the time Oz ended its six season run in 2003, HBO’s ranks of original programs had swelled to include such era-defining shows as, The Sopranos, The Wire, and Sex and the City. The larger cable landscape had changed as well: Showtime had ramped up its originals slate with Soul Food and Queer as Folk, and in 2002, FX premiered The Shield. In several cases, these descendants overshadowed their ancestor in terms of ratings and awards. Still, 20 years later Oz remains a singular TV series, and a foundational experience for everyone involved in its making.

Fontana: HBO didn’t bother us with ratings. If they did marketing or demographic research, they didn’t share it with me. The thing that Chris said to me was, “I don’t care if this show is talked about in the TV section of the newspaper. I want it on the op-ed page.” So anytime somebody on an op-ed page made a reference to the show, he considered that a 40 share of a Nielsen rating. He wanted HBO and the show in places where people who don’t watch television are looking. I had no idea what the ratings were; all I knew is that he said, “Let’s make more of them,” and I said “Yippee.”

Albrecht: I got a lot of comments [about Oz] from people who were my peers in the entertainment business, so I knew that people were paying attention to it. I think that was the first step towards having it be an impact. I don’t know how many subscribers we had at that time — 15 or 17 million maybe — but the fact that we were getting that kind that kind of attention for something that we had done for our programming strategies [told us] we were in uncharted territory. There was a bridge here we could continue to widen and build as long as we were prepared to make the investment.

Winters: Back in 1997, who had HBO? I didn’t. Did you? And given the content of the show, we were going to work thinking, “Are these people f***ing crazy? No one’s going to watch this.”

Tergesen: Right before it started to air, a bunch of us had this thought, like, “Oh my God, what the f**k are people gonna say when they see this thing?” And there were definitely some people like that. One of my favorite reviews was a review that said, “This show offends God and it offends me.” But then it came on, and it was such a great show. And it was a great show to be in New York doing, because people were so verbal. When the show was on, there was always a bunch of stuff happening with people on the street. People who had been to jail would be like, “Yo man, I love that show you’re doing, but I just gotta tell you — the sex stuff, it’s not like that.” Like really bro? You need to tell me this on the street? I wasn’t thinking about whether or not you had sex in prison until you just brought it up now.

Hudson: I got a call on to be on some talk show on MSNBC; the Monica Lewinsky thing was going on, and the wanted me to come on a panel to discuss Bill Clinton. I didn’t know why they asked me, but I go on the show and I say, “Well, you know, we all make mistakes.” The commentator said, “That is not what you said on the show.” Then it occurred to me that they actually thought I was a warden! They were dealing with it like I was this authority having worked in prison. I don’t know who did their homework, but I’m like, “I’m an actor. What I say on the show comes from Tom Fontana and the writers. It’s nothing to do with me.”

Velez: There was some strange fan mail about outfits they wanted Gloria to wear. I was like, “Wow, this is just a little bit too much.”

Acevedo: All of us would get mail from prisoners. I would get mail constantly. “You remind me of me. You remind me of my brother.” Or, “Hey, can I get a job? Because I was really in prison and I know what’s up.” Stuff like that. The one complaint that people did say was, “Goddamn, everybody’s so handsome in prison!” All of us were too good-looking to be in prison. We’re actors, though. I think probably none of us would survive in prison.

Fontana: I took the responsibility of doing the first drama series for HBO very seriously. Because when you’re given unlimited freedom in terms of language, sexuality, and visual storytelling, it’s very easy to go, “I’m free at last! I can do anything I want!” It was a real lesson for me to try to truly use the violence and the sex when I felt it was necessary for character stuff, and not just to put it in because I could. Not knowing who the next people at HBO doing drama series would be, I felt a responsibility to them. If I f***ed up, Chris would say to them, “I trusted Fontana and he f***ed it up, so I’m not trusting anyone after that.” Fortunately, I didn’t f**k it up too much, and David Chase was the next guy in the door.

Albrecht: First and foremost, OZ was an “Open for Business” sign for HBO. But it wasn’t like all of a sudden the floodgates opened; it was still a growing process. Even The Sopranos was brought to us through Brillstein-Grey, because Brad Grey had been a dear friend of HBO for a long time. The idea that he was going to pitch a show to us was not unusual, but what was unusual was that it was an hour-long drama instead of Fraggle Rock or a comedy special.

Winters: When HBO got wind that hour-long programming could work, they greenlit The Sopranos and Six Feet Under, and then Oz kind of got lost in the conversation a little bit. I’ve always looked at that as a little unfair to Tom, because Tom really needs to be credited as the guy who literally broke down the walls of late night [original] programming for cable television. It’s not sour grapes at all, because those shows were amazing. All I’m saying is that Oz was the guinea pig, and guinea pigs usually get left out of the equation. But you’d have to be really academically bankrupt or just stupid to watch OZ and not see the bigger picture. In mean, in 1997, one of our lead characters was a Muslim. People are talking about Muslims on TV now, and we did it 20 years ago. Tom was so ahead of the game that it frightened people, and they’re just figuring it out now.

Kareem Said talking to his Muslim brothers. (Credit: HBO)

Kinney: All of us were resentful; that’s just the truth. The Sopranos came on, and we loved that show. I still do, obviously. We just really felt like the bastard cousin. We kept wanting recognition; we kept wanting marketing and publicity to put us out there more. We kept wanting to be put into at least the mainstream of cable, since we were the first cable drama ever. We were all working under the radar, and we were all wanting the radar to find us a little bit.

McAdams: Twenty years is a long time with multiple generation gaps, so there are a lot of people who just don’t really know the value of what this show meant to cable television. They don’t know how it set the foundation for all these other shows that came on HBO that everybody loved. Not just The Sopranos; I’m talking about shows like The Corner and The Wire. I was blessed to work on The Wire for a number of seasons, and people get more excited about me mentioning that then they do when I mention Oz. That’s because they don’t remember Oz

Albrecht: I think maybe from the subject matter point of view, Oz was a tougher show to watch than a lot of the others, even though the others were groundbreaking in their own way. Oz was more violent, and that’s saying a lot compared to The Sopranos. Even in The Sopranos, you didn’t see people get killed a lot; they god killed off-camera. In OZ, the violence and stuff like that happened right in front of your face. The other shows were maybe easier on the stomach for people.

Tergesen: You now, whether Oz gets included in a list [of influential shows] or not, it doesn’t matter. I know what it was, and to this day, I find people are always stopping me and talking about it. So was The Sopranos a major hit? Yes. But it was part of a process. There wouldn’t have been a Sopranos if there wasn’t an Oz.

Akinnuoye-Agbaje: I think the very reason that we’re talking about it today shows that it’s not overshadowed. We were first, and Oz was probably an uncompromising show that was always going to be a hard pill to swallow. But what it has become as a result is a cult phenomenon. The Sopranos was slightly more commercial, and a little bit more palatable but Oz was uncompromising.

Martin: I think Oz was so far ahead its time, because it didn’t have a Tony Soprano. That was deliberate on Tom’s part, because he really wanted an ensemble piece and he loved this idea of the guy you love might die. In a weird way, Oz shot itself in the foot, because there’s nobody for you to hold onto. Tom would kill them off so quickly. You watch for the performances, but not for any one performance. That couldn’t work for a very long time, and now where do we see it working? Game of Thrones also has no Tony Soprano. Oz is the one that started that. It’s a very forward way of thinking, and now everyone’s thinking that way.

Fontana: Even though they were both about criminals, The Sopranos was so different from Oz that it wasn’t like it a copy of something we did. It existed in its own universe. I’m glad Oz worked for HBO, and gave them the courage to keep pushing the boundaries that it did with The Sopranos and Six Feet Under and all the shows that have come since.

Albrecht: I learned a tremendous amount by doing Oz Tom was a consummate showrunner and supportive friend. There’s a real bond that’s made when you go through something like that. I’m incredibly proud of the show, and I always talk about it like Tom and Barry were a little like Lewis and Clark, looking down at the Pacific going “Holy crap, we made it.”

De Segonzac: What I like about the show is that it’s completely timeless. Re-watching the first episode, it could be happening today. It’s also just a great memory of what filmmaking can be about, and the kind of feeling that happens if the people involved are given free rein.

Tergesen: Oz changed me in a lot of ways, and most of the time work doesn’t, you know? I learned a lot about myself as an actor, and I have a career that’s largely based on the fact that I did this show 20 years ago. I’m so happy that I got that chance, and the relationships that I still have to this day. When J.K. won the Oscar for Whiplash, I texted him, “Wow, I just realized I licked the boots of an Oscar winner.” And his return text was, “If memory serves you also shit in the face of an Oscar winner.”

Future Oscar winner J.K Simmons as Vern Schillinger on ‘Oz.’ (Credit: HBO)

Akinnuoye-Agbaje: No matter where I go in the world, people will always call me Adebisi, and that’s cool with me because it’s been the foundation of my success. Whatever role I play is a result of writers, directors and producers watching Oz. And I think it made people aware of what goes on behind those bars. I was invited to Rikers to speak to some of the younger offenders in there, because the prisoners were some of the most popular viewers of the show, and felt that it was an authentic voice as far as it could be.

Seda: Every now and then, someone will be like, “Hey! I love Dino, man. It was the best character. Why’d they kill you?” I’m like, “Aw, thanks.” It’s great to be a part of something that when you pour so much into and you get so much passion in your heart. It was just a great project to be a part of.

Acevedo: This is gonna sound so mushy, but Oz was the truest sense of an artistic family that I could ever, ever have. I was in New York two months ago, and I had drinks at Tom’s house. I still talk to most of the guys. So there’s that sense of family, and other actors looking out for you. This whole business is really not forgiving, so for that to be one of my first jobs spoiled me. When I go on any other show, and I see a guest star come on the set, I think about how nervous I was [on Oz]. So I try to be as welcoming as possible. I go, “If you want to ad lib, throw it at me.” I make them feel that it’s okay to f**k up.

Velez: This truly was a family. You hear people say that, but I just remember hanging out watching people’s scenes, and I remember the level of commitment to the work and to the collaborative spirit. You don’t get that often in your career. It made me a better actor and gave me something that I’m proud of to be a part of. And I met some great people that I love.

McAdams: Oz set the foundation for what my career is today, working as a professional stuntman. That only happened because of the exposure I had to the stuntpeople that I met on Oz. It changed my family’s life, too, because when I left New York and went back to Maryland, the dream was real at that point. Oz showed me what was possible in life, and the belief system and faith that I gathered built my confidence for everything else I’ve been able to accomplish.

Hudson: For me, Oz brought a certain integrity and honesty that touches you on a deeper level. It was the most amazing cast I think I’ve ever worked with.

Winters: I’ve been on a lot of great shows, but Oz is the biggest, baddest motherf***er I could ever have been a part of. That was a period of time that will never be repeated, and for that I’m eternally grateful. Plus it was where I got my chops: I learned how to fail, and I learned how to succeed. Nothing will ever come close to it, ever.

Kinney: I have two personal legacies that really shaped my entire being as an artist. One is my theater company, Steppenwolf, which shaped the way I see the world through art. The second thing is Oz. Tom gave me the language for filmmaking and that side of things, and the idea of having one person be the captain of the shop. Tom was the great decider for all of us, and that really shaped so much of how I treated everything after that as an artist. I don’t do anything unless I think it has that kind of vision now. Because of Tom, my standards were raised, and I think all of ours were.

Fontana: As a writer, Oz liberated me in a way that I didn’t know that I needed to be liberated, in terms of how to tell stories and how to develop characters. On a personal level, being friends with the cast has enhanced my life. I get asked every couple of weeks when I’m bringing the show back. But the sets are gone and the actors are all too expensive, so there’s no chance of it. I couldn’t afford Dean Winters or J.K. Simmons anymore! So I can’t say that I sat up night cursing the darkness that we didn’t get the recognition [at the time]. What’s funny is that it’s taken 20 years, but now everybody’s saying that. You know what I mean? I lived long enough to hear it.

Oz can be streamed on Amazon Prime and HBO Go.

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[shirlleycoyle]

The Only Thing ‘The Simpsons’ Predicted Is Our Stupidity

If you’re on the internet, you’ve seen the articles. YouTube videos, bargain basement listicles, and social media profiles all ring out with the same refrain: The Simpsons predicted this. Donald Trump’s election, the COVID-19 pandemic, 9/11, murder hornets, and even the explosion in Beirut are all fodder for the shittiest parts of the internet’s favorite content mills.

After 30 years and almost 700 episodes, The Simpsons has become a source of prophecy. It is, of course, all bullshit. When The Simpsons have gotten the future right, it’s only because the show was a razor sharp satire of American life that imagined the worst possible outcome for comedic effect. The Simpsons obviously didn’t have a magical ability to see the future. It’s just that there’s so much of it, people on the internet can splice frames of it together to tell whatever story they want. If it did accidentally predict anything, it’s because our reality is now stupid enough to resemble a cartoon satire of American life.

Like all good satire, The Simpsons held up a mirror. Audiences were scandalized when it premiered in 1989 and they understood that they were part of the joke. But they laughed and kept laughing. Thirty years later, little has changed and many of those early The Simpsons episodes still hit.

Bill Oakley was a writer and a showrunner on The Simpsons during what some fans consider the show’s prime, roughly seasons four through nine. Oakley keeps up with the growing lists of purported predictions and even has them broken down by category.

“Category one, which occurs extremely rarely, is legitimate things we did predict,” he told Motherboard in a Zoom call. “Category two is stuff that just happened in history that people are unaware of because history repeats itself. They aren’t predictions of any sort. Three is just complete bullshit which is usually when somebody pastes two or more old scenes, usually from different shows, together.”

The theory that The Simpsons predicted the Beirut explosion is a typical category three.

“The Beirut one was particularly egregious,” Oakley said. “It was from two different shows and it in no way predicted the Beirut explosion, it just predicted an explosion.”

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Simpsons as prophecy has come in waves. The first real wave came after 9/11 when fans pointed out supposedly secret messages coded the first episode of season nine, “The City of New York vs. Homer Simpson.” In a quick sight gag, Lisa holds up a magazine with a $9 fare to NYC. The $9 is next to Manhattan skyline and the Twin Towers.

But the articles about Simpsons predictions really took off when America elected Donald Trump the President of the United States. In a 2000 episode “Bart to the Future,” Lisa is President and she references the budget crunch she inherited from President Trump.

According to Oakley, this is the only category one prediction he credits.

“‘Always predict the worst, and you'll be hailed as a prophet,’” Oakley said, quoting his comedy hero musical satirist and math genius Tom Lehrer. “Back then, it played as a joke because people were like, ‘Oh, that’s preposterous.’ As [writer Dan Greaney] has said in the past, the reason he picked Trump is that it seemed like the logical last step before hitting rock bottom.”

And here we are at rock bottom.

According to Chris Turner, a journalist and author of Planet Simpson, an academic deep dive into The Simpsons satire and impact on pop culture, one of the reasons The Simpsons has become a source of prophecy is that it’s popular and there’s a lot of it. It’s the same with Nostradamus. The French prophet wrote a book of poetry called Les Prophéties where he vaguely predicted the near future and commented on current events. There’s so much of it and it’s so vague that Nostradamus’ name has become synonymous with prophecy. Every decade, people find new ways to explain how his work predicted their present.

“You have a show that’s been such an institution in western culture for the last 30 years now that it takes on an aspect of parables or Bible stories,” Turner said. “They are these stories that people just come back to again and again and again for new interpretations and new meanings. In the age of gifs and memes, there’s a ton of stuff there to be mined.”

“With almost 700 episodes, there’s an infinite amount of material to choose from,” Oakley said. “There’s probably nothing that you couldn’t say The Simpsons predicted.”

According to Turner, The Simpsons has always had two lives in pop culture. The first is as “this incredibly deep satire that calls out American culture on its excesses,” he said. “But there’s also always been a superficial layer.” The Simpsons was a huge success when it started airing in 1989. It was always a smart show, but it made headlines back then because it was also a crude show.

It may seem ridiculous now, but a 10-year-old boy telling his principal to “eat my shorts” struck some viewers as insidious and disgusting. In a People magazine interview, First Lady Barbara Bush said The Simpsons was the dumbest thing she’d ever seen. “If you weren’t an aficionado during the first four or five years, that was your understanding of the show,” Turner said. “It’s that show with the foul mouthed characters and the boy is unruly.” Turner said that the idea that The Simpsons can predict anything is drawn from this surface understanding of the show.

I loved watching The Simpsons as a kid, and I love rewatching it as an adult. What strikes me most about the show is not the hardline predictions it made, but how it’s dark satire of American culture still holds up. So many of the problems it identified are still problems today.

When Stampy the elephant rampaged through Springfield, he went through the GOP and Democratic conventions. “We want what’s worse for everyone, we’re just plain evil,” the signs in the GOP convention read while people cheer. “We hate life and ourselves, we can’t govern!” The democrat signs read while people boo. When the people of Springfield are faced with a choice between voting for two monstrous aliens, they still can’t break out of the two party system. “Don’t blame me, I voted for Kodos,” Homer said as a whip cracked into his back.

“The Simpsons is one of a number of examples of the limits of satire,” Turner said. “There’s a tendency to think that by pointing out how ridiculous a thing is, it will somehow fix it. A more extreme version of this is John Stewart and Stephen Colbet’s Rally to Restore Sanity.”

Using The Simpsons as divination is also fun. It helps people make sense of a chaotic world. It functions in the same way a good conspiracy does—picking through the tangled mess of modern life and putting it in order. Qanon isn’t that different. The people who follow Q do their “research” and sort through cultural detritus, images, news stories, and half remembered anecdotes to build a narrative that helps them make sense of the world. It’s funny, but it’s also disturbing that humans can connect the dots of disparate pieces to tell whatever story they want. The Simpsons is just a more visible, and more benign, version of this kind of thinking.

If The Simpsons was ever a warning or prophecy, it was a warning about trusting authority.

“There’s a certain segment of society, a very small segment, that read Mad Magazine or watched The Simpsons and got a point of view and developed a skepticism of what authority figures might say,” Oakley said. “There’s 80 percent who didn’t, never gave a shit, and didn’t pay attention to anything. And those people vote and now I’d say we’re paying the price.”

The Only Thing ‘The Simpsons’ Predicted Is Our Stupidity syndicated from https://triviaqaweb.wordpress.com/feed/

[zhumeimv]

Here's What Rotten Tomatoes Is Saying About Rambo: Last Blood

Here’s What Rotten Tomatoes Is Saying About Rambo: Last Blood

Date: 2019-09-20 01:10:10

[aoa id=’0′][dn_wp_yt_youtube_source type=”101″ id=”F8kYR0di6TQ”][/aoa]

John Rambo has finally met his match: the critics. Reviews are coming in for Rambo: Last Blood, which brings an end to the story begun with 1982’s First Blood. The general consensus: Rambo deserved a better sendoff, and one with much less of a sadistic streak.

Over-the-top carnage is nothing new for…

[juliusdhuj610-blog]

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[chanelmidgette-blog]

Best 10 Indian Funny Serials Of The Last Many Years (2000.

Tollywood has consistently been an important label in the film market generally due to their amazing contribution to the planet of movie theater. I would certainly someday like to see a laptop computer along with the Surface Manual's build quality, battery lifestyle as well as performance, just a little bit of lighter and with better endurance as a standalone tablet. The destruction of the transgressive electrical power of the female-to-male is actually enacted with the emblematic altering of Brandon Teena graphically depicted in pair of essential scenes: the revelation of Brandon's biological sexual activity when his aggressors, Tom Nissen as well as John Lotter, strip him as well as push his enthusiast, http://strenghtbodyblog.info/ Lana Tisdel, to recognize that he is biologically women; as well as the long (and also typically unjustified) statutory offense scene that ends with Brandon guaranteeing his rapists he will stay quiet and not state their "key." The discovery of Brandon's biological sex by means of the forced removal of his outfits is a core as well as effective performance within this film. It has actually been actually an even though due to the fact that I have made use of a board that I carried out not develop from square one, yet I seem to be to consider there being an LED blink in the sketch, which works as a sign that the time clock exists and functioning. Gershon has a good time as the intersexual (typically!) star of the Strip however MacLachlan hams his technique through the picture, causing the absolute most absurd as well as spasmodic sexual activity scene in movie house record as well as I have actually found both Crank movies. This time around, our liked flick was actually simply being actually received among the Supervisor's Club Cinemas hence I can easily claim that our motion picture adventure that day was actually simply mostly because our company didn't have every other alternatives if our experts're to visit the neighboring SM Shopping center. Certainly, once seeing this cinema along with a good friend to watch a somewhat ridiculous sci-fi beast flick which was actually all the rage in the course of those times, only to find that the projection device had broken down altogether and also would certainly our company go back the next time! Several Parisian girls really love to take photos of their beautiful metropolitan area and would certainly take pleasure in to become the topic of any individual's photographs. Nineteen individuals joined our two walks and also after a gray beginning our company were honored with a gloriously warm time. Engage with others on the discussion forums as well as share your passion for all traits mixeds media, whether it is actually snapping wildlife images on the Serengeti, making impressive service products as well as presentations, or amazing a YouTube audience along with outstanding video recordings. The condition Soundtrack" will eventually be actually coined off of the songs for Walt's upcoming animated movie, Pinocchio. G'day Ardie, I find certainly not everybody adores the motion picture right now, oh well cant satisfy everbody. In any kind of sort of stereo, the greatest high quality of device hinges on audio of speakers. The truth that individuals were actually passing away coming from relapse was actually not being actually fully addressed either." Narcotics abusers that regression are more probable to fatally overdose than other drug addict, however Hazelden hadn't included that into its own educational program. Satisfy details: The Area Rail Walk on Feb 10th is terminated however the Ribble Valley Rambler Stroll on Feb 11th will definitely happen. Feature can easily carry things to life for pupils, and also when they carry out a task like this, it may create them to check out future, historically similar Hollywood films extra extremely.

[eddycurrents]

For the week of 21 January 2019

Quick Bits:

Aquaman #44 continues “Unspoken Water” from Kelly Sue DeConnick, Robson Rocha, Daniel Henriques, Sunny Gho, and Clayton Cowles. This story feels a lot like some of the ‘80s DC reimaginings that came on the heels of Crisis on Infinite Earths, playing with the mythology in a new way while approaching the narrative from oblique angles. Definitely an interesting revelation about the people on the island. Rocha, Henriques, and Gho are probably doing some of the best art of their careers.

| Published by DC Comics

Avengers #13 gives us the origin of the 1 million BC Iron Fist from Jason Aaron, Andrea Sorrentino, Justin Ponsor, Erick Arciniega, and Cory Petit. The artwork from Sorrentino, Ponsor, and Arciniega is gorgeous, capturing some of the feel that David Aja brought to K’un-Lun in The Immortal Iron Fist.

| Published by Marvel

Batman #63 continues to attempt to break your brain as “Knightmares” continues with Mikel Janín and Jordie Bellaire joining Tom King and Clayton Cowles for the fun. This one gives another possible explanation for what’s going on as John Constantine warns Bruce and Selina of what’s going to happen in their domestic bliss.

| Published by DC Comics

Blossoms 666 #1 is kind of a slow-burn opener, intent on easing the reader into the surprises of this type of horror, which somewhat works against the back cover blurb and solicitation copy, but eh. Still, some great character work from Cullen Bunn building Cheryl and Jason. And the artwork from Lauren Braga and Matt Herms is perfect.

| Published by Archie Comics / Archie Horror

Cover #5 kind of sets us up for a conclusion next issue. Kind of. It’s more character building, anecdotes from comics conventions, and exploration of the art form through various means that has elevated the series from the beginning from Brian Michael Bendis, David Mack, Michael Avon Oeming, Zu Orzu, and Carlos Mangual. The Ninja Sword comic sequences this issue are particularly great.

| Published by DC Comics / Jinxworld

The Curse of Brimstone Annual #1 offers three stories, one focusing on Brimstone and two fleshing out adversaries Detritus and Wandering Jack. Great art throughout from Mike Perkins, Neil Edwards, John Stanisci, Denys Cowan, Donald Hudson, and Rain Beredo.

| Published by DC Comics

Crypt of Shadows #1 is one of the one-shot revivals of old titles for Marvel’s 80th anniversary from Al Ewing, Garry Brown, Stephen Green, Djibril Morissette-Pham, Chris O’Halloran, and Travis Lanham. It’s pretty great, presenting two short stories embedded in a framing narrative, reminiscent of the old horror anthologies.

| Published by Marvel

Die!Die!Die! #7 is more balls to the wall action and insanity from Robert Kirkman, Scott Gimple, Chris Burnham, Nathan Fairbairn, and Rus Wooton. It’s the battle between Lipshitz and Barnaby that has been building for a while now and, well, it’s violent, bloody, and brutal as you’d expect. Also, cats.

| Published by Image / Skybound

Freedom Fighters #2 is mostly some vague teasers of things to come and one giant, flashy fight sequence, but it’s an entertaining fight sequence. The art from Eddy Barrows, Eber Ferreira, and Adriano Lucas really get to do the heavy lifting in this story and it shines.

| Published by DC Comics

Friendly Neighborhood Spider-Man #2 proves that the first issue wasn’t a fluke, with Tom Taylor, Juann Cabal, Nolan Woodard, and Travis Lanham providing another highly entertaining, very funny, beautifully illustrated story. Taylor captures Peter’s voice incredibly well.

| Published by Marvel

Go-Bots #3 jumps a bit in the narrative, with a team of astronauts aboard Spay-C discovering Gobotron, where a decidedly authoritarian Leader-1 is taking some draconian measures to keep the Guardians in line, while still fending off Cy-Kill and his minions. Tom Scioli keeps us off-balance a bit for what’s going on and it adds a nice tension to the story. Also, the locking mechanism for the prison cell is a nice touch of nostalgia.

| Published by IDW

Guardians of the Galaxy #1 is a great debut from Donny Cates, Geoff Shaw, Marte Gracia, and Cory Petit, setting up a new post-Infinity Wars Marvel cosmic standard. There’s a good deal of action and humour through this as Thanos’ wake leads to many of the cosmic “heroes” pledging a path to an odd bloodbath--with a large amount of Earth-based heroes as possible targets--and a heist of his body by the Black Order (who’ve also stolen Knowhere) before anything can get underway. This is probably one of the stranger “gathering of the team” stories, but it gets it out of the way in a fascinating manner to hit the ground running next issue. The art from Shaw and Gracia is suitably epic.

| Published by Marvel

Hardcore #2 has some very nice art from Alessandro Vitti and Adriano Lucas, as Drake finds he has his hands full with both Markus trying to fully take over the Hardcore program and the criminal organization he was trying to take down being on to him. Both trying to kill him. Lots of entertaining action in this one.

| Published by Image / Skybound

Hellboy and the BPRD: 1956 #3 brings up some interesting history questions for the Bureau and certain locations we already know about, as Mike Mignola and Chris Roberson’s script continues to dovetail some already existing knowledge of history.

| Published by Dark Horse

High Heaven #5 conclude season one of this series as well, leaving David exactly where he wished to be, but finding out it’s not necessarily what it’s cracked up to be. Tom Peyer, Greg Scott, Andy Troy, and Rob Steen have really been delivering a bitingly funny take on the afterlife here. Also another fun Hashtag: Danger short from Peyer and Chris Giarrusso. I’m glad that this one is going to be graduating to its own feature for Ahoy’s second wave of books. And the issue is rounded out by the usual prose stories and text pieces.

| Published by Ahoy

Immortal Hulk #12 is a tough one. Even as Hulk travels deeper into the heart of Hell and Al Ewing continues to wax philosophical in the narration about the nature of evil and the concept of the devil or an opposite to god in comparative religions, we get a hard look at Bruce’s upbringing and the abuse that he suffered at the hands of his father. It’s a difficult read as his father tries to justify his abusive actions, but it’s one hell of a character study. Great guest art on the flashbacks from Eric Nguyen to complement the main story’s art from regulars Joe Bennett and Ruy José, with colours from Paul Mounts. It’s astonishing the heights that this run is hitting, one of the best Marvel is publishing.

| Published by Marvel

Justice League #16 concludes “Escape from Hawkworld” from Scott Snyder, James Tynion IV, Jim Cheung, Stephen Segovia, Mark Morales, Tomeu Morey, Wil Quintana, and Tom Napolitano. It’s very much a lore dump, with the Martian Keep telling J’onn about the multiverse before and of Perpetua, along with some interesting and complicated other revelations, but it’s rather interesting.

| Published by DC Comics

Livewire #2 sees Amanda captured, beaten, and mutilated by mercenary bigots at the behest of the US government to figure out a new way to control and neuter psiots. It’s always interesting that these people think they’re doing the “right thing” to justify their genocide. Very impressive artwork from Raúl Allén and Patricia Martín as always. Allén and Martín‘s choices for layouts, colours, even panel-styles lead to some very interesting visual storytelling.

| Published by Valiant

Low Road West #5 concludes the series, but leaves enough doors open for more somewhere down the line. This has been a very strange series, starting as a kind of post-America future and then tossing in some alternate reality weird western body horror stuff out there. All throughout with some inventive and unique artwork from Flaviano and Miquel Muerto.

| Published by BOOM! Studios

Man Without Fear #4 presents us with the bedside manner of Kingpin from Jed MacKay, Paolo Villanelli, Andres Mossa, and Clayton Cowles. I really like Villanelli’s art here, which seems to be channelling the spirit of Chris Samnee.

| Published by Marvel

Naomi #1 is an incredibly beautiful comic. Jamal Campbell has really gone out of his way to craft a gorgeous first issue, perfectly balancing the ordinary, everyday people of Port Oswego, Oregon and the disruption caused by the superheroics of Superman bouncing through in a battle with Mongul. Brian Michael Bendis, David F. Walker, Campbell, and Josh Reed have something interesting here, working at the fringes of the DC Universe from the perspective of ordinary people, and ordinary people not living in a Metropolis or Gotham at that.

| Published by DC Comics / Wonder Comics

Oliver #1 is an amazing debut from Gary Whitta, Darick Robertson, Diego Rodriguez, and Simon Bowland. It’s worth it alone just for Robertson and Rodriguez’s extremely beautiful, detailed artwork, bringing to life a bombed out, desolate London in stunning detail, but then the story hooks you. There’s a mystery to Oliver’s identity and lineage that pulls you in and the development of a society of an unwanted class of disposable clone soldiers is very compelling.

| Published by Image

Pearl #6 is a very interesting conclusion to the first arc from Brian Michael Bendis, Michael Gaydos, and Joshua Reed. Great bits of comedy throughout what is otherwise a fairly heavy issue. Stunning artwork from Michael Gaydos.

| Published by DC Comics / Jinxworld

Quincredible #3 continues to build the world around Quin, as well as showing him learning through action, and finding out the complications of living in a fairly tight knit community where everyone knows everyone. The predicament that Rodney Barnes, Selina Espiritu, Kelly Fitzpatrick, and Tom Napolitano leave us in is compelling and really develops well through the narrative.

| Published by Lion Forge / Roar / Catalyst Prime

The Spider King: Frostbite continues Hrolf’s adventures, now trying to cleanse the world of any remaining alien presence, in this one shot. The main story is a fun tale taking on another brand of infected creatures from the mini-series team of Josh Vann, Simon D’Armini, Adrian Bloch, and Chas! Pangburn. There’s also a back-up starring Sigrid taking no bullshit from Vann, Pangburn, and art by Daniel Irizarri.

| Published by IDW

Superior Spider-Man #2 is essentially an issue-long fight between Terrax and Octavius, but it’s rather entertaining, from Christos Gage, Mike Hawthorne, Wade von Grawbadger, Victor Olazaba, Jordie Bellaire, and Clayton Cowles. The artwork is incredible throughout and there are some humorous cameos.

| Published by Marvel

Teen Titans #26 is the first of this series I’ve picked up, largely since in a few months it will be crossing over with Deathstroke, and it’s not bad. It seems intertwined with Red Hood (another title I’m not reading), but all of the necessary information seems to be being provided in the story, giving no problems with narrative flow. Adam Glass adds some very nice humour in the dialogue that keeps things snappy. The art from Bernard Chang and Marcelo Maiolo also nicely captures a youthful vibe.

| Published by DC Comics

Teenage Mutant Ninja Turtles #90 begins to pick up the pieces from the EPF’s assault on Burnow Island, as well as weaving in the bits and pieces from the recent macro-series, as the Turtles and the Mutanimals hold a wake for Slash. Great art from Michael Dialynas and Ronda Pattison.

| Published by IDW

X-O Manowar #23 begins “Hero” from Matt Kindt, Tomás Giorello, Diego Rodriguez, and Dave Sharpe. It’s largely set-up,--bringing back the bounty hunters who assaulted Aric previously, showing off Kate’s new ship in action against said bounty hunters, and then Aric wondering how he pees in the suit--, but it’s damn entertaining. Also, Giorello and Rodriguez practically put on a clinic for visual storytelling.

| Published by Valiant

Other Highlights: American Carnage #3, The Avant-Guards #1, The Beauty #26, Buffy the Vampire Slayer #1, Cloak & Dagger: Negative Exposure #2, DuckTales #17, Exorsisters #4, GI Joe: A Real American Hero - Silent Option #3, Grumble #3, Jim Henson’s Beneath the Dark Crystal #6, Kaijumax: Season 4 #4, Lightstep #3, Lucifer #4, Mars Attacks #4, Monstress #19, Outcast #38, Regression #15, Rise of the TMNT #4, Road of the Dead: Highway to Hell #3, Shuri #4, StarCraft: Soldiers #1, Star Trek: The Next Generation - Terra Incognita #6, Star Wars #60, Sukeban Turbo #3, War is Hell #1, The Witcher: Of Flesh & Flame #2

Recommended Collections: Battlepug Compugdium, Black Panther - Book 6: The Intergalactic Empire of Wakanda Pt. 1, Cosmic Ghost Rider: Baby Thanos Must Die, Coyotes - Volume 2, Daredevil - Volume 8: The Death of Daredevil, Jughead: The Hunger - Volume 2, Marvel Two-in-One - Volume 2: Next of Kin, Polar - Volume 1: Came from the Cold, The Problem of Susan & Other Stories, Proxima Centauri, X-O Manowar - Volume 6: Agent

d. emerson eddy did not eat the last piece of cherry pie. It was the cats, they’re trying to frame him.

[funnythingshere0-blog]

'I hit a Corolla at 86kmph': A non-driver learns to drive, through video games

New Post has been published on https://funnythingshere.xyz/i-hit-a-corolla-at-86kmph-a-non-driver-learns-to-drive-through-video-games/

'I hit a Corolla at 86kmph': A non-driver learns to drive, through video games

Lots of people can’t drive, including Haimona Gray. He talks to a few famous people who are similarly impaired, and gets behind the wheel in the only way he knows how: video games.

My first memory of driving a car involves the 1994 Sega arcade classic, Daytona USA. As of writing, it remains the closest I have come to driving in real life.

My most recent memory of being in a car involves a 2001 BMW 530i driving me to buy KFC and then back to my house for sleep. As firmly #TeamMadeleine in my position on the fried chicken chain, and as a big fan of 1990s video game arcades like the one from Terminator 2, these are two really positive memories in a lifetime of having cars help me.

Yet this positive relationship with cars hasn’t made me a full licence-holding car-driving adult. The ‘becoming an adult’ part was easy, involving only mid-level determination, but driving involves going to places and sitting tests, which has been a barrier.

Like the old idiom about voting – “If you don’t vote, you can’t complain” – I can hardly blame anyone else for my predicament when I never sat my full licence exam. Or whatever the restricted test is called. Or even the learners test, the multi-choice one teenagers do.

There is no specific reason for this, or at least none I am consciously aware of. The idea of driving on a busy street fills me with dread, but not any more so than the things I’ve done in spite of fear: exams, job interviews, responding to Facebook messages from anyone about politics.

Shockingly, I’m not the only otherwise outwardly sensible person who hasn’t earned their full licence. I put out a call for other non-drivers on social media and while their reasons differed, I was surprised by the normality of most responders. Was it the rest of humanity who was wrong?

Wallace Chapman is the personable host of Radio NZ’s Sunday Morning programme, a published author, and a super busy person. He also doesn’t drive. I asked him why.

“There’s really no reason [I don’t drive],” he told me. “I’m not ideologically opposed to cars, and I’m not overly pro-public transport. I’m from a family of car lovers, including “drifting” hobbyists. Which I love! But, believe it or not, [public transport is] a far more efficient way of getting around.

“It takes me about 20 minutes there and back from home to work on the bus. That time is valuable time for reading, doing research, listening to the radio or the podcast. I wouldn’t have it any other way.”

Getting some valuable and, for some of us, scarce time to ourselves is definitely a benefit of the non-driving life. You can even use the time on your own for gaming!

If you stepped into an arcade any time from the mid-90s until the present day, you will know this image.

Wallace’s story reflects the most common responses I got from other non-drivers. Most were city dwellers who found it easier to use public transport than to drive; quite a few were concerned about the financial downsides of driving; and the majority weren’t opposed to learning how to drive in the future.

Common amongst other responders, particularly those from smaller towns, was a negative association with the safety of New Zealand’s drivers and roads.

One respondent put it like this:

“I saw some truly stupid and reckless drivers as a teen in the wops. Lots of drunk driving on bad country roads. It’s been two decades and I still don’t trust other drivers enough to be one.”

Another, less common reason was medical. In New Zealand there are multiple ailments which could exclude someone from getting a driver’s licence.

Like Chapman, Chris Armstrong is a radio host, at Dunedin’s Radio One (I didn’t specifically put the call out to radio people, they just seem to respond to emails the best). Chris is a strapping lad in his 30s whose reason for not driving makes my ‘haven’t gotten around to it’ excuse look really pathetic.

“I did start to learn to drive [when I was young]. While I was learning I had a seizure caused by Multiple Sclerosis and wasn’t allowed to drive for a year, by which time the parent who was teaching me had died.”

That would be enough to put me off for life, but Chris went on to explain that his current reasons for not learning to drive are more mudane. Not having to drive for work and the usual financial reasons makes a car-free life a better choice right now.

Motivated by Chris’ story I decided it was time, finally, to try to learn to drive. The budget for this article didn’t stretch to driving lessons, and for some reason no one was willing to loan me their car so I could teach myself, even when I assured them it’d be an extremely funny bit. So instead I went online and found the most advanced simulator I could afford.

The highly photo-realistic Australian vistas of Forza Horizon 3.

Set in Australia, Forza Horizon 3 is an open world racing video game, which thankfully happened to be on sale. The game’s visuals include many familiar sights for the average Kiwi driver: Holden utes, classic green and white road signs, and a lot of speeding.

Forza isn’t able to simulate many parts of driving; checking blind spots, indicating, and the underrated first step of putting keys in the ignition. So to improve my practical skills, I set up a series of blinking lights and mirrors around my couch.

To set a fixed route, I found a suburb outside of Surfers Paradise which contained a Hamilton-level of Mitsubishi Galants parked half-on, half-off the berms outside brick houses. As this was a simulation I was allowed to choose any car from the Forza collection but, aiming for realism, I went for a car appropriate for learner driving in suburban Surfers/Hamilton.

The 2015 McLaren 650S Coupe is a twin-turbocharged 3.8-liter V-8. Buying one on TradeMe will cost you roughly $300,000. For the colour I went with bright candy blue.

Fresh out the garage with a car and a dream, I began my test by hitting the acceleration button. Speed is a misunderstood force. It should be much more feared than it is for its destructive power, but it is also a lot of fun too, so that makes it hard to be afraid of. My car mounted the curb and hit a tree within 100 metres.

According to the NZTA website this is probably a fail, but I felt pretty confident I could talk my way into a second chance. A gimmie, if you will. This second chance went much better! I managed to make it around the block before drifting into another lane while trying to change the radio station and hitting a Toyota Corolla at 86kmph.

It was at this moment I realised that this wasn’t an ideal simulation because there were no stakes to failure, and no representation of the physical threat of injury. I needed something with the ability to visualise impact. I needed a Grand Theft Auto game.

A screenshot of the incredibly realistic driving simulator Grand Theft Auto 3.

After booting up in an fictional riff on Los Angeles, I jumped into a car which appeared to be more rust than vehicle and boosted for an empty neighbourhood loop. I checked my blind spots, represented on my couch set-up by a makeup mirror attached to a torch, and completed a successful loop of the road. Feeling confident, I decided to have a crack at parallel parking.

I found a spot – as befits Grand Theft Auto, it was outside a gun store – and started to line up my front wheels to reverse in. I made it, and got out of my car to celebrate when someone named ‘Bonglord F*** Tom Brady 98’ shot me from across the parking lot with a rocket launcher and sent me flying, in slo-mo black and white, back to a loading screen.

None of this was even slightly useful in teaching me how to drive, or motivating me to learn in real life, but my experiment with driving simulators taught me a lot about the psyche of the non-driver. Like Mindhunter, but replace murderers with people who use public transport.

There are many sensible arguments for not driving. There are people who can’t drive for practical reasons. But my main takeaway from my short driving career, the one that will stick with me the longest, is that people are true monsters, on the road and online. I plan to avoid both like the plague.

Happy driving everyone.

This post, like all our gaming content, comes to your peepers only with the support of Bigpipe Broadband.

Source: https://thespinoff.co.nz/games/17-07-2018/i-hit-a-corolla-at-86kmph-a-non-driver-learns-to-drive-through-video-games/

[loycereiber]

Tired of Paying Alimony?

As an alimony lawyer, I’m often asked about how to stop alimony. They say “Alimony is forever” — or is it? In many cases, people are ordered by the Court to pay alimony for years and years into the future. In most cases, this can amount to thousands and thousands of dollars being paid out to an ex-spouse. Understanding alimony, how it works, and how it can be terminated is critical! This common question is one many divorcee have, and it is a question that has to be answered on a case-by-case basis. Alimony awarded by a Utah family law court may or may not be permanent, and determining the permanence of alimony may be difficult for individuals without legal backgrounds.

When Can a Utah Court Terminate Alimony?

Under Utah law, a family law court can rule for the termination of alimony due to any one of the following scenarios:

Death: When either party dies, alimony payments cease.

Cohabitation: If the alimony recipient lives with a new partner, or is cohabitating with an individual, alimony can be terminated.

Remarriage: When a party receiving alimony remarries, he or she will no longer be eligible to receive alimony payments from a former spouse.

Expiration: Alimony generally cannot last longer than the marriage. Therefore, if a couple was married for 20 years, the court generally will not award alimony longer than that period of time.

How We Help Our Clients

Although the list of the four above scenarios seems simple, proving a change after your divorce may be difficult without the help of an experienced alimony termination lawyer. Out of the above-mentioned options, the most common alimony termination option is “cohabitation.” This is an excellent way to terminate alimony to an ex-spouse. If you think this may be going on, we have a team of experienced attorneys, professionals and private investigators who work together in a collaborative and efficient format to terminate your alimony obligation to your ex-spouse. We have helped countless individuals in this type of situation and are extremely experienced and aggressive on achieving the best possible results for our clients.

If you believe your ex-spouse is involved in cohabitation give us a call today to discuss how to terminate your alimony obligation! We help our clients prove cohabitation or handle the legal aspects of presenting death or marriage certificates to the court while providing the answers they need to their alimony-related questions.

Domestic Violence And Protective Order Attorneys

Domestic violence is a serious matter that drastically affects family law issues. Accusations of domestic violence can affect custody, visitation and more. Whether you are seeking protection or facing domestic violence-related charges, it is imperative that you are represented by an experienced family lawyer.

Orders Of Protection

Any party can seek to obtain an order of protection if there has been allegations of abuse, domestic violence or an imminent threat of harm. This includes verbal abuse, disorderly conduct, physical abuse and more. An order for protection affects custody, visitation and effectively removes your spouse from the home for 150 days. In any situation, it is important that you are represented by an attorney who has in-depth knowledge of the law and knows how to approach matters involving domestic violence, including assault, battery and more.

Lawyers On Your Side

We recognize that family law matters can quickly become heated. Our goal is to gather a full understanding of the situation so we can best represent your interests in court. We are aggressive when advocating for our clients, yet we are compassionate and understanding when working with clients.

Can Facebook And Other Social Media Networks Affect Divorce?

In recent years, Facebook, Twitter and many other social media networks have become part of divorce proceedings in Utah and all across the country. As public domains, the information contained in social media accounts can be subpoenaed and, thus, can affect divorce settlements.

Using Facebook As Evidence

Facebook can be a valuable source of tangible evidence to use in many cases, most commonly in a divorce or family law case. In these situations we often find evidence on Facebook of adultery, affairs, cohabitation, etc. All of these are critical legal issues in every divorce or family law case. Additionally, Facebook has provided us a significant amount of evidence regarding what people do with their time and money, which also plays an important and critical role in divorce cases, especially on the issue of alimony.

We have a comprehensive approach that allows us to dig into many different social networking sites to obtain additional evidence and information for our clients. Our approach is aggressive, but generally gets extremely positive results for our clients.

Guiding Our Clients In Using Social Media

Not only do we ensure the social media accounts belonging to our clients’ spouses will be investigated, when necessary, to use as evidence of wrongdoing, but we also ensure our clients use their accounts wisely.

Free Consultation with an Alimony Lawyer

When you need legal advice from an Alimony Attorney, call Ascent Law at (801) 676-5506 for your Free Consultation. We will help you.

Ascent Law LLC8833 S. Redwood Road, Suite CWest Jordan, Utah 84088 United StatesTelephone: (801) 676-5506

Ascent Law LLC

4.9 stars – based on 67 reviews

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Source: http://www.ascentlawfirm.com/tired-of-paying-alimony/

[rob-blog1234]

WEEKEND TV HOT FILM PICKS!

Check out my guide to the top films on TV this weekend, the best of the rest and what to avoid at all costs. Enjoy!

LATE FRIDAY 23rd FEBRUARY

HOT PICK!

Syfy @ 2310     Twelve Monkeys (1995) *****

I present to you Terry Gilliam’s greatest achievement with this extremely detailed, rich and complex story introducing some of the most memorable characters in film. Twelve Monkeys is an extremely accomplished Time Travel Sci-Fi adventure dealing with multiple themes and concepts through some amazing storytelling. Even with its multiple time lines, flashbacks and crazy plot Gilliam feeds the story to us with amazing skill also treating us to some amazing cinematography and backdrops of a dark and bleak future world.

Gilliam is notorious for his almost stubborn attention to tiny details. Each scene is busy with cogs and mechanisms and such richness it’s sometimes hard to take it all in, but this all adds to the overall effect and feel of the film.

A huge amount of this film’s success lies in the amazing performances from all the cast. Particular praise goes to Bruce Willis and Brad Pitt who bring to the screen quite possibly their greatest performances to date.

The film is set in the future where a virus has wiped out the majority of human life and the survivors live underground where they are safe. Attempting to find a cure the head scientists send James Cole (Willis) back to the year 1996 to gather information. When he is sent to 1990 by mistake and after a fight he finds himself in a mental institution where he meets the wild eyed and crazed Jeffrey Goines (Pitt). It really is a roller coaster of events from here.

The joy of this film is that it never ages, it always seems a fresh, new and clever concept that always rewards. Definitely up in my Top 5 Time Travel films. Twelve Monkeys is a masterpiece. I have high hopes for the new TV series based on this film. I hope it becomes a good companion piece and not a scar on the memory of this original success. Watch this!

Best of the rest:

TCM @ 1655      The Wrong Man (1956) ****

E4 @ 2100          X-Men: First Class (2011) ****

Film4 @ 2100     Alien (1979) *****

Sony @ 2100     The Girl With the Dragon Tattoo (2011) ****

Dave @ 2200     Kill Bill Vol 2 (2004) ****

Horror @ 2255  The Devil's Rejects (2005) ***

CBS @ 2300      Raw Deal (1986) ***

Film4 @ 2320    Danger: Diabolik (1968) ***

ITV3 @ 0005      Elizabeth: The Golden Age (2007) ****

Film4 @ 0125    The Duke of Burgundy (2014) ****

AVOID AT ALL COSTS!

5* @ 2305    Need for Speed (2014) * AVOID!

Officially my 96th favourite film released in 2014.

NOTE: I have seen 96 films released in 2014.

Car action trash - looking out of the window at the road for an hour will probably inspire more interest and fun... or sitting on a spike.

SATURDAY 24th FEBRUARY

HOT PICKS!

More4 @ 2100     The King's Speech (2010) *****

The King’s Speech is very deserving of its critical acclaim. Tom Hooper did a fantastic job directing but the main success of this film is down to Colin Firth and Geoffrey Rush’s powerhouse performances. It has a wonderful vein of humour running throughout. Subtle humour with a lot of heart. This film is inspirational and also interesting to delve into Britain’s history as well as the challenges faced by those with a crippling speech impediment. If you need one feel good factor this weekend, stick this to the top of your list.

Film4 @ 2100      Aliens (1986) *****

This time it’s War! Aliens is one of the most successful sequels of all time.  It not only continued an amazing story with one of the most impressive extra-terrestrial beings ever seen on film but also completely changed the style. Ridley Scott’s original is an amazing accomplishment and stands tall as a fantastic Horror / Sci-Fi, with this sequel James Cameron injected a dangerous dose of action and adrenalin turning it into a high powered action adventure Sci-Fi that makes this film my personal favourite of the series of films. This is mainly down to the rich characters and great performances by everyone involved. The casting and character development creates high emotional attachment which adds to great effect as they one by one encounter the almost indestructible Xenomorphs with sometimes fatal consequences. Aliens is set 57 years after the original and Ripley has been in hyper sleep all this time. We follow a crack team of Marines with Ripley in tow as adviser as they go back to LV-426 after contact is lost by the Terra-forming colony there.  It has amazing special effects for its time and had to rely on physical effects as opposed to today’s CGI saturated Sci-Fi films. This is an amazing action spectacular that simply must be seen. It’s also well worth investing in the Alien Anthology on Blu ray, it’s great value for money, both the image and sound is crisp and clear and worthy of being in everyone’s collection.

C4 @ 2250     Dredd (2012) ****

In a dark and dysfunctional future crime is at an all-time high and policed by Judges - these are judge, jury and executioner - dealing out swift and brutal justice to those flouting the law. Karl Urban plays our downturned mouthed hero - Judge Dredd - a seemingly heartless, brutal and ruthless Judge but one of the very best in the business. This is a great adaption of the comic series and with a great sense of pace, amazing visuals - namely the slow motion ultra-violent sprays of blood - and booming soundtrack this is an action movie to remember. Need a dose of Action in your weekend? Make way for Judge Dredd.

Sony @ 2320     Sleepers (1996) ****

Robert De Niro, Dustin Hoffman, Kevin Bacon, Brad Pitt… Need I go on? Sleepers is an excellent crime drama following the story of four men who were friends as children when an unfortunate prank accidentally killed someone. They were sent to reform school where they were beaten and raped by the guards. Their paths cross once again as adults and they take the opportunity for revenge on the guards that brutalised them as children. This film is extremely well put together, very engaging with a great cast and a heart breaking story. I’ve always thought this film deserved more credit. Give it a try, you won’t be disappointed.

Best of the rest:

5* @ 1110           James and the Giant Peach (1996) ***

TCM @ 1125      The Wrong Man (1956) ****

True @ 1100      The Hound of the Baskervilles (1959) ****

Film4 @ 1100     Napoleon Dynamite (2004) ****

5Spike @ 1330  Butch Cassidy and the Sundance Kid (1969) ****

TCM @ 1825     The Manchurian Candidate (1962) ****

Horror @ 1840 The War of the Worlds (1953) ****

ITV2 @ 1905     The Hobbit: The Battle of the Five Armies (2014) ***

5* @ 2100         21 Jump Street (2012) ****

Comedy @ 2200 So I Married an Axe Murderer (1993) ***

5* @ 0135         The Town (2010) ****

AVOID AT ALL COSTS!

Sony @ 1630     After Earth (2013) * AVOID!

No. Just no. I'm not going to waste words on this garbage. Take heed from the films tag line... Danger is Real. Fear is a choice. AVOID!

SUNDAY 25th FEBRUARY

HOT PICKS!

Horror @ 2255     They Live (1988) ****

I love a bit of John Carpenter in my film diet. Especially 1988 cult classic They Live. Rowdy Roddy Piper is Nada - an out of work construction worker who hits the city in search of work. He comes across a pair of sunglasses which reveal the world as it REALLY is - the people controlled by the rich, a mass media saturated world where people are driven into consumerism fuelled pacification. Government messages are revealed in stark, bold black and white text on billboards, TV and newspapers - showing the messages of “OBEY” and “CONFORM”. Even more sinister is the revelation that the upper echelons of society are populated by an evil exploitative alien race. The constant Carpenter score is our companion throughout almost all of the film which works wonderfully. Funny in parts, action and fights galore - this is a great Cult Classic Carpenter.

C4 @ 2305     Shutter Island (2012) ****

Shutter Island is a creepy, visually rich psychological thriller with a dark and morbid feel throughout. We follow DiCaprio as troubled U.S. Marshal Teddy Daniels - investigating the disappearance of a patient from the islands asylum for the criminally insane. DiCaprio is superb and I can see why Scorsese persists on casting him. Ben Kingsley also stands out as the head of the asylum - the dialogue between the two characters is excellent. We are taken through the almost gothic maze of the island and asylum - its darkness is overwhelming and penetrating, this - combined with the beauty of Scorsese’s direction we are treated to a darkly beautiful ride. There are, as you would expect, a number of twists along the way some more obvious than others but to me that isn’t really the point - It’s the journey through the film and the troubling images that plague our lead that make Shutter Island a must watch film. It inspires a second viewing. The score magnifies the darkness and is superbly put together to make even the seemingly normal of scenes far more tense and suspicious. Shutter Island was eagerly awaited for in 2010 and I was very glad when it finally arrived.

Best of the rest:

C5 @ 1705         Where Eagles Dare (1968) ****

E4 @ 1900         Men in Black 3 (2012) ***

Syfy @ 2100      Pitch Black (2000) ****

Film4 @ 2100    Alien3 (1992) ***

BBC1 @ 2315    Point Break (1991) ****

TCM @ 2340     The Deer Hunter (1978) *****

Sony @ 0110    The Girl with the Dragon Tattoo (2011) ****

AVOID AT ALL COSTS!

Film4 @ 2315     Salt (2010) * AVOID!

If Angelina puts a different colour wig on - she still looks like Angelina Jolie. In fact when she put on a disguise I didn’t even notice it happen, but everyone else seemed to think she was bloody invisible. The most unconvincing CIA agent I’ve seen. Who is Salt? Who cares.. Oh hold on.. It’s Angelina Jolie… in a wig. Jolie off. AVOID!