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mrs-stans · 2 days

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Sebastian Stan describes the 'big reactions' from New Yorkers over his A Different Man transformation: 'I was terrified'

The actor and makeup artist extraordinaire Mike Marino unpack Stan's dramatic prosthetics turn.

By Nick Romano

Sebastian Stan was so determined to work with Oscar-nominated makeup artist Mike Marino on his film A Different Man that the actor was willing to undergo a social and professional experiment.

As Edward, the 42-year-old Marvel star would play an aspiring actor with neurofibromatosis, or NF1 for short, who undergoes an experimental procedure that radically changes his face, only to then emotionally spiral out of control when he loses the part he was born to play to Oswald (Adam Pearson), someone with NF1 who lives a much fuller life than Edward ever led, pre- or post-procedure. Stan needed the man who made Colin Farrell unrecognizable as Oz Cobb for The Batman and HBO’s The Penguin to pull off such a feat.

Since Marino was already busy on Amazon’s The Marvelous Mrs. Maisel, Stan walked the few blocks from his apartment in New York City’s SoHo district to Marino’s home every morning around 4 or 5 a.m. “Then you just wait till they're ready for you on set,” Marino remembers saying to him. On some of those days, Stan would kill time by wandering Manhattan in full makeup until his call time. “I walked up and down Broadway, basically,” Stan, sitting in the New York offices of studio A24, tells Entertainment Weekly. “It was a busy street. I was terrified, but I would just go get a coffee or sit.”

Sebastian Stan is unrecognizable as an actor with facial deformity in trailer for A Different Man

Stan doesn’t consider himself to be a physical actor, and yet his body of work might suggest differently. Even when the costume shoulders the bulk of the transformation, such as playing Tommy Lee in Hulu’s Pam & Tommy, his body language molds to match the look. That skill is especially prominent in A Different Man (playing now in limited release). “Even alone, being able to only look out of one eye and then having one ear more covered immediately changes a lot,” he says of Marino's makeup effects. “It changes how you stand. It changes how far away you are from people, how you look at people. I felt oddly on my back foot more. It's a defensive reaction because you want to be prepared in case something's coming, that you have enough time to react.”

“What we get is such an incredibly passionate, skilled actor that can hide within a true character,” Marino tells EW in a separate conversation on Zoom from his SoHo apartment, part of which serves as the mini studio where Stan’s makeup application occurred. “He would actually now have a chance to live with people's reactions and how they were treating him.”

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That experience informed Stan’s entire performance, and it became important for him to do so, even outside of the mornings' wait time. He would often stroll away from set on the Upper West Side in between breaks or setups. “New York is pretty evolved in a lot of ways, but I still got some big reactions from people,” he recalls. “Like, ‘Oh s---!’ ‘Oh f---!’ ‘Look at that!’ It was scary to experience. It was hard to experience. I felt powerless in those situations in some way. And, I guess, a lot of that is how Edward feels in the film.”

Sebastian Stan transforms in the discomforting drama A Different Man

Other reactions were less intense, but equally informative. While standing at a stoplight, for instance, Stan noticed the difference between those pedestrians avoiding eye contact completely, compared to those trying to discreetly steal a look or offer him a forced smile — all bystander reactions that director Aaron Schimberg incorporates into the movie. "I don't think it always comes from a bad place," he says. "Sometimes people just want to connect or feel okay. It's actually about their own experience. It's not even about you. It's like they're in that moment feeling something that's funny to them and they're trying to deal with it. They don't know how."

Marino wanted to be involved with A Different Man thanks to his love of the 1980 film The Elephant Man, loosely based on the life of Joseph Merrick, who lived with a facial disfigurement. As a 5-year-old, the movie scared Marino. But as he fell in love with the art of makeup transformations on screen, he came to see it for what it was: "a beautiful" and "touching story," he describes. "That really made an indelible mark on my life."

He would need that motivation for the obstacles that Stan's look on A Different Man prompted. "There were many technical challenges," he recalls. "It is very difficult to do makeup that thick where they have very thick areas. So I had to really balance what was too big, what was too small. I still need the movement of Sebastian to come through. I still need his own face to drive the makeup and not have it look purely like a mask. I studied Adam's photos. I really analyzed him and tried to balance how I can make it work for Sebastian."

Sebastian Stan calls out journalist who refers to his new character with disfigurement as a 'beast'

Stan has another transformative part coming out soon, the buzzed-about and already-controversial performance of young Donald Trump in The Apprentice. Because he's now promoting both that film and A Different Man simultaneously, it's been interesting for him to think about the ways in which he approached both jobs.

"I've been finding strange parallels that I never really thought about," he remarks. "There's some similar themes being explored in terms of truth, self abandonment, denial of reality to some extent. I think these last couple of roles have required a different degree of physicality. One, obviously, is specific, a real person. But I think about that, of course. You have to, because everyone walks differently and everyone carries things in their body differently. Sometimes you gain access in a different way to things by simply changing a physical aspect of yourself."

The greatest compliment he received for that kind of work on A Different Man, even more than the glowing praise he's seen from the critics, came from Pearson's mother. "After she saw the film, she was like, 'All I ever wanted was for someone to walk in his shoes for one day, to know what it's like, and you were able to do that,'" Stan remembers of their exchange. "I came close to that, I guess, in a way, to feel that kind of invasiveness that he probably felt at some point in his life, walking around."

#Sebastian Stan #Entertainment Weekly #A Different Man #Mike Marino #Aaron Schimberg #Adam Pearson #A24 #Interview #mrs-stans

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summerlinenss · 8 months

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out of curiosity, if Max doesn’t release its metrics, then what metrics are you actually using to make these statements about the show’s popularity? what does “it’s currently in the 99.7th percentile of the comedy genre, meaning it’s in higher demand than 99.7% of all comedy series in the u.s.” even mean? How are you measuring what’s “in demand” - by who? Where? It’s bold to claim that this show was wildly popular (despite the fact that I never hear about it outside of tumblr, tho that’s a personal anecdote) but cancelled just for being queer, so I would be really interested to know where you’re getting all these numbers from. Thanks!

hey anon! first of all i am so sorry for the delayed response. i started typing something up and then i got distracted with something else and totally forgot about this in my drafts.

sure, i have no problem citing sources. i probably should’ve linked some in my original post, that’s absolutely fair.

this ended up way longer than i planned so bear with me, but a quick overview of what i’ll be going over:

1) what are the stats/where did they come from?

2) how is the show so popular?

3) was it really cancelled for being queer?

(also just a disclaimer that this will contain spoilers for the show)

1) first, the numbers

you’re right that hbo doesn’t release metrics to the public. in fact, ceo casey bloys tried to justify the cancellation to the hollywood reporter by saying “the numbers weren’t there,” despite refusing to say what exactly those numbers were or where they came from.

however, there are websites dedicated to researching/analyzing the data of different media. one of those is parrot analytics, who focus on industry insights like audience demand, competitive analysis, and content valuations. they’re trusted as a reliable source by forbes, the new york times, reuters, the wall street journal, and more.

this is what we can learn from them about our flag means death from a basic google search (note that all of this data is relevant to the last 30 days as of january 26 2024):

audience demand for our flag means death is now 33.6x greater than the average tv series in the united states. as explained in the “about demand distribution” section, this means it’s one of only 0.2% of all u.s. shows to fall in the “exceptional” performance range compared to the “average” demand benchmark of 64.1%.

the change in demand for ofmd in the u.s. has increased by 7.5% compared to the average tv series.

ofmd now actually ranks at the 99.8th percentile in the comedy genre in the u.s. i’m not a math person, but in basic terms, this is like a scale of measuring and comparing performances to create an average score. essentially, ofmd is performing at the very top of all comedy series in the u.s.

ofmd has 100% home market travelability. as it says above, the market of origin is always 100%, so in fairness i included the graph of international markets for comparison. some of these aren't super high, however (as explained by parrot analytics themselves) one of the key issues with the international market is accessibility to content, which has been an ongoing struggle for international fans. many people (i guess fittingly) have resorted to pirating ofmd because they don’t have access to max or affiliate streaming services in their country.

there are more stats i could have and wanted to go more in-depth into but it would make this even longer than it already is, so i’ll just leave some links you can check out if you’re interested and move on:

• comparison of ofmd's success to shows like ted lasso, euphoria, and peacemaker

• ofmd's placement as #1 most in-demand breakout series in the u.s. for 8 weeks

• ofmd's impressive 94% critics score and 95% audience score on rotten tomatoes

• how ofmd evolved from sleeper hit to a flagship series at max

• a list of ofmd's past and present award nominations/wins

• praise and recognition from news/entertainment sites: the atlantic (2022); the new york times (2023); tv guide (2023); vulture (2023); forbes (2023); the los angeles times (2022); vanity fair (2023)

2) so why haven’t you (or others) really heard of the show outside of tumblr despite all this success? likely because max did a terrible job marketing it.

ofmd first aired on hbo max (pre-merger before it was “max”) in march 2022. the entire season aired over one month, every thursday at 12am pst. season 2 followed a similar release schedule in october 2023.

season 1’s marketing was almost non-existent, pretty much relying on taika waititi’s name being attached. there was one teaser and one full-length trailer, as well as a few clips on youtube of taika and rhys darby answering pirate-themed trivia, all painting the show as a “silly pirate workplace/buddy comedy.” but hbo max didn’t put any real effort in because they didn’t care. david zaslav and the other higher-ups had no faith in the show and expected it to fail.

most people weren’t aware it was actually a romance due to the poor marketing, and although there were many romantically charged scenes between them, many were still wary to believe it wasn’t queerbaiting until ed & stede confessed their feelings and kissed.

showrunner david jenkins has said in interviews that he had no idea how deeply queerbaiting had hurt audiences and impacted their ability to trust what’s on screen without feeling like they’re being ridiculed, despite the fact that he was calling it a love story the whole time. it wasn’t until people realized they weren’t being queerbaited and that it was a funny, sincere show with a compelling plot that word-of-mouth began to spread. by the time the season 1 finale aired, there was a decent-sized fandom that continued to grow as it received more praise.

it was a fight to even get the show renewed for season 2, and david jenkins and the cast have majorly credited that renewal to the unexpected and massive fan response to the show, which basically forced hbo’s hand.

max didn’t bother trying to properly promote the series until season 2, when they begrudgingly accepted that it was one of their most profitable and successful shows. ofmd had huge billboards in times square, downtown los angeles, and on the side of hbo headquarters. they started accurately marketing the show as not just a workplace comedy at sea, but a heartfelt romcom. max began selling long-demanded merch (which became best sellers) and spent money on an FYC campaign.

i will emphasize, whether they liked it or not, they knew ofmd was their new moneymaker (especially with the recent end of succession, which was obviously a cash cow for hbo).

photo credit: @/bookishtheo

3) now if it was that successful, was it really cancelled just for being queer?

i mean, i can’t say that definitively. no one can. there are several potential factors at play that we may never know, and there have been a lot of rumours and speculation (many of which i don’t feel comfortable discussing in case they aren’t true) since the cancellation.

but do i believe the fact that it’s a queer romcom was one of those factors, especially since max has a history of cancelling and scrapping its most diverse projects? absolutely.

first and foremost, i can’t stress enough that this isn’t just a show with a few characters thrown in for token representation. ofmd is built on a diverse, intersectional cast and narratives, including:

• lgbtq+ representation: 5 main couples are explicitly queer (including mlm, wlw, nblm, and nblw relationships). multiple characters are implied to be poly, and there’s a polycule forming in season 2 that was hinted to be developed more in season 3. beyond relationships, it’s confirmed that (similarly to the way wwdits depicts all vampires as being pansexual) all of the pirates are somewhere on the queer spectrum.

• bipoc representation: the majority of the main cast are people of colour. this includes david fane, joel fry, leslie jones, samson kayo, vico ortiz, anapela polataivao, madeleine sami, samba schutte, ruibo qian, and taika waititi, as well as many guest actors (like rachel house, simone kessell, and maaka pohatu) and extras.

• disability representation: multiple characters have physical disabilities, most notably amputated/prosthetic limbs and visual impairment. a lot (actually most) of the characters also deal with mental health issues, particularly coping with severe trauma and suicidal ideation/behaviour.

• the show has been praised for addressing difficult and serious themes like toxic masculinity, colonialism, and self-discovery, all while still managing to be a witty comedy and not come across as “preachy.”

• the diversity also extends off-screen, with a team of directors, writers, and additional crew comprised of numerous bipoc, women, queer people, and trans/non-binary people.

my point isn’t just the quantity of representation, but the quality. they take great care and respect into every marginalized group depicted on-screen. the actors would often be consulted about their characters’ costumes, hair, tattoos, and the kind of language they use. it’s not a world where discrimination magically doesn’t exist, they just have zero tolerance for it. if a character does something homophobic or racist, you can guarantee they’ll quickly (and often violently) be punished.

so okay, sure, it’s got great representation. what does that have to do max cancelling it?

because they’ve been interfering with production from the start.

i already mentioned the marketing issues so i won’t get into that. it was also revealed in interviews with david jenkins after season 2 that hbo cut their budget by 40%, which is why they had to do everything they could to save money. this included letting go of some of the original cast (and even still having episodes where some of them don’t appear at all) and moving the entire production to AoNZ. the budget cuts also meant two less episodes, so they had to rush to fit an entire season’s worth of plot into eight half-hour long episodes.

but one of the biggest frustrations is hbo’s (alleged) censorship of the show. samba schutte revealed that the entire plot of episode 2x06 was completely different in the original script. before it was rewritten as “calypso’s birthday,” the episode took place during lucius & pete’s wedding and focused on the crew getting sick of the sexual tension between ed & stede and trying to get them to hook up (this aligned with lucius & pete getting engaged and ed & stede deciding to take things slow in the previous episode).

vico ortiz and writer jes tom have also commented that many scenes between jim, oluwande, and archie establishing them as a polycule were cut, including one of the three of them emerging from a bedroom in their underwear. jes has mentioned other elements of season 2 that had to be cut out or rewritten, like the implication of other poly dynamics between the crew and more sexually explicit scenarios and jokes.

considering that ofmd is an extremely sex-positive show that isn’t afraid to be raunchy or taboo, it’s clear that either higher-ups at hbo forced them to cut these things out or they had no choice but to cut them out due to tight budget/time restraints.

in addition to this, a recent article citing an “anonymous insider” has alleged that hbo was uncomfortable with and was unsure how to market the “shock violence” in the show (the same network that aired game of thrones), which david jenkins outright called out as being bullshit. ofmd is rated TV-MA and the posters and trailers all show the audience that it contains violent content. there is literally nothing more graphic in ofmd than any other pirate show — it’s probably a lot tamer than most of them, actually.

violence on the show is most frequently used in a comedic context, in the sense that it’s not meant to be seen as scary or taken seriously. the few instances of serious graphic imagery on the show are meant to invoke a mood shift, like ed’s transformation into the kraken or ned low’s murder. it should also be noted that some of the most graphic deaths are reserved for bigots, like ed snapping the neck of a colonizer who was ridiculing stede’s love letter.

it’s also most often used in a sexual context — not sexual violence, but violence as a sexual metaphor. more specifically the act of stabbing as a metaphor for penetration, as seen with both ed & stede and anne & mary. bearing all this in mind, it seems like the real issue here isn’t executives struggling to market explicit violence to a mainstream audience, but rather explicit gay content.

as much as we joke and affectionately call it the “gay pirate show,” ofmd has always been nothing more than an opportunity for rainbow capitalism for hbo (e.g. the fact that they waited three months to announce season 2 just so they could do it on the first day of pride month). like other cancelled queer media, ofmd was a way for hbo executives to show how “inclusive” and “accepting” they are when it was convenient (aka profitable) for them, but they never actually respected the show or us as a community.

it’s impossible to be certain of what the exact reasoning for cancellation was, especially when they won’t give us a clear answer themselves. and maybe it had nothing to do with ofmd being a queer romcom at all. maybe that’s all a horrible coincidence. but for hbo/max to axe a critically acclaimed and beautifully inclusive show that’s successful by every metric, with an extremely devoted fanbase, especially after casey bloys just had the nerve to ask “gay twitter” to hype up the gilded age? it doesn’t exactly put them in the best light regardless.

in summary, i’ll leave you with this editorial, which details how the campaign to save ofmd isn’t just about one show, but a fight to save the future of all queer art.

#asks #anon #ofmd #our flag means death #save ofmd #renew as a crew #fuck david zaslav #queer media

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thyme-in-a-bubble · 2 years

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why do you call her that?

plum, chapter three

warnings: Joel Miller x reader, MILD SPOILERS for the last of us (both games and the hbo series), slow burn, age gap (20 years), timeline wise this is set in between the first and second game (so when they live in jackson)

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Since your old home here in Jackson had long been occupied by somebody else, Tommy had insisted that you stay at his and Maria’s house, just till you got back on your feet, and they could find you somewhere more permanent to live.

It took a bit, but eventually, Tommy managed to twist his big brother’s arm and get him to reluctantly give a hand at setting a room up for you.

Ever since you’d gotten back, Joel had assumed that he had now understandably become a foe in your eyes with the less then pleasant way your first meeting had transpired, so he just tried his best to stay far away from where he knew you were, figured from the little he had heard through the grapevine that you’d been through enough and didn’t need to also deal with his old mug in the foreseeable future.

But still, after finally setting down the hefty mattress the two brothers had hauled halfway through town, Joel couldn’t help but let some of his curiosity slip out, “why do you call her that anyway?”

“Huh?” Tommy cocked an eyebrow as he passed Joel the bottle of water he had just taken a healthy swig from.

“Plum,” he accepted the much-needed drink, “why do you call her plum?”

“Oh, it’s kinda a funny story actually,” Tommy smiled, leaning back against the windowsill, “back in the beginning, not too long after I had joined the fireflies, she just showed up one day. Couldn’t have been more than-, hell, she couldn’t have been more than Ellie's age back then. She just waltzed right up and demanded to speak to Marlene. And as a way to get her foot in the door, sweeten the deal a bit, her pockets were filled to the brim with plums. Fucking plums. Like, where the fuck did she even get them?” he laughed, finding the memory too entertaining for his own good, “so that’s how we introduced her, told Marlene that a little plum was here to speak to her. I guess the nickname just kinda stuck after that…”

“She was a firefly with you?”

“Yeah,” he nodded, “we even quit at the same time and travelled out here to Wyoming together.”

“So, you two really go way back then?” the older man commented, still oozing with mistrust.

“Joel,” Tommy caught his brother’s eye, “she was the best man at me and Maria’s wedding. Yeah, we go way back,” a protectiveness glistened over him, “she’s like my little sister. She is my little sister.”

#lea’s writing #plum #joel miller x reader #joel miller hbo x reader #joel miller x you #joel miller x ofc #joel miller x f!reader #joel miller fic #joel miller fanfic #joel miller imagine #joel miller x y/n #joel miller x female reader #joel miller x fem!reader #joel miller fluff #tommy miller imagine

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charcubed · 1 year

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May I offer everyone a cute little graphic for inspiration during these trying times?

I love this show and I hope it finds another home. Don't forget to stream it on HBO Max if you can!

You are welcome to use this if you'd like! Credit appreciated, of course.

–––

On Twitter | On Redbubble The few dollars I may get from this will be donated to the Entertainment Community Fund under "Support Film and Television Professionals" in honor of the WGA writers' strike! As requested and directed by the WGA here.

#save the winchesters #the winchesters #spnwin #spn the winchesters #spn win #char makes things #for what reason? we just don't know. couldn't resist really

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loveliestpenguin · 4 months

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Today I went to go see the showing of Arrietty in the movie theater! It has always been my comfort film as it’s mine and many others introduction to g/t. I might be a little biased to say that the cozy atmosphere and music make it one of the best ghilbi movies as well!

Anyways, it was just my luck that when we got there the movie wasn’t even playing. Not even the credits played, just a blank screen. Strange, but the packed theater waited patiently as we continued to wonder why nothing was showing. 10 minutes passed by, then 20 and then 30. By then a lot of people got up to see what was going on and I was so sad as I realized I probably wouldn't be able to see it today.

The first time I saw this movie it was special, as it was my mom and I in an empty theater where we were able to completely immerse ourselves in the borrowers world. I don’t really remember all that much as I was pretty young, but from what my mom tells me, she says that she couldn’t take her eyes off me watching it for the first time, as I was completely enthralled through the entirety of the movie. She often fondly tells me that it is her favorite memory of me and how that film also shares a space in her heart.

Back in the present, I was quickly getting bored and realized that I could just pull up HBO Max on my phone to watch Arrietty from there. Needless to say my arms felt like jello from holding my phone up so long for the people in the back and myself to watch the movie. I had to switch arms a few times to keep it level, but I kept going to entertain the crowd and I. I didn’t turn on the volume but it was pretty funny to hear the people in the back actually watch it with me on my phone. (Subtitles and all)

“I feel bad for the people who can’t see this in the front”

“Hey, look it’s actually Arrietty!”

“This is better than nothing. Sitting here watching a blank screen for forty minutes.”

“The art in this movie just makes me want to rewatch it over and over. Shame we can’t see it on the big screen, but this will suffice.”

“I wish I was Arrietty fr :/“

“Wow the only thing missing is the stellar music”

“Thank you person in the front!”

Super disappointed that I couldn’t revisit seeing it on the big screen one more time, but luckily my friends and I got refunds because it wasn’t cheap. 😭🙏

Once I got home though, I rummaged through my dvd collection and rewatched Arrietty on the big 72 inch in the family room. If only I were a borrower, so that I could see it my tv like the real cinema.

#Really took one for the team helping the theater do their job #turns out the system oddly enough wouldn’t play it?!#i swear it’s like they knew I was coming and purposely didn’t show it #next year when ghibli fest 2025 comes around expect me to be at the first showing of Arietty #the secret world of arrietty #the borrowers #g/t #gt #giant tiny #borrowers

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lastweeksshirttonight · 1 year

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All righty, I managed to get back home despite the hurricane, let's talk about the show.

Tl;dr - I traveled cross-country to see John Oliver and Seth Meyers. It was amazing and I am still giddy about it!! Gonna put all the details under a cut to not clog up your timeline/the tags.

(All jokes will be paraphrased/guestimated bc my adrenaline and ADHD played havoc with my memory recall, lol.)

Firstly, the Beacon Theatre is absolutely stunning. It reminds me a bit of the Theatre at Ace Hotel in LA, in that it's clearly had its old elements lovingly preserved and harkens back to an older time. It was truly a gorgeous venue.

I missed getting a pic of the other side of the stage, which had a massive sculpture of shields and spears. John made a joke about the opulence of the room not matching the entertainment for the evening, and noted that "even Coco Chanel would say to keep it to one shield". Really wish I'd thought to get a picture of it, he was not wrong.

I was extremely close to the stage - 3 rows back and dead center. I definitely had the anxious excited adrenaline jitters because of it.

I mean COME ON.

The opener was Brooks Wheelan, who I remembered from his brief stint at SNL. He talked a fair deal about that, and told a great story bit about getting fired from there and opening for John shortly after, wherein he drank an entire bottle of "HBO blood diamond whiskey" from John's dressing room and had, in Seth's later words, "a nervous breakdown". I'd heard Brooks has opened for John before and was glad I got to see him, he's a lot of fun.

He also told a joke about not wanting to learn karate because of the huge glass windows in front of every karate studio and not wanting anyone to watch him learn karate. Lots of very understanding laughter there, including from me. (Why do all these places have massive plate glass windows?!)

After Brooks was John Oliver, and y'all. Let me get this out of the way.

He is fine as hell. Look. Just LOOK. HOW WAS I SUPPOSED TO DEAL WITH THIS

I would also like to take the time to gush effusively about John's mastery of set structure. The set was, aside from the typical "before we get started, I need to let you know I'm British" pseudo-opener he's used since like 2005, entirely new material -

(As an aside... !!!!!! I KNOW!!!! A FULL FUCKING HOUR OF ENTIRELY NEW MATERIAL!! THAT I WAS NEAR THE FRONT FOR!!!! I'M SO VERKLEMPT STILL YOU HAVE NO IDEA)

- and it was just beautifully written from a structural standpoint. It was pretty much all political material all centered around history and the need to understand it for context on the world as it currently stands. There were some digressions from that point but they were seamlessly woven in. He is such a goodamn incredible stand-up comedian.

A few things he talked about in his set:

That time the US dropped nukes on itself twice (which was briefly mentioned on LWT but not in this detail and not including a reenactment of a man dropping a bomb while working on a plane and him reacting to watching it roll away).

That the current British royal line of succession exists because of a "cousin-fucker who cut someone into pieces like a Benihana chef". (John told us this is something he learned researching this bit, which caused me unending joy. I love that he's making new sets!! :D)

John delights in the misery of billionaires and wished that the rocket Jeff Bezos was on would blow up. He doesn't want him to die, though. Through this he also talked about Elon Musk and his favorite fake blue check company tweets, mainly a series made by a fake Chiquita account claiming to have overthrown Brazil, followed by Chiquita saying they hadn't actually overthrown any governments since 1954.

John got booed at a Sesame Street benefit and told a killer set of jokes about Bert judging him for it. ("The man lives with Ernie! He knows chaos!")

He claims we will all know things are okay with the US again when we are all irrationally mad at Anne Hathaway for no reason again. Told an incredible story about how he just blundered into the street in LA once, almost got hit by a car, looked up, realized it was Anne Hathaway in the car, saw her wave at him, and, despite the scenario being objectively his fault, being somehow mad at her.

Shaded Dave Chappelle in an analogy about how we are not at Civil War division times because "somehow our level of division is people debating whether Chapelle's SNL monologue was okay or not", in a way that suggested it was very much not okay. 10/10 no notes.

Okay so there was one recycled bit - him being informed the Queen wanted to give him an OBE. He added to it fantastically though, by personifying the man from the embassy as the most offensively British stereotype you could possibly imagine. He said the man sounded like "if a British person rubbed a teapot and a genie came out".

There was definitely more but I could gush forever so let's move on.

Brooks came back out to introduce Seth and forgot the name of his show, lol. For a brief moment we all contemplated what Last Week Tonight with Seth Meyers would look like. (I assume the show's Adam Driver would be Stefon.)

Anyways, here is the only good photo I took of Seth.

Seth was great as well - not as good as John, but I'm very biased in that regard. The material was also pretty diametrically opposed to John's, much more domestic comedy about his wife and kids and their idiosyncracies.

I really liked Seth's energy and approach. I don't quite know how to explain this, but he had a touch of Dennis Reynolds energy to him, a restrained manicness, that was really interesting to watch. That's not my normal association with Seth's energy, either, but it was very fun. Definitely puts some of the more deranged things from his tenure as Weekend Update host in context.

Some highlights from Seth's set:

He had an amazing brick joke about doing accents as a comedian, where he imitated a Swedish accent and talked about how everyone's Swedish accent is basically the Swedish Chef from the Muppets and how the only Swedish food anyone has nearby is the meatballs at IKEA. Funny on its own, but later in the show, Seth talked about how people assume he's fully Jewish, including people on the street. He noted that he's 25% Swedish but no one comes up to him on the street and goes -insert Swedish Chef impression-. (This straight up killed the guy sitting next to me, who ended up laughing with his head in his hands for a solid 30 seconds.)

His kids eat very healthily, so when they end up going to friends' houses and eat one Skittle, they turn into demons. Literal demons. Seth's impression of an actual demon trying to undo a double-buckled car seat was the hardest I laughed at his whole set.

Seth also had a section which he claimed would be the part where he'd tell anti-trans jokes "if he was a complete asshole". I enjoyed the trans affirmation the whole evening, ngl.

Seth's family and his wife's family have very different ways of conversing at the dinner table, which directly mirrors my and my partner's family - Seth's family (like Mr. Lee's) is big on listening to everyone and contributing to conversations only when someone else has talked; Alexi's family (like mine) is constantly screaming over each other.

After Seth's set, everyone (including Brooks) came out to do a Q&A. I could not think of a song in the moment, but realized at the hotel room an hour after that I should have made @chiijohn 's evening by asking John's opinion on Planet of the Bass. :facepalm: Sorry mate!

Still, some great questions were asked, and it was about 30 minutes of just audience interaction. I've never experienced anything like it at a stand-up gig and genuinely loved it. John, of course, told people they were free to leave before the Q&A because why would they want to stay; the man is incapable of thinking anything good about himself and much as I hate his bad self-esteem, I would have been concerned if he hadn't said something to that effect.

Brooks was asked almost immediately if he remembered the name of Seth's show, which was honestly hilarious. Brooks said "I conferred with John backstage and we're both pretty sure that it's Late Night with Seth Meyers".

Someone asked how fearful Seth and John were of their shows being cancelled after one year, and Brooks snarked that he knew that feeling. (Brooks seems to have a good sense of humour about not being a huge presence on SNL.) Seth said that he wasn't super worried but that they redid his entire set (background set, not stand-up set) because Alec Baldwin said it looked like "a sushi restaurant in Burbank". (theoniontheworstpersonyouknow.jpg) John said he was told most HBO shows don't get cancelled at one season and he said "we'll see about that".

There was definitely some extended riffing on Alec Baldwin being a piece of shit afterwards, while John giggled helplessly. I love John's giggling.

Seth and John's favorite Muppet is Cookie Monster. They talked about how interesting it is that you can have amazing chemistry with Muppets, and then meet the puppeteer and have literally nothing to talk about. Seth also talked about how low-tech Big Bird was, and how the late Carroll Spinney, when on SNL, held a script in one hand, the controls of Big Bird in the other, and a flashlight in his mouth to read the script.

Everyone is upset they didn't get to cover the indictments because of the Writer's Strike. John thought there were only 3, but I honestly don't know if one of them came down before the Writer's Strike and he was just referring to the ones since then. It's been a long few months for us all.

Brooks basically forces John and Seth to get out of their hotel rooms when touring. Otherwise, Seth said, "they both just sit there anxious". That tracks, especially for John, who literally said on Seth's podcast that he is physically incapable of relaxing.

When asked about their influences, John said (rather obviously) that he wouldn't have a career without Jon Stewart, and Brooks talked about how both Seth and John really uplifted him and cared for him after he got fired from SNL. Seth talked in a really lovely way about how Amy Poehler basically adopted him and got him out of his shell and was a real friend to him early on.

I really wish I'd written down every stand-up that the three of them recommended when prompted, because I've completely blanked on half of them. Seth said Joe Pera (who I also highly recommend); John recommended Maria Bamford (again, also highly recommend). He also said that most people in the room would have probably not heard of him but that the best in the UK was Daniel Kitson (paging @tellthemeerkatsitsfine to provide her recs bc she knows Kitson backwards and fronts). Brooks gave a shout to Kyle Kinane (who I am not as familiar with as I should be).

There was so much more, but honestly, I was just so in the moment that I feel like I remember things in waves. It was an amazing evening and I was honestly so blessed to be there at all.

I did not wait at the stage door or anything, because I am truly not that kind of person and have consistently been sure that if I ever met John, I'd barf on his shoes. I know on Instagram some people had gotten stage door photos, though, and I'm happy for them!

Thank you all for always being supportive of this dumb blog. I don't think I would have had the confidence to go on this cross-country journey without you all randomly egging me on all the time. It was one of the best nights of my life. 💖💖

#john oliver #seth meyers #brooks wheelan #last week tonight #last week tonight with john oliver #late night with seth meyers #stand up #lee's stream of consciousness

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leveloneandup · 1 year

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Angel City is a captivating docuseries that goes behind the scenes and onto the pitch of the groundbreaking Los Angeles-based professional women’s soccer team, Angel City Football Club (ACFC).

Part One: “Brick by Brick” Three determined women come together from different industries- entertainment, business, and gaming – in an unexpected way, to answer the question, ‘what would it look like if we did things different and started a team?’

As Natalie Portman, Kara Nortman, and Julie Uhrman begin the process of building Angel City Football Club from the ground up ahead of its first season in the NWSL, they realize bucking the status quo can be a tightrope walk and changing systems from the inside isn’t always easy.

Part Two: “Running with the Angels” From the moment they hit the pitch, the stakes are high, the pressure is intense, and the passion is palpable. As players and staff deal with the stress of living up to the club’s ambitious goals, ACFC kicks off their inaugural NWSL season at home in front of a vibrant, star-studded crowd.

Riding high on their early season results, the club soon finds its identity challenged and a devastating injury puts the team’s resiliency to the test.

Part Three: “It’s Who We Are” Tensions mount as ACFC searches for solutions in their roster while fighting for a playoff spot during the final weeks of their inaugural season.

Looking to build on their success, the club’s co-founders turn their attention to the future, confident that their vision will usher in a new era for professional women’s soccer.

#angel city fc #angel city on hbo max

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gothicprep · 6 months

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“big box entertainment and short form content are pushing out room for art” is one of those things that I do think there is some truth to, while also being completely overstated.

i wanna take you guys back to the post-war era in the US. this was the time when television was first becoming a major media force and was in many ways replacing radio. if you go and look at time use surveys in the post war era, a couple of things happen. you saw that americans suddenly had huge amount of additional leisure time because of the rise of the middle class, the boom in home appliances that made keeping up a house – doing the dishes, shopping because you now had mass refrigeration and freezing, doing laundry. if you go back before the washing machine, it was very, very common for middle class & even upper middle women who didn’t have a lot of help to spend one whole day doing the laundry. and suddenly, they didn’t. so now there’s a massive amount of leisure time to fill now. and what did they spend doing? just watching television. and some of it was great and we look back on it with fondness, but a lot of that stuff was really trashy time filling junk. and it was kind of designed as trashy time filling junk. it needed to be just entertaining enough to hook in the maximum amount of people and it was assumed that you weren’t really going to be paying attention because you’d be doing something else. soap operas in particular very specifically designed for homemakers to watch while they were doing their chores.

and as we probably all know, before the streaming model or hbo model, most american television was designed with the expectation that viewers wouldn’t watch most episodes, so you couldn’t tell a long story that needed people to concentrate on over the course of, say, 8-13 episodes. in many ways, this was sort of viewed by the culture mavens and the intelligentsia as a terrible thing. if you just go back and read this sort of bookish set of that era (60s-80s) wrote, you’d hear this constantly. it’s rotting people’s minds. it’s the idiot box.

there’s this very famous speech from an fcc chairman, newton minow, about how television was a “vast wasteland”. and a lot of the critiques I hear about the current media landscape, to me, read as the “vast wasteland” speech but for the internet era. there was something true about minow’s view of television. but what’s really interesting is that, if you go back and you read it, he singles out three types of shows – police shows, gangster shows, and westerns.

and what were the three hbo shows that founded the golden era of television? the wire, a police show, the sopranos, a gangster show, and deadwood, a western. over time, television found a way to be more intelligent, more complicated, and promote more concentration. and even then, that criticism of television in the post war era was just sort of overblown at the time.

as much as it is obvious that tiktok just sort of plays on an instinct to not pull away, but to simply dismiss all of it as “this is distraction eating everyone’s brains and it’s like a drug” is probably not something that’s going to hold up 20 or 30 years from now. there’s always a cycle of this sort of thing.

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