#irish mob

[msclaritea]

Benedict Cumberbatch, Olivia Colman to Lead 'War of the Roses' Remake

"The Roses’ is a wildly funny, bigger than life, and yet deeply human story,” said Searchlight president Matthew Greenfield announcing the project. “With Jay at the helm, and Benedict and Olivia and Tony, we have a dream team bringing it to life.”

So Matthew Greenfield at Searchlight is dirty...BEYOND dirty. No comment on Olivia Colman as of yet, but we all know now that actors and actresses usually have NO SAY I'm the projects they're currently put in. This film should not be made. It's another horrible, cruel joke to play on the fans of Benedict Cumberbatch and the people pushing it are on the same level as that jackal Jay Z and the NFL This is pure, sick, Freemason, ancient bullshit. Also, how is it this project is STILL in development, when it's BEEN in development since 2017?

And Benedict, if you go along with this project, it will be revealed to the public that you are going along with your own public humiliation, in order to enrich human traffickers.

Was Clarence really not enough for you?

Or Eric?

How about pissing on yourself in Louis Wain?

AND HEY, DISNEY...BIG FUCKING MISTAKE!

[smoqueen]

my twitch

[principiumindividuationis777]

[sweaterkittensahoy]

[image description: photo 1, the cover of the book "The Westies: The Irish Mob" by T.J. English. It has a pullquote: "The true story of the most brutal men this violent nations has ever seen...The Westies will blow you away!" -- Edna Buchanan

Photo 2: A handwritten note on the inside flap of the book: "Steve, This book frightened me. I did time with Featherstone in Riker's Island 1981. Beat up his best friend who was about 6-foot 2-inches 240 pounds. I was 147 pounds at the time. I had no idea who this Featherstone was but I would of done up his friend just the same because 'I had to.' I was 22 at the time. I drank in Hell's Kitchen for several years." The note is unsigned.]

Bought this book a year or two ago because I look some good non-fiction. Had NO IDEA about the note on the inside until I pulled the book out to finally read it.

HOLY. SHIT.

[roughridingrednecks]

[lifewithaview]

Tamala Jones and Stana Katic in Castle (2009) The Wild Rover

S5E18

The corpse of Jimmy, a baker popular for cupcakes, is found in his industrial dough mixer. His apprentice, Todd, noticed someone in a vintage muscle car, before being sent away. The car was identified as belonging to Irish mob boss Robert 'Bobby S.' Shannon. After FBI agent Sam Walker tells the team that Jimmy was his informant, Ryan astounds everyone by revealing he had been undercover in that gang years ago. And, to save a friend, chooses to revive his alias, Fenton, and go back undercover.

*This episode begins with a cupcake cake reading "Happy 99th" on the victim's table of baked goods. This is the 99th episode of Castle.

[joeygallagher]

Irish Mob  (2021)

having sex with walking cast on 

Shot by Chris Maggio 

Edited by Danny Scharar 

original music by Mikal Cronin 

Special Thanks to the Original Mixed Company a cappella group Bayonne New Jersey

[buckets-and-trees]

He's waiting for you to walk out of your work building

HE'S T-R-O-U-B-L-E!

He was your one night stand the last night of your trip to Ireland.

Best sex of your life, blew your back out, but way more personality and charm and mischief than you know you could ever endure for more than one night.

That's why you snuck out while he was in the shower.

Plus you had to scramble back to your hotel to pack your suitcase and head to the airport anyway.

But what you didn't know is that James Buchanan Barnes is Irish Mob.

So he can follow you anywhere, doll.

And two days later, he did.

He's not certain himself if he'll keep you forever or not, but he is certain he's not done with you yet.

He skirts the line between playboy and eligible bachelor in the tabloids back in Ireland, and he's ready to play a bit away from home. He's got an appetite to fill. And the appetite is you. And he's going to fill you with his cock.

[ollieolzzz]

IRISH MOB AU 🫦🫦 bc i keep seeing those Barry Keoghan edits (I have never seen the show this is just pure and unfiltered brainrot)

- Oliver wasn’t lying about the way he grew up

- The family that Felix saw was his adoptive parent/distant family member

- Boxer Oliver Quick with cracked and red knuckles 😍

- The more Oliver drinks the thicker his Irish accent gets

- Confident Oliver 🗣️‼️‼️

- Felix sees him in the boxing ring by coincidence after he followed Oliver after yet another excuse as to why he couldn’t go drinking that night

- Oliver has a gun

- Felix uses his money and influence to do a background search of Oliver (or smt) and find out that he’s been arrested for street fighting and he prints off Oliver’s mugshot bc he looks so fawking hot

- Felix is obsessed with Irish Mob Oliver because yeah he’s rich and can do whatever the hell he wants and he’s never really been in danger and Oliver knows danger

idk idk idk i have worms

just. badass secretly confident mf Oliver and star struck rich boy Felix Catton

[soupstuff]

James Connolly, an NPC I've been designing for a game using @anim-ttrpgs's EUREKA system. I Just got their rule book from their Patreon, and it sounds like an awesome mystery system so far. I'm excited to play around with it!

[irishthings]

oh no

[msclaritea]

"Biopics of massively famous musicians are rarely very good, often because they stumble at the question of whom exactly they’re being made for. Are you making a movie for the already initiated die-hard fans yearning to see the life and times of their hero reflected back at them in exacting detail? Or is your movie a welcome mat for novices, a breezy jukebox of greatest hits aimed at cultivating new generations of fans, goosing streaming tallies and catalog sales in the process? Most musician biopics never manage to resolve this tension, in part because they’re usually also serving a third master, namely the musician’s estate, which tends to hold its own, very specific ideas about on-screen depiction.

Bob Marley: One Love, the new movie about the late reggae superstar that’s produced by Marley’s widow, Rita, along with some of his children, is a biopic that does seem to know whom it’s for, which isn’t a point in its favor. The film is directed by Reinaldo Marcus Green (King Richard) and stars Kingsley Ben-Adir as Marley, who does his best with the role despite not really looking or sounding much like the real Marley. (Within the past four years Ben-Adir has played Malcolm X, Barack Obama, and Bob Marley, quite the triptych of historical figures.) Lashana Lynch plays Rita and steals the film in every scene she’s in, even if the movie’s script fails to elevate her character past the archetypical suffering-yet-supportive wife of a genius.

Rather than taking a cradle-to-grave approach to Marley’s life, One Love instead focuses on a single period of Marley’s career, his self-imposed exile to England in the aftermath of the 1976 attempt on his life at his home in Kingston, during which time he recorded Exodus, the 1977 LP that marked his full breakthrough into global superstardom. The film opens with the assassination attempt, after which we’re quickly whisked to London, where the film depicts Marley writing most of Exodus’ songs in a cloying series of “eureka!” moments that tend to populate movies of this kind. Snippets of Marley’s classic “Redemption Song” surface as a recurring musical motif in the film, and in one of the last scenes, we see Marley performing the song for his awestruck family in a sappy flourish that’s also anachronistic. (By most accounts, Marley didn’t write “Redemption Song” until 1979.) Periodically we’re treated to a series of flashbacks of the singer’s earlier life, a clichéd device that this movie could have used more of: Brief forays into Marley’s conversion to Rastafarianism are surprisingly well done, and a scene of a teenage Marley and the Wailing Wailers performing “Simmer Down” at Coxsone Dodd’s Studio One is the best moment in the film.

One Love is an inspirational tale about a Great Man who used music to unite the world, one that reduces one of the most consequential and complicated artists of the 20th century to a walking fount of genial aphorisms, the guy who suggested we all get together and feel all right. As such, the film indulges a decadeslong public appetite for a particular imagining of Marley that his estate now seems depressingly eager to feed. It’s been 42 years since Marley died of a rare form of melanoma at age 36, and I’m not sure there’s a musician who’s more literally iconic: Go to any commercial district in any part of the world and within minutes you’ll find an opportunity to buy something bearing Marley’s likeness. In the United States, Marley has been a staple of dorm-room walls for generations: The casual and underinformed co-optation of Marley by American bro culture has even inspired a recurring meme in which Marley’s name is erroneously affixed to an image of Jimi Hendrix.

To a certain brand of musical cynic, Marley has become the embodiment of a musician whom people own posters and T-shirts of but don’t actually listen to, which isn’t totally fair to most of the owners of those posters and T-shirts. Some of Marley’s music is still enormously popular: His 1984 greatest hits compilation Legend is currently enjoying its 820th week on the Billboard 200, a position it will likely maintain for the foreseeable future given One Love’s early, strikingly robust box-office projections. The only album that’s spent longer on the chart is Pink Floyd’s Dark Side of the Moon.

But in the pop-cultural imagination, Legend has completely eclipsed everything else Marley ever released. The album has sold more than 15 million copies in the United States alone, while no other Marley LP has sold even 1 million stateside. From a purely mathematical standpoint, this would indicate that for many fans, Legend is the first and only Marley album they’ll ever listen to. I’m not sure there’s another greatest hits compilation that has played such an outsize role in the public definition of an artist.

Legend is a fine little collection, but the idea that it’s some sort of one-stop synopsis of Marley’s career is absurd. For starters, 10 of its 14 tracks date from the period of 1977–80, a four-year time frame that represents the height of Marley’s global popularity but is a relatively minuscule cross section of a staggeringly prolific, nearly two-decade-long recording career. (Five of Exodus’ 10 tracks are included on Legend, which I suspect is one reason that One Love is so invested in the album’s significance.)

This period also coincides with a time when Marley’s music seemed to take a step back from revolutionary politics, a tack that may have been driven at least in part by the aforementioned assassination attempt. The Marley canonized on Legend is not the Marley who sang “I feel like bombin’ a church/ Now that you know that the preacher is lyin’ ” or who called for “burnin’ and a-lootin’ tonight … burnin’ all illusion tonight” or declared that “Rasta don’t work for no CIA.” The dominance of Legend in the U.S. is particularly striking when one considers that Marley’s highest-selling album in this country during his lifetime was 1976’s Rastaman Vibration, which peaked at No. 8 on the Billboard 200 and includes such overtly political tracks as “Crazy Baldhead,” “Rat Race,” and “War.” Legend doesn’t include a single track from Rastaman Vibration, instead opting for romantic fare like “Is This Love” and “Waiting in Vain” and feel-good anthems like “One Love/People Get Ready” and “Jamming.” (For an excellent deep dive into the history and legacy of Legend, I recommend this article from the Ringer earlier this week.)

One Day’s Director Has No Regrets About the Movie’s Controversial Ending

Legend’s preeminence has helped turn Marley into the musical equivalent of a tourist destination, at which One Love is just one more cozy attraction. This is worse than a shame, because the real Bob Marley was one of the most remarkable musical talents of the 20th century. As a songwriter, he was so prolific that music seemed to pour out of him, a quality that has sometimes led to a naturalization of his gifts that veers into exoticizing primitivism. (One Love certainly partakes in this.) But rather than being some carefree savant, Marley was a fiercely disciplined and ambitious artist from the very beginning. He wrote and recorded his first single, “Judge Not,” in 1962 at the age of 16, and it remains an astonishing debut, an effortlessly catchy melody sung by a voice that sounds both nervous and supremely confident in a way that only a teenager can manage.

By the time he signed to Island Records in 1972 and began his ascent to international superstardom, Marley had already written a lifetime’s worth of great songs. He had a preternatural ear for hooks and crafted songs that were ready-made hit records, three-minute gems of perfectly crystalized musical ideas. As a singer, his indelible tenor rasp and thrillingly improvisational style were the byproducts of an extraordinarily well-honed sense of intonation and time. And during the 1970s, he fronted what might have been the best band on the face of the earth, grounded in the peerless rhythm section of drummer Carlton Barrett and bassist Aston “Family Man” Barrett, the latter of whom died earlier this month at age 77. (Aston’s son and namesake, an accomplished musician in his own right, plays his father in the film.)

One Love doesn’t know how to begin exploring this artist and his art in any way that even begins to be interesting. Instead it just feeds back the same sanitized and saccharine idea of Bob Marley to the same audience who has been eating that up for generations. It’s a movie about a poster. Over the end credits of One Love, archival performance clips of Marley flash onto the screen, and for a few moments we’re treated to sounds and images that are infinitely more magnetic and thrillingly alive than anything we’ve seen over the preceding 100-ish minutes. That Bob Marley, and the extraordinary body of music he left behind, is still out there for those who go listening for it, but this movie isn’t where you’ll find him."

[eliaskahtri]

So hear me out. Say someone finds a place of employment at a potentially nefarious place. Does one sail off gently into that good night, or do they continue to work there and pretend they aren't onto their scheme?

[namira]

One thing I am genuinely grateful for about my upbringing is that I was surrounded by a bunch of Greatest Generationers and actual, literal Boomers who lived through a lot of very interesting historical events and would reference them pretty regularly. Like they'd start recounting thalidomide scandal or JFK assassination or the Weather Underground's bombings or the Waco siege or whatever else and my child self would just be like 👁️👁️

[ginger-thing]

"Spirit was like an actual animal. Attacking anyone in sight. If it wasn't for my buddy Wally, then I'm sure Howdy's throat would've been ripped out!" - Barnaby

[vampirekangaroo]

I'm finally getting around to watching Kin season 2 and sweet lord have mercy to that one scene in episode 3 with Michael, Bren, Birdy, and Eric. If he ever needs an alibi, I was with him. He couldn't have done whatever was said to have happened. Michael just moved Thomas Shelby way up on my list of characters/shows I need to watch. I understand my mom's love for mobster films/shows in a whole new way now.