#orel's holding the camera

[maounteighn]

annual anti-pride in Moralton went as usual

original pic

[moralpuppet]

❝  None  ?   ❞  He  asks  .  ❝      Golly  ...    ❞

'Maybe  be  more  cautious  when  letting  a  demon  in  your  house . '

A  small  gasp  .  Eyes  catch  onto  it  now  .  There  was  sight  without  seeing  before  ,  a  sense  that  perhaps  the  unusual  sighting  of  a  species  not  native  to  America  was  some  sort  of  apparition  from  God  .  No  .  The  opposite  even  .   It  was  the  manifestation  of  the  absence  of  God  itself  that  stared  from  the  pane  of  his  window  and  made  itself  known  .   

He  steels  any  nerves  .  Orel's  good  nature  has  always  led  him  to  be  kind  even  in  the  face  of  those  who  he  should  be  most  sceptical  . 

❝   I  didn't  let  you  in  ,  you're  just  at  the  window  .    ❞  He  pointed  out  ,  still  bunched  up  in  the  loose  ,  beige  blanket  on  his  bed  ,  he  slips  off  of  the  mattress  ,  taking  the  blanket  along  with  him  ,  draped  over  his  shoulders  and  leaving  his  walking  aid  at  the  foot  of  the  bed  .  He  didn't  need  his  cane  to  move  a  few  steps  towards  the  window  .  Even  then  ,  he  lingers  a  couple  of  paces  back  .  He's  a  foolish  boy  to  have  empathy  for  the  mephistophelian  .  ( @ontimez2 ' ) reality  sounds  lonesome  .  Worse  than  lonesome  .  He  is  barren  of  all  hope  .

Fumbling  hands  still  holding  bundles  of  the  warmth  wrapped  around  his  frame  . ❝   Maybe  not  .  -  But  I  can't  think  why  they  stopped .��  ❞ He  systematically  looked  to  the  Jesus  bobble  head  on  his  shelf  ,  Bible  figurines  strewn  about  on  his  toy  box  beside  an  old  flicker  camera  .    ❝    I-I'm  not  afraid  of  you  .   ❞  He  added  .  There's  truth  to  his  words  .  Mistrustful  .  Maybe  .   Not  afraid  necessarily  .

❝  I  pity  you  because  you  say  you've  got  no  one  ,  and  gee  ,  even  the  bad  and  the  greedy  have  somebody  they  just  take  it  for  granted  .  But  you  ?  You  say  you  have  no  one  .  You  sure  as  anything  don't  have  God  .  That  must  be  awful  and  I  don't  need  protection  from  you  .  You're  clearly  not  trying  to  tempt  me  into  becoming  like  you  .   ❞ ˗ˏˋ 🐕 _ CONTINUED ! ✮

[adultswim2021]

Moral Orel #26: “School Pageant” | June 9, 2007 - 12:15AM | S02E16

This one’s wonderful. There’s a school pageant at Orel’s school about the life of Jesus. Orel assumes he’s a shoe-in for the lead (as does everyone else). But the part of Jesus goes to one of the Jews-for-Jesus clan after the writer/director finds out he’s the nephew of a famous Broadway producer. The writer/director of this play, by the way, is Dale Armature, a former member of the Crucifolks. They’re a famous christian folk band that have been previously seen in the series on posters and stuff around Moralton. He was basically forced out by the other two, a youthful couple who broke up the band and reformed as a solo duo. Dale is desperate to find success again, and it’s shown that he pined after the young woman in the group, holding out hope that one day she would be his. The stakes could not be higher for this poor sap.

Orel gets wrapped up in all of this because, although he’s the favorite to be cast as Jesus, he winds up playing Judas. After receiving a pep talk from Dale (which drives home the idea that Judas is a very important figure in Christianity, perhaps even part of God’s plan?), Orel learns to love playing Judas. In fact his genuinely delightful song “God, I hate you, Jesus” easily steals the show, and becomes the only memorable bit from the play.

Things don’t end up going Dale’s way. The play is recognized as a flop, and he makes a fool out of himself in front of his former partners, as well as the famous Broadway producer. Then there’s a montage of various townspeople, weeks into the future, all cheerily singing Orel’s “God, I hate you, Jesus” song. The final scene is an entire church congregation singing along to it. The camera pushes in on Orel’s face. He chuckles to himself: “wow, everybody sure hates Jesus! …whoops.” 

This one’s just really fast-paced and well-made, and it’s centered around a very fun song that is actually quite catchy. It’s nearly a self-contained episode, though there are certain things about Moralton that might puzzle first-time viewers. Example: there’s one moment that references a previous episode where reverend putty is trying to pitch the concept of an “omelet face mask” to Dale. This is a reference to the episode “Loyal” where the reverend first thinks this idea up and really falls in love with it, and he takes time to derail his sermon just to write it down and pat himself on the back. It’s one of the more pathetic things he’s done; attempt to home this extremely tepid joke into a play because he lacks any other creative talent. I can relate. Whoops.

[alltheshadesoftruth-blog1]

On Warging in GOT: What Could Have Been

Spoiler alert: I hate the show. I hate it with a passion. But, it was not ever thus: I loved series 1, and I found series 2…tolerable. I was at most disappointed with series 3. Series 4 was where the show started to actively anger me: the reduction of the Dornish to their “exoticism” and their sexuality; taking away Sansa’s agency in her plans to flee King’s Landing; the presentation of magical elements.

In view of my hatred, I thought I’d engage in an experiment: how would I present the first instance of skinchanging? Skinchanging is one of the key magical elements of the series (with some theorising about its connection to the Others and its role in the wars to come), and it has been chronically mishandled in the show so far.

So, assuming that we have, up until this point, had an accurate and adequate adaptation of how Bran is exploring his powers (seeded in series 2/3/4, ideally, also through Jon and Arya’s storylines), I would kick off whatever episode Bran first wargs into Walder (in the alternate reality where I am running GOT) thusly.

A couple of disclaimers: 1) I am by no means a screenwriter. 2) I realise this does not necessarily fit exactly with the continuity of the show - that would be because I hate the continuity of the show: it prioritises the wrong things, wouldn’t know a theme if one kicked it in the face and exists primarily so D&D can spoil endings etc. for book readers. So there. 3) We won’t have the gratuitous stuff with Locke et al, so the first time Bran would be warging into Walder would be in the cave with Bloodraven turning a blind eye. 4) I hate “Hold the Door”. My brother is mentally disabled in a similar way to Walder, albeit with more speech, and this episode sickens me on so many levels. 5) As you may have noticed, I will be referring to “Hodor” as Walder, since that is his name, rather than an ableist nickname to which he did not consent.

Now, I’m not a fan of “cold opens”, but I promise it would make more sense and be less jarring in this version of the show because we would have spent more time with the wildlings as characters, rather than as a monolith, in Jon’s arc.

We are in a snowy landscape - it’s not clear whether it’s North or South of the Wall until an eagle screams by the camera. We follow it with swooping angles and fast cuts until it lands on Varamyr (it’s not necessary to explain that it was Orell’s eagle, but you get bonus Book Points if you do - give the eagle a memorable scar, or have it wearing a coloured sash or something). We then go to what Varamyr describes in ADWD as his life before allying with Mance Rayder - dominion over the village and coercing the women into his hall so he can have sex with them. We would have one example of this happening as “”normal””, maybe a montage of women going in and out at day and night, but then the last one changes things.

Have Thistle come in dressed as a Spearwife (scarred, braids, leathers and furs, have her still be armed because Varamyr has become arrogant and doesn’t think any woman will fight back and resist him): either because he likes the challenge, or because she tries to physically fight him; Varamyr tries to warg into Thistle. Cue psychedelia.

*Quick aside*

My main problems with Bran’s storyline in the cave with Max von Bloodraven are that a) the parameters of skinchanging aren’t really properly explained (e.g. the show has it so that Bran can affect the past, as in Hold the Door, the books state that the Weirwoods only provide a looking glass) and b) we do not have enough weirdness. Thinking about the first point: we are supposed to realise that skinchanging into other people is wrong - this is not just something you can do and get away with it. There should be and are consequences, one way or another, for the powerful attempting to subjugate the weak in this way. The show presented how Bran warging into Walder would look from the outside, and what effect it would have on the plot (which is all they seem able to understand), but they do not show what is happening on the inside, aside from showing that Walder is clearly confused and upset by what Bran makes him do to Locke, for example (such as when he looks at his bloodied hands).

As for the second point: this is a 128-year-old sorcerer who is tutoring a 9-year-old boy in how to become a God. I don’t want stationary, realistic shots. I want dreamscapes, cosmic weirdness, the curtain of light at the end of the world. I wanted the show to have taken the opportunity to show us Asshai and Wyverns and Sothoryos, since we will likely never see it in the books, and for a show that prides itself on bringing the spectacle of cinema into people’s living rooms, the mystic side of the show has been...well...boring.

With that in mind, I want everything about this scene to be jarring: sound, lights, camera movement, colour distribution (remember: whoever looked at ASOIAF and thought “You know what we need? Grayscale” should never be allowed near a camera or screenplay again). I want us to practically feel the psychological damage this is doing to Thistle, while seeing what she does in the books, clawing at her face. (I also think that the white eye thing should be used more sparingly, as a sign that the skinchanger is “clocking in and out”: for reasons that will become clear in a second). I realise this seems to contradict criticisms of gratuitousness etc., but this violence would be for a specific purpose: we are supposed to identify with Thistle, not Varamyr, in the book, and we are supposed to feel an instinctual revulsion at what he is doing; and we are going to make this immediately relevant to the “main arc” with literally five more seconds of screentime.

So we’re immersed in Thistle and Varamyr, and at a moment where, in this version where we’re using more of a dreamscape approach, both of their faces are on-screen, terrified and driven mad by the pain and the violation and exulting in their power and domination respectively...

...their faces warp into Walder and Bran, we continue to see Walder’s pain (mirroring Thistle’s both to humanise him, since dialogue apparently can’t, although Guardians of the Galaxy managed with Groot, and make her more relatable to audience that has, at this stage, been with Walder for 4/5 seasons), and then a scene continues (in the cold light of GOT-style grayscale, since in this case it would actually aid contrast between the magical and the mundane) with Bran-as-Walder, Meera and Jojen in their own cave, where we learn that Bran has been with Bloodraven for three days – Meera is worried, Jojen is cryptic and Bran-as-Walder is just sitting there, with the occasional flash of the white eye effect as Bran reasserts control over Walder.

…ok, hear me out.

I can understand why Bran does what he does: he is a nine-year-old boy from a noble family who was traumatically crippled, bringing an end to his dreams of becoming a knight and being “taunted” by the image of Walder, a "simpleminded giant” in Bran’s own words (AGOT Bran IV), being able to physically achieve anything; since being crippled, he has unlocked the potential for vast powers for which he is barely given any guidance as to their use. I understand. But understanding does not make this right. I find it shocking how many people are willing to label Arya, a child soldier who regularly shows empathy to others while still doing awful things, a psychopath while not giving Bran’s actions the least bit of scrutiny. Bran knows that what he is doing is wrong: he actively thinks about it, in ways that reveal a lot about Bran and his mental interactions with Walder and what he thinks they mean.

The big stableboy no longer fought him as he had the first time, back in the lake tower during the storm. Like a dog who has had all the fight whipped out of him, Hodor would curl up and hide whenever Bran reached out for him. His hiding place was somewhere deep within him, a pit where not even Bran could touch him. No one wants to hurt you, Hodor, he said silently, to the child-man whose flesh he'd taken. I just want to be strong again for a while. I'll give it back, the way I always do. (ADWD Bran III)

This is wrong.

Now let’s look at why.

“Like a dog who has had all the fight whipped out of him”.

Setting aside, for one moment, the rampant dehumanisation of the mentally disabled in Westeros (seen with Walder, Lollys, countless others who remain unnamed and unremembered): whipping the fight out of a dog takes sustained cruelty and many attempts. Whipping the fight out of a dog is a waiting game, designed to achieve the outcome you want at the expense of the dog’s wellbeing, and designed to suppress any personality or will in the dog. The trainer knows this, before, during and after the act. Bran knew what he was doing, every one of the apparently many times that Bran has forced himself into Walder.

“Hodor would curl up and hide whenever Bran reached out for him”

A shownly tried to tell me, about a week after “Hold the Door” aired, that Hodor would have done it willingly for Bran, and that “Hodor”, essentially, was more useful when being controlled by an able-minded individual: that he was “asking to be used like that”. This individual has, you will be pleased to know, been cut out of my life entirely: someone who thinks that the privileged in society have the right--nay, the obligation--to use those socially inferior to them for their own ends is clearly a fucking psychopath. In the books, Walder curls up and hides. This is not the action of someone who consents. This sign alone should be enough to convince Bran that, actually, forcing yourself into someone else’s mind to stalk your crush and your bezzie mate (unbeknownst to them, which is weird in itself) is an abomination.

“the child-man whose flesh he'd taken”

This frankly gruesome description of Bran’s violation of Walder shows, without doubt, that Bran knows what he is doing. He knows that it is wrong and, more to the point, he feels the barest amount of remorse. He feels enough pity for Walder to pathetically attempt to reassure the man whose mind he is raping, but not enough to ever stop. The description of Walder as a “child-man” is, in this context, therefore, particularly horrifying. But it is Bran’s attempt to reassure himself that it is Walder’s “flesh” that he is taking that is the most disquieting thing for me: because it isn’t. That is the effect, certainly: Bran only notices that he is taking Walder’s “flesh”, since it is the only thing about Walder that interests him. However, we can see from this passage that Bran is taking so much more from Walder than his “flesh” (such a gross way of referring to someone’s body, while we’re on the subject – more animal than human, akin to “horseflesh”): Walder, someone with a limited understanding of the world who has, among other things, been attacked by literal zombies and subject to mental abuse, does not feel safe in his own mind. That is, and should always be, horrifying.

“I just want to be strong again for a while. I'll give it back, the way I always do.”

It’s the “just” here that is the most sickening part. Because what Bran wants is so pathetically simple (again, I understand that he is suffering as well: but we are witnessing him mentally raping someone weaker than himself, so you’ll forgive me if I don’t show my usual empathy): he wants to be physically able, and is willing to dehumanise and violate someone else to get that feeling for a few hours. The casualness of “the way I always do” speaks to a flippancy surrounding the violation, similar to what we see earlier during the wight attack: “He wondered what Meera would think if he should suddenly tell her that he loved her.” (ADWD Bran II)

What this means for the show.

The show has made clear, from the moment they added in Kristian Nairn’s naked body into the bathing scene in the Godswood, that they do not view Hodor—Walder—as a person. They view him as a literal joke, and as much of an object as the women whose naked, unnamed bodies they paraded around in Littelfinger’s brothel scene or in the scene where Ramsay taunts Theon with beautiful women. Hodor is an object to them: a means by which they can move their able-minded, therefore more important, character from one point to the next. D&D’s fixation on plot has meant that the subtleties of Bran’s ADWD Chapters have been lost in favour of exposition dumps, seeking to spitefully spoil surprises for readers of the books. This fixation has also meant that they have focused on the outward effects of this warging, without appropriate consideration being afforded to anything else: instead of looking at the previous passage, they focused on the second part of this quote: “Deep inside he could hear poor Hodor whimpering still, but outside he was seven feet of fury with old iron in his hand.” (ADWD Bran II) In failing to humanise Walder, in failing to treat him as more than a prop or a plot device, we have been robbed of a kind and gentle man who feels no ill-will toward anyone.

"Hodor!" the stableboy announced, as was his custom, smiling hugely at them all. (AGOT Bran IV)

Hodor hummed tunelessly as he carried Bran down the steps and through the gallery (AGOT Bran IV)

Hodor washed the sweat from him with a warm, damp cloth and dressed him with deft and gentle hands. (AGOT Bran IV)

And it perhaps Bran’s chapters at the beginning of AGOT that can prepare us for this warping of Bran’s character, which will hopefully be addressed by some form of confrontation with Euron, as they battle for dominion of the Westerosi astral plan: “It felt queer to look down on him this way, when he'd spent his whole life looking up at him, but when you sat on Hodor's back you looked down on everyone.” (AGOT Bran VI, emphasis mine)

[junker-town]

The history of 'I'm going to Disney World!' at the Super Bowl

"I'm going to Disney World!" and "I'm going to Disneyland!" have become irrevocably linked to the Super Bowl since Phil Simms first uttered the phrases in 1987.

"I'm going to Disney World!" and "I'm going to Disneyland!" have staked their places in the pop culture lexicon because of the Super Bowl. The phrases (both exclaimed after the game, with different commercials airing depending on where you live in the country) have been uttered by non-Super Bowl champions frequently since the first instance in 1987, but the association is closest with the Super Bowl, an unrivaled celebration of commercialization.

Since 1987, the phrases have been used as part of Disney's "What's Next?" campaign. Phil Simms kicked off the tradition after the New York Giants beat the Denver Broncos in Super Bowl XXI.

Simms wasn't being candid. The idea was supposedly concocted by Jane Eisner, the wife of Disney CEO Michael Eisner. Both Simms and Broncos quarterback John Elway agreed to utter the famous line in exchange for $75,000 if they were victorious. Simms ultimately walked away with the cushy payday.

The format for the commercials has followed the same essential format since Simms' turn. After a series of highlights set to "When You Wish upon a Star" from Pinocchio, the camera cuts to a player in the immediate aftermath of a Super Bowl win and a narrator poses the famous question, "_______, you've just won the Super Bowl, what are you going to do next?" The player looks into the camera and answers. The commercial ends with an image of fireworks exploding over Cinderella's Castle at Disney World, or Sleeping Beauty's Castle at Disneyland.

The unseen voice posing the question is Mark Champion, who is very familiar with the professional sports scene. Champion is currently the primary radio play-by-play voice for the Detroit Pistons, and has called games for the Detroit Lions, Detroit Fury (WNBA), Michigan State men's basketball and Tampa Bay Buccaneers in the past.

The commercial has aired after every Super Bowl since 1987, except for one. In 2005, the commercial did not air, though the reason for the absence is still unclear. The NFL was still reeling from Janet Jackson's wardrobe malfunction in 2004, and may have been leery of any advertising relying on spontaneity. Disney may have also felt that the campaign was losing its effectiveness after 19 years.

There is no formula for who gets to utter the phrase. If you are a quarterback or a Super Bowl MVP, your odds increase, though coaches, running backs and wide receivers have also taken part. Other sports have gotten in the act, too, though not with any regularity. The same year Simms began the tradition, Magic Johnson of the Los Angeles Lakers and Frank Viola of the Minnesota Twins also uttered the phrases, though their performances didn't have the same iconic hold.

Other honorees include Santa Claus, Gretchen Carlson as 1988 Miss America, various college graduates and a recent spate of "American Idol" winners. You can check out the full list below.

Super Bowl participants

Super Bowl XXI, 1987: Phil Simms, New York Giants Super Bowl XXII, 1988: Doug Williams, Washington Redskins Super Bowl XXIII, 1989: Joe Montana, San Francisco 49ers Super Bowl XXIV, 1990: Joe Montana, San Francisco 49ers Super Bowl XXV, 1991: Ottis Anderson, New York Giants Super Bowl XXVI, 1992: Mark Rypien, Washington Redskins Super Bowl XXVII, 1993: Troy Aikman, Dallas Cowboys Super Bowl XXVIII, 1994: Emmitt Smith, Dallas Cowboys Super Bowl XXIX, 1995: Jerry Rice and Steve Young, San Francisco 49ers Super Bowl XXX, 1996: Emitt Smith, Dallas Cowboys Super Bowl XXXI, 1997: Desmond Howard, Green Bay Packers Super Bowl XXXII, 1998: John Elway, Denver Broncos Super Bowl XXXIII, 1999: Terrell Davis and John Elway, Denver Broncos Super Bowl XXXIV, 2000: Kurt Warner, St. Louis Rams Super Bowl XXXV, 2001: Trent Dilfer, Baltimore Ravens Super Bowl XXXVI, 2002: Tom Brady, New England Patriots Super Bowl XXXVII, 2003: Jon Gruden and Brad Johnson, Tampa Bay Buccaneers Super Bowl XXXVIII, 2004: Tom Brady New England Patriots Super Bowl XXXIX, 2005: No commercial Super Bowl XL, 2006: Jerome Bettis, Pittsburgh Steelers Super Bowl XLI, 2007: Tony Dungy and Dominic Rhodes, Indianapolis Colts Super Bowl XLII, 2008: Eli Manning, New York Giants Super Bowl XLIII, 2009: Santonio Holmes and Ben Roethlisberger, Pittsburgh Steelers Super Bowl XLIV, 2010: Drew Brees, New Orleans Saints Super Bowl XLV, 2011: Aaron Rodgers, Green Bay Packers Super Bowl XLVI, 2012: Eli Manning, New York Giants Super Bowl XLVII, 2013: Joe Flacco, Baltimore Ravens Super Bowl XLVIII, 2014: Malcolm Smith, Seattle Seahawks Super Bowl XLIX, 2015: Julian Edelman & Malcolm Butler, New England Patriots Super Bowl 50, 2016: No commercials, but Peyton Manning went to Disneyland to celebrate

Non-Super Bowl participants

Dennis Conner, sailing, America's Cup, 1987 Magic Johnson, Los Angeles Laker, NBA Finals, 1987 Frank Viola, Minnesota Twins, World Series, 1987

Gretchen Carlson, Miss America, 1988 Orel Hershiser, Los Angeles Dodgers, World Series, 1988 Kareem Abdul-Jabbar, Los Angeles Lakers, NBA Finals, 1988

Al MacInnis, Calgary Flames, Stanley Cup Finals, 1989 Joe Dumars, Detroit Pistons, NBA Finals, 1989

Jim Thompson, Temple University, college graduation, 1990 Matt Kaldenberg, Simpson College, college graduation, 1990 Phyllis Kaldenberg, Simpson College, college graduation, 1990 Laura McEwen, Simpson College, college graduation, 1990

Michael Jordan, Chicago Bulls, NBA Finals, 1991

Patrick Roy, Montreal Canadiens, Stanley Cup Finals, 1993

Jeff Gordon, NASCAR, 1994 Brickyard 400, 1994 Nancy Kerrigan, U.S. figure skater, Winter Olympics, 1994

Santa Claus, jolly fat man in red, Christmas, 1997

Mark McGwire, St. Louis Cardinals, MLB home run record, 1998

U.S. Women's National Soccer Team, FIFA Women's World Cup, 1999

Barry Bonds, San Francisco Giants, MLB home run record, 2001

Scot Spiezio, Anaheim Angels, World Series 2002

Curt Schilling, Pedro Martinez and David Ortiz; Boston Red Sox, World Series, 2004

Dwyane Wade, Miami Heat, NBA Finals, 2006

Teemu Selanne, Anaheim Ducks, Stanley Cup Finals, 2007

David Cook, Season 7 "American Idol" winner, 2008

Kris Allen, Season 8 "American Idol" winner, 2009 Bruce Springsteen, The Boss, Super Bowl XLIII halftime, 2009

Lee DeWyze, Season 9 "American Idol" winner, 2010

Scotty McCreery, Season 10 "American Idol" winner, 2011

[junker-town]

The history of 'I'm going to Disney World!' at the Super Bowl

"I'm going to Disney World!" and "I'm going to Disneyland!" have become irrevocably linked to the Super Bowl since Phil Simms first uttered the phrases in 1987.

"I'm going to Disney World!" and "I'm going to Disneyland!" have staked their places in the pop culture lexicon because of the Super Bowl. The phrases (both exclaimed after the game, with different commercials airing depending on where you live in the country) have been uttered by non-Super Bowl champions frequently since the first instance in 1987, but the association is closest with the Super Bowl, an unrivaled celebration of commercialization.

Since 1987, the phrases have been used as part of Disney's "What's Next?" campaign. Phil Simms kicked off the tradition after the New York Giants beat the Denver Broncos in Super Bowl XXI.

Simms wasn't being candid. The idea was supposedly concocted by Jane Eisner, the wife of Disney CEO Michael Eisner. Both Simms and Broncos quarterback John Elway agreed to utter the famous line in exchange for $75,000 if they were victorious. Simms ultimately walked away with the cushy payday.

The format for the commercials has followed the same essential format since Simms' turn. After a series of highlights set to "When You Wish upon a Star" from Pinocchio, the camera cuts to a player in the immediate aftermath of a Super Bowl win and a narrator poses the famous question, "_______, you've just won the Super Bowl, what are you going to do next?" The player looks into the camera and answers. The commercial ends with an image of fireworks exploding over Cinderella's Castle at Disney World, or Sleeping Beauty's Castle at Disneyland.

The unseen voice posing the question is Mark Champion, who is very familiar with the professional sports scene. Champion is currently the primary radio play-by-play voice for the Detroit Pistons, and has called games for the Detroit Lions, Detroit Fury (WNBA), Michigan State men's basketball and Tampa Bay Buccaneers in the past.

The commercial has aired after every Super Bowl since 1987, except for one. In 2005, the commercial did not air, though the reason for the absence is still unclear. The NFL was still reeling from Janet Jackson's wardrobe malfunction in 2004, and may have been leery of any advertising relying on spontaneity. Disney may have also felt that the campaign was losing its effectiveness after 19 years.

There is no formula for who gets to utter the phrase. If you are a quarterback or a Super Bowl MVP, your odds increase, though coaches, running backs and wide receivers have also taken part. Other sports have gotten in the act, too, though not with any regularity. The same year Simms began the tradition, Magic Johnson of the Los Angeles Lakers and Frank Viola of the Minnesota Twins also uttered the phrases, though their performances didn't have the same iconic hold.

Other honorees include Santa Claus, Gretchen Carlson as 1988 Miss America, various college graduates and a recent spate of "American Idol" winners. You can check out the full list below.

Super Bowl participants

Super Bowl XXI, 1987: Phil Simms, New York Giants Super Bowl XXII, 1988: Doug Williams, Washington Redskins Super Bowl XXIII, 1989: Joe Montana, San Francisco 49ers Super Bowl XXIV, 1990: Joe Montana, San Francisco 49ers Super Bowl XXV, 1991: Ottis Anderson, New York Giants Super Bowl XXVI, 1992: Mark Rypien, Washington Redskins Super Bowl XXVII, 1993: Troy Aikman, Dallas Cowboys Super Bowl XXVIII, 1994: Emmitt Smith, Dallas Cowboys Super Bowl XXIX, 1995: Jerry Rice and Steve Young, San Francisco 49ers Super Bowl XXX, 1996: Emitt Smith, Dallas Cowboys Super Bowl XXXI, 1997: Desmond Howard, Green Bay Packers Super Bowl XXXII, 1998: John Elway, Denver Broncos Super Bowl XXXIII, 1999: Terrell Davis and John Elway, Denver Broncos Super Bowl XXXIV, 2000: Kurt Warner, St. Louis Rams Super Bowl XXXV, 2001: Trent Dilfer, Baltimore Ravens Super Bowl XXXVI, 2002: Tom Brady, New England Patriots Super Bowl XXXVII, 2003: Jon Gruden and Brad Johnson, Tampa Bay Buccaneers Super Bowl XXXVIII, 2004: Tom Brady New England Patriots Super Bowl XXXIX, 2005: No commercial Super Bowl XL, 2006: Jerome Bettis, Pittsburgh Steelers Super Bowl XLI, 2007: Tony Dungy and Dominic Rhodes, Indianapolis Colts Super Bowl XLII, 2008: Eli Manning, New York Giants Super Bowl XLIII, 2009: Santonio Holmes and Ben Roethlisberger, Pittsburgh Steelers Super Bowl XLIV, 2010: Drew Brees, New Orleans Saints Super Bowl XLV, 2011: Aaron Rodgers, Green Bay Packers Super Bowl XLVI, 2012: Eli Manning, New York Giants Super Bowl XLVII, 2013: Joe Flacco, Baltimore Ravens Super Bowl XLVIII, 2014: Malcolm Smith, Seattle Seahawks Super Bowl XLIX, 2015: Julian Edelman & Malcolm Butler, New England Patriots Super Bowl 50, 2016: No commercials, but Peyton Manning went to Disneyland to celebrate

Non-Super Bowl participants

Dennis Conner, sailing, America's Cup, 1987 Magic Johnson, Los Angeles Laker, NBA Finals, 1987 Frank Viola, Minnesota Twins, World Series, 1987

Gretchen Carlson, Miss America, 1988 Orel Hershiser, Los Angeles Dodgers, World Series, 1988 Kareem Abdul-Jabbar, Los Angeles Lakers, NBA Finals, 1988

Al MacInnis, Calgary Flames, Stanley Cup Finals, 1989 Joe Dumars, Detroit Pistons, NBA Finals, 1989

Jim Thompson, Temple University, college graduation, 1990 Matt Kaldenberg, Simpson College, college graduation, 1990 Phyllis Kaldenberg, Simpson College, college graduation, 1990 Laura McEwen, Simpson College, college graduation, 1990

Michael Jordan, Chicago Bulls, NBA Finals, 1991

Patrick Roy, Montreal Canadiens, Stanley Cup Finals, 1993

Jeff Gordon, NASCAR, 1994 Brickyard 400, 1994 Nancy Kerrigan, U.S. figure skater, Winter Olympics, 1994

Santa Claus, jolly fat man in red, Christmas, 1997

Mark McGwire, St. Louis Cardinals, MLB home run record, 1998

U.S. Women's National Soccer Team, FIFA Women's World Cup, 1999

Barry Bonds, San Francisco Giants, MLB home run record, 2001

Scot Spiezio, Anaheim Angels, World Series 2002

Curt Schilling, Pedro Martinez and David Ortiz; Boston Red Sox, World Series, 2004

Dwyane Wade, Miami Heat, NBA Finals, 2006

Teemu Selanne, Anaheim Ducks, Stanley Cup Finals, 2007

David Cook, Season 7 "American Idol" winner, 2008

Kris Allen, Season 8 "American Idol" winner, 2009 Bruce Springsteen, The Boss, Super Bowl XLIII halftime, 2009

Lee DeWyze, Season 9 "American Idol" winner, 2010

Scotty McCreery, Season 10 "American Idol" winner, 2011