#pers: melissa barrera

[velvetrogue]

About and Rules

About

Welcome to Velvet Rogue!

My pseudonym is Marcus, and I’m 29 years old. I’m based in the UK and have been writing in the indie Tumblr RP community for over a decade now. 

This blog is the latest of several for me, and in previous iterations I was midnightsaboteur, classicdecadence, urbanesyndicate and suitsandbourbon. 

I have a 9-5 office job on weekdays, and I’m a hybrid worker, so I’m usually fairly active. I aim to publish a set of replies (usually 3-5 in any one batch) per day. 

My DMs are always open, so feel free to reach out, and we can get chatting! 

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Core Rules

To begin, here are my 'core rules'. These are absolutely essential for writing with me. Why? Because I have a lot of threads at any one time, and these rules help me to cater for many muns without being overwhelmed.

The core rules are:

Spread replies out. Don't post replies back to back, or very quickly (i.e. within a good 5-6 hours) after each other. (This does not apply to open replies).

Limit replies to 1-2 only over any 24-hour period.

If it's a multi-para thread, check with me if you'd like to reply rapidly (i.e. within a good 5-6 hours), especially if we haven't already agreed back and forth.

I hate to be blunt, but these rules have been broken a lot recently, meaning I'm tightening up on them. Everyone has a clean slate after reading these rules from now, but if any of these three core rules are broken, I will drop the threads in question.

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Other Rules and Notes

Styling: I use medium-sized gifs and do not engage with replies using static icons or large-sized gifs. 

Banned FCs: I do not write with any muses using the FCs of… Omar Ayuso, Melissa Barrera, Alexa Demie, the Hamid sisters, Rachel Zegler, Logan Lerman and Cole Sprouse. 

Additionally, I do not write against deceased FCs or those convicted or credibly accused of wrongdoing. 

NSFW: This blog contains untagged NSFW content. 

Starters: All my opens are available for replies, regardless of age. 

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Preferences

Whilst I’m open to writing many different things, you may notice that I tend towards certain muse vibes, plots and aesthetics in my writing. 

These are:

Muses who are criminals, politicians, artistic types, actors, athletes and law enforcement. 

Plots revolving around crime, indulgence, infidelity, sexuality, hookups, secrets and established relationships.

Aesthetics of Los Angeles, New York, the Deep South and London for locations, and art, ballet, Hollywood, noir, writing, sports and government for interests. 

My muse vibes, plots, and aesthetics go beyond this list, but the ones above are a good, general summary of what I like to write. 

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Muses

My muses are split between ‘Main’, 'Selective' and ‘Exclusive’. 

Main muses are those I use frequently and are available to anyone.

Selective muses are those that I use more sparingly but are nevertheless available to anyone.

Exclusive muses are those that I use in a select number of closed plots, with muns whom I've previously written those muses. They are not open to anyone beyond this.

[brokehorrorfan]

Children can be such monsters. Abigail opens in theaters on April 19 via Universal, and Broke Horror Fan is celebrating with a giveaway.

Four winners will receive an Abigail shirt. Fill out this form to enter. Winners will be picked at random next Friday. One entry permitted per person, US residents only.

Matt Bettinelli-Olpin & Tyler Gillett (Scream 5, Scream VI) direct from a script by Guy Busick (Scream 5, Scream VI) and Stephen Shields (The Hole in the Ground). Melissa Barrera, Dan Stevens, Kathryn Newton, William Catlett, Kevin Durand, Angus Cloud, Alisha Weir, and Giancarlo Esposito star.

After a group of would-be criminals kidnap the 12-year-old ballerina daughter of a powerful underworld figure, all they have to do to collect a $50 million ransom is watch the girl overnight. In an isolated mansion, the captors start to dwindle, one by one, and they discover, to their mounting horror, that they’re locked inside with no normal little girl.

[seggggga]

I know Neve Campbell is getting a shit ton of backlash as she's returned to Scream, especially after Melissa Barrera getting fired over something she definitely should not have. But, the thing is, Neve has two kids and a husband, but, nobody really knows how she is financially, whether she's stable or not. Also, don't forget the fact that Kevin Williamson is now directing, which opens a new door. This could mean that Melissa has a possible chance of appearing in the seventh movie, possibly Jenna alongside her.

Both Neve and Courteney must be getting paid a mansion per scene after everything, I get it when people say "they're trying to distract us from Melissa Barrera's firing". But, it's people's jobs at the same time. I wouldn't be boycotting a financial company if my mom got fired but this other dude got hired again, but it is a valid thing to do, Spyglass firing Melissa was absolutely vile after she spoke out about something that's serious. So, overall, it's not that deep, I completely understand both points as Melissa was in the right to speak out about the horrific side of the Gaza strip and it was wrong for her to be fired over it. And, it may have been wrong for Neve to rejoin but there's a ton of other things to factor in.

[oceanofmusings]

𝐏𝐎𝐂 𝐅𝐂𝐬 𝐑𝐄𝐒𝐎𝐔𝐑𝐂𝐄𝐒.

hello! just putting together a little resource which is by no means comprehensive, but can be used as a quick reference for some poc fcs with good resources and links to some of their gif hunts. though i’m not an rph, i had made this list already for personal reference and wanted to share in case it brought anyone else inspo. i know there are probably a few of these posts already, but i think the more ways to get people looking at poc fcs, the better! there are so many good poc fcs out there, that it’s a shame we don’t see them more, especially when some have a shocking amount of resources. some of these fcs are already popular, but i figured i’d add them in anyway, though i did try to list out more fcs i don’t see as often. 

i tried to include 2-3 good hunts per fc (most were found using this site/link since tumblr tags are a hot mess as usual) and i take no credit for any of the resources linked either. thank you to creators who’ve made such good gifs for these fcs and if you use their hunts, please like/reblog their posts and be mindful of any denoted triggers. hopefully this gives a wee boost to some more underused fcs as well.

adeline rudolph (one, two, three)

aiysha hart (one, two, three)

alperen duymaz ( one) 

amita suman (one, two, three) 

anna diop (one, two, three)

arden cho (one, two)

aubrey plaza (one, two, three, four)

daniel henney (one, two, three)

darren barnet (one, two, three)

davika hoorne (one, two) 

david castaneda (one, two, three)

deepika padukone (one, two, three)

dev patel (one, two, three) 

diane guerrero (one, two, three)

diego luna (one, two, three)

diego boneta (one, two, three)

gemma chan (one, two)

gong yoo (one, two, three)

greta onieogou (one, two)

han so-hee (one, two)

issa rae (one, two, three)

jamie chung (one, two, three)

jordan fisher (one, two)

jung eun-chae (one, two)

justice smith (one, two, three)

justin h. min (one, two, three)

karen fukuhara (one, two)

lewis tan (one, two, three)

manny jacinto (one, two, three, four, five)

may calamawy (one, two, three)

medalion rahimi (one, two, three)

melissa barrera (one, two)

michaela coel (one, two)

michael b jordan (one, two)

natasha liu bordizzo (one, two, three) 

nathalie emmanuel (one, two, three)

nishi munshi (one)

pedro pascal (one, two, three)

quintessa swindell (one, two, three)

rachel hilson (one, two, three)

raymond ablack (one, two)

ritu arya (one, two, three)

ross butler (one, two, three)

sarah shahi (one, two, three)

sean teale (one, two, three)

sobhita dhulipala (one, two, three)

sonoya mizuno (one, two, three)

yahua abdul-mateen ii (one, two, three)

zeeko zaki (one, two, three)

zion moreno (one, two, three)

[midnightsaboteur]

RULES - MAY 2024 UPDATE

ABOUT THE MUN

I am 29 and will only write with those above 21. I’m based in the UK and have a 9-5 office job on weekdays.

My DMs are always open, so feel free to reach out, and we can chat about anything!

CORE RULES - THREADS

I have a lot of threads at any one time. Unsurprisingly, my draft count can get stressful as a result, so I have the following 'core rules' to help me cope:

Please spread your replies out. This means posting only one at a time and then not following up with another until at least a few hours later.

Please limit replies to 1 or 2 only within any 24-hour period.

Please check with me if you'd like to reply immediately. I'm happy to do back and forth, or loosen my reply limits, so long as I'm asked.

I ask you to kindly follow these rules, as they help me avoid an overwhelming draft count. If these rules are broken repeatedly, I reserve the right to drop the threads in question.

PREFERENCES

These aren't formal 'rules' per se, but whilst we're here, I may as well list some of my preferences and slight 'niggles' when it comes to length, reply rates and timings.

They're not rules that can be 'broken', but I reserve the right to drop threads if my muse is affected by any of the below.

Length: I'm happy to go to 2-3 paragraphs in a thread if the content and vibe justifies it. However, I'm not a fan of huge threads as the norm. So, where appropriate, I aim to whittle threads down into 1-2 paragraphs.

As a slight aside, I'm also not a fan of receiving a reply and being told what the length should be in the tags.

Balancing: When I have a lot of threads with someone (like 8-10 or more), I try to balance between replies with me and replies with them. I like this to be respected.

Activity and Muse: I don't have a restriction on how long replies take, as I appreciate RL comes first. However, if replies to me generally take a while when the other mun is clearly active, I'm far more likely to quietly drop the thread than waste time replying when the muse of the other clearly is lagging.

Scheduling: I find replies that come at the exact same time every day overwhelming. They force me to divert my focus in drafts to keep up with such a reply rate, and honestly, I don't need a regular 'set time' for when I must always receive a reply.

OTHER RULES AND NOTES

Starters: All my opens are available for replies, regardless of their age.

NSFW Content: This blog contains untagged NSFW content.

Styling: I use medium-sized gifs and do not engage with replies using static icons or large gifs.

Banned FCs: I do not write opposite the following FCs for personal reasons - Alexa Demie, Omar Ayuso, the Hadid sisters, Melissa Barrera, Logan Lerman and Cole Sprouse.

Additionally, I do not write against deceased FCs or those convicted/credibly accused of wrongdoing.

[holden-norgorov]

Ranking the SCREAM Movies

I've just finished rewatching all the franchise in order so I'm making this ranking with all the movies fresh in my mind. The ranking is from worst to best.

6. SCREAM (2022).

This was by far the easiest to place because it's the closest the franchise has ever been to making a bad movie. I wouldn't necessarily call it a bad film per se, but in my opinion it ranks below the rest by a significant degree. The opening scene is the least interesting and most predictable out of all the movies: it lacks the power and iconic status of the first, the fun and insightful commentary of the second, the stakes of the third (due to the direct involvement of a character the audience is already familiar with), the unexpected meta subversion of the fourth and the experimental fake Ghostface of the sixth. Jenna Ortega does a good job acting-wise, but it's clear early on that all the scene wants to do is to requel-ize the original Scream opening. This severely strips the scene of suspense and provides nothing in its place that is able to truly hold the audience's attention in a similar way to how all the other five movies manage to. The peculiarity of the scene ends up steming from the fact that the person supposed to be the original victim (Tara) actually survives the attack, but the effectiveness of the twist is delayed because the audience is obviously revealed that once the opening scene is over.

This is also the worst movie out of the bunch acting-wise. Melissa Barrera is really unconvincing in most of the movie to the point of being almost hard to watch, particularly in the first half. The entire new supporting cast is lukewarm at best and doesn't seem to be comfortable in handling typical Scream banter, with many one-liners and puns not landing at all due to failure of delivery. I couldn't really say whether several lines don't land because the script is sub-par or because the main cast does a pure job bringing it to life, but that's still the result. The tear-filled infodump Samantha provides to Tara when the movie has barely started is really disappointing and arguably the worst scene in the entire movie. Not only does the scene feel misplaced (you can't expect your audience to be able to buy a moment like that so early on with new characters - we have known Sam and Tara for twenty minutes, so the emotional investment that kind of scene is supposed to inspire completely falls flat), but it's also very poorly delivered and, strictly quality-speaking, a betrayal to the original Scream, where Sidney's background and connection to a previous Woodsboro murder was carefully revealed to the audience through bits and pieces by different characters in a very intelligent manner. Here instead we have a huge exposition from Amber to everyone else about Sam and Tara's relationship, and another huge exposition from Sam to Tara about her true origins. Neve Campbell as Sidney feels also way less invested in the story than ever before: she doesn't even shed a tear for Dewey's death, which I find rather odd (you could argue that a lifelong exposure to constant death, trauma and inability to discern who to trust could have bolstered her to the point of self-protective stoicism, but I still think such a pivotal moment as the death of one of the Core Three who had been a main character for five movies merited a more weighful reaction from the iconic protagonist of the franchise). Instead, we just get a quick acknowledgement, and by the very next scene Sidney and Gale are back to a rather forced and forceful banter that almost makes it look like parody.

Last thing I'm going to mention is the new characters. This is the area where I think it's more evident that the script has also to be somehow at fault. Every character here feels incredibly generic. It's not that they are not given enough screen time to develop some kind of personality, it's just that the movie doesn't seem interested in providing it. Compare the general hallowness and vagueness of each new character here (including those who are going to become the new main characters of the requels, particularly Tara, Mindy and Chad) with how the way less important and more decorative characters were written, for example, in Scream 3. Sarah Darling was dead in the first quarter of the movie, and yet in a couple of brief scenes she had more depth and texture than almost everyone acquires here in the entire length of the movie. Same thing could be said about Scream 2's CC Cooper. Here instead we have a very long scene preparing us to the murder of Wes, but we know basically nothing of him, and our investment in his survival is severely compromised as a result. Same thing goes for Stu Macher's nephew, who is literally just a caricature. The killers' motive is also a bit underwhelming and feels very much like a meta excuse to bring the franchise back to life with a new generation. I also think it's hilarious that the villains complain about the Stab movies needing new material and about how stupid and disappointing is for Stab 8 to decide to call itself like the original movie (as a requel could never beat the original, as they say)... within a movie that's supposed to be called Scream 5 but instead labels itself as another original Scream. It's hilarious not because it lacks self-awareness (it obviously doesn't), but because the entire meta commentary ironically falls short due to this requel proving that its villains are correct - as Scream (2022) doesn't even come close to Scream, and fails at most of what made the first instalment of the franchise so great.

Not everything's bad, though. There are things I like about this movie, although they are few and far between. Samantha being Billy's illegitimate daughter is actually a brilliant way to revitalize the franchise without betraying the essence of the saga, because it provides believability to the establishment of a requel by still tying up with not only Scream, but Scream's own prologue (Maureen Prescott's death). This provides a valid reason for the franchise to continue existing and to even evolve in something possibly unforeseen, without it being contradictory or turning itself into something completely different than what it was always supposed to be about. Although I have to say, Sam having mind conversations with an astral projection of Billy is a bit weird and I don't think works remotely as well as Sidney's own allucinations of Maureen that she experienced during Scream 3. The meta scene at Martha Meeks's house works well enough as long as you keep in mind that, in universe, real-life events surrounding Ghostface attacks have given rise to a long-lasting Stab franchise that is thematically equivalent to Scream. This does provide the characters with the ability to analyze their lives and experiences as they were pieces of cinema without incurring in suspension of disbelief from the audience, or turning "too meta". The characterization of Dewey and Gale's relationship as being strained by divorce is completely believable and a very good narrative choice, and the twist about Sam actually having freed Tara that comes up at the climax is successful - mainly because it's the first real taste we have of Sam's potential and badassery as a protagonist.

Overall, it's not that bad. There are a lot of things I don't like, but also a handful that I really like and think live up to what came before. But I can't say the movie ever escapes the state of mediocrity.

5. SCREAM VI (2023).

Now it starts to become difficult. I was torn between three different instalments for this position, as they basically rank at the same level in my mind, but I ultimately decided to go with Scream VI. Overall, there's very little here that doesn't work, and I find this "sequel of the requel" a gigantic step-up from its predecessor in pretty much every aspect I can think of. The opening scene sets itself apart from what came before by luring us to believe that we might get a Ghostface POV firsthand and proceed with it through the movie, thereby instantly awakening an additional level of curiosity in the audience towards what's happening. The entire cast seems much more at ease with their characters and the rhythm of the franchise, with Melissa Barrera particularly showcasing a definite improvement in the acting compartment. Unlike Scream (2022), each character now gets a specific voice and personality that is able to escape caricatureness and enter into personhood. The group dynamic is also definitely felt way more, with "The Core Four" being given enough material to finally merit the viewers' emotional investment in their characters.

Another upside of the movie lies in the little moments of exchange between characters that help to build up the main relationship between Sam and Tara - I'm thinking about scenes like that between Sam and Gale, or Tara and Kirby. Sam and Tara face a character development of their own that is clear, well-written and aptly executed. The writing is definitely much more Scream-like than what we were given in the previous movie, despite its occasional overindulgence in meta territory that in my opinion sometimes takes it too far. The kills are by far the most graphic of the entire franchise right along with the ones shown in Scream (2022). Some of the sequences of this movie are also among the best of the saga when it comes to suspense, particularly the ladder escape scene and the subway scene, with a honorable mention to the Gale apartment scene. The phone call between Gale and Ghostface is terrific and fully manages to capitalize on the fans' attachment to the only present member of the original three in order to build an amazing sequence, where the killer both taunts her about Dewey and provides meta reference to Gale's recurring role as Sidney's shadow and failing opportunity to turn herself into an iconic Ghostface. It's an exploitment of the original trilogy in the best possible way. Another huge positive is the killer's fake lair with all the iconic evidence from the previous murders, because of how fucking cool it was to see that tapestry of Woodsboro history and all the memories it brought back up - it helped providing an additional sense of realism, and therefore enhanced the viewers' investment in the entire universe even more. Sam's complicated relationship with her father's influence on her self-perception as a possible future killer is incredibly fascinating to watch unfold and I'm very curious to see where it's going to lead (I predict a future final instalment with Sidney vs. Sam aka Ghostface). The conspiracy theory idea was also brilliant both on a narrative standpoint and on a meta commentary standpoint on the way modern technology lends itself to easily manipulate truth and spread falsehoods like a virus in the virtual public square. I also appreciated Kirby's comeback, even though her characterization seemed a bit off compared to Scream 4 - but people change and it's been twelve years, so I give it a pass.

So... why am I ranking this at fifth place out of six, if there's so much I like and think of as improved compared to the requel that came before it? Well, for a couple of reasons mostly. First one is, obviously, the Ghostfaces of this movie. This sequel of the requel attempts once again to live up to the sequel of the original, this time by replicating the killers' motive, but once again it lands nowhere near Scream 2. And that's probably Scream (2022)'s own fault more than it is this movie's, but that's the way it is. In Scream 2, Mrs. Loomis's motive was layered and incredibly complex given the little screen time that was allowed her upon her reveal. Yes, she wanted to avenge her son's death at the hands of Sidney, not differently than how Richie's family is trying to do the same exact thing in this movie against Sam - but what Scream VI lacks is the additional level of background that informed pretty much everything surrounding Sidney and all the Ghostfaces in the original trilogy. Mrs. Loomis was also a victim of marital infidelity because of Sidney's own mother, and an argument could be made that she was also after some posthumous forgiveness from her son regarding her own abandonment of him upon her discovery of said adultery. In a very brief scene the audience was provided plenty of reasons to speculate on how and why Nancy Loomis was on a killing spree and was specifically targeting Sidney. Here instead, the only motive we get is a clear-cut, old-fashioned revenge story - but it lands very clumsily, given the fact that Richie's own motive was never about some perceived harm perpetrated against him at the hands of Sam, but only about his own disappointment at Stab's decrease of quality. While it becomes quite easy to get why Mrs. Loomis would go to such lengths to target Sidney, it is rather hard for me to wrap my head around an entire family turning psychopathic in order to avenge the death of someone who, as far as we know, didn't even have any kind of traumatic past and just went on a killing spree because he was pissed at the movies, targeting Sam not because of personal vendettas but simply because of who her father was. It's a downer, and it makes it very hard for me to buy this movie's Ghostfaces, especially given how vicious their kills are. It ends up just being not that interesting and not that believable either, making Scream VI by far the entry of the franchise with the worst Ghostfaces.

And secondly, there are multiple instances, throughout the movie, where my suspension of disbelief is significantly tested. How is Quinn able to steal the knives and allow another Ghostface (presumably Ethan) to enter her own apartment without anybody else noticing? How come is Ghostface so slow at moving a fairly small cabinet that was only partially blocking a door no one was holding close, taking so much time that Mindy is able to cover the entirety of the ladder, and Anika, who is severely wounded at the abdomen, about half of it? How is Detective Bailey able to swap Quinn's body with a fake and circumvent forensic analysis? How is Gale able to find Greg and Jason's lair? (I mean, that's not hard to guess, but my complaint is that we are not allowed to see the process of discovery. If this was happening in the original trilogy, we would have been shown Gale finding the place, not just told as much and asked to take the information for granted.) And how is all that evidence been able to slip out of police archives unnoticed? I get that Bailey is a detective, but we are not talking about a couple of pieces of evidence. We are talking about the entire thing, including all the original Ghostface costumes and masks used by the actual killers. It's just too much. And finally, how is that the plot armor seems particularly evident in this movie? Chad survives something like 10+ stabs to the chest and abdomen. Tara is able to keep on fighting despite being stabbed at the back and at the abdomen as well. I get that adrenaline effect is powerful, but she also has an entire conversation with Sam showing no signs of distress, and what should be a copious amount of constant bleeding doesn't seem to do anything more than stain her clothes, and then just... stops by itself? Let me get this straight: I'm usually not that interested in focusing on these kinds of plot-holes in a Scream movie, and I'm sure each one of them has some questionable moments when it comes to credibility. But this movie is the only one where these kinds of plot-holes were so recurring to the point of being impossible not to see, and therefore for them not to affect my suspension of disbelief.

All things said, though, this is a very solid movie, and a definite step-up from the previous. By no means it is bad, or even mediocre.

4. SCRE4M (2011).

This definitely caught me by surprise because Scream 4 is, in a very similar way to (I suspect) most of the fans of my generation, the movie that started it all for me, other than probably the first horror movie I have ever seen. It not only encouraged me to experience the previous three movies and catch up with what came before it, but also to dive into the horror genre as a whole, kicking out some sort of passion towards horror cinema that still persists in me nowadays. I've always held this instalment in high regard, partly because of my attachment to it and his status as personal gateway to the franchise, and it's only throughout this last full rewatch session that it found itself slightly losing ground on my ranking, ending up in fourth position.

The beginning of the movie is, in my opinion, a brilliant way to summarize what Scream is about and to re-capture the attention of an audience that hasn't been fed Scream material for more than a decade, while simultaneously taking the viewers by surprise and reminding them of the importance of metatextuality for this franchise. It cleverly reminds us of the existence of Stab in such a way as to force us to peel back to the raw material like an onion is opened and reached at its core through layer and layer. We are reminded that Stab is an on-going franchise, partly fictional, partly inspired by books written by Gale Weathers, which are based on real-life events the writer herself has been repeatedly implicated in, which happen to constitute the plot of the previous Scream movies. The reason why it works is because it pays homage to the iconic opening of the original trilogy while subverting it at the same time, only for later on to betray that very subversion with an updated reiteration of the same scene, providing a modernized commentary on how the evolution of technology since the previous instalment is equipping psychopaths with newer, more subtle ways to subdue their victims and carry out their crimes. I think this scene works perfectly to re-open the Scream experience after so long - way better than what Scream (2022) ends up doing after a comparable time jump.

Overall, I have next to nothing about this movie to complain about. Sidney's character development as the writer of a self-healing book is completely believable and provides new interesting ways of enriching her dynamic with Gale, who is both envious of her for a variety of reasons but also uncertain about the kind of person she herself has become. Is she still the ruthless, shameless journalist of ten years ago who would have exploited even tragedies sorrounding her loved ones to bolster her career prospects, or is she a depressed writer falling into obscurity after deciding to give up her work for love? The movie shows that she is a combination of both. Seeing Dewey as the new Woodsboro sheriff and the way he handles the conflict of interest with his wife, all while indulging the obvious flirting of deputy Judy, provides fertile ground for their future divorce while simultaneously feeling like a natural progression from the last movie, or a very likely an IC route that their marriage could have easily embarked on. The new generation of characters is also well-written, with an interesting and believable dynamic and mostly fleshed-out personalities, with maybe the exception of Trevor and, shockingly, Jill herself, who for most of the movie comes out as suffering from the Main Character Syndrome (i.e. she is written mostly as a blank slate so that most people can project their own personality onto her, thus easily identifying her as the character through which to experience this new Woodsboro). However, what could be seen as a writing flaw turns into a solid strength when it is revealed that Jill was, in fact, Ghostface, and therefore that the personality she showed the viewers was mostly, if not entirely, a deliberate act on her part aimed at tricking them into thinking she was the next Sidney in line.

Speaking of which, the best aspect of this movie is precisely the worst aspect of Scream VI: Ghostface. For starters, the idea of revitalizing the saga by having Ghostfaces decide to actually film the murders to make their own movie is genius and a perfect way to make us feel the passing of time from the first three movies. That said, both Charlie and Jill's reveals are pretty awesome, to the point that they are arguably the best reveals of the franchise. Of course, Jill's mastermind plan and ability to completely subvert the audience's expectations takes the cake, but it would be a mistake to overlook Charlie's own very effective and subversive twist, aimed at mimicking Steven Orth's death and turning it on its head. Jill's speech to Sidney about growing in her suffocating shadow and being the product of a generation of fakeness and virtuality that needs fans as opposed to friends, with another twist that shows her exploitation of Charlie's romantic feelings to turn him from a possible Randy to Trevor's Stu and her willingless to play proto-Amy Dunne and cover herself in self-inflicted scars to build up a heroic story, is incredibly poignant and utterly satisfying to watch. So is Jill's own cruelty and cold-blooded apathy at the hospital, where she manages to almost incapacitate four people, three of which are the historical main characters of the original trilogy, before stumbling on a very rewarding and effective death by defibrillation. And the finale scene of the movie, with the audience staring into her lifeless eyes while the journalists outside the hospital award her with the final-girl hero status she so desperately craved, is fantastic.

So why is this movie in fourth position? Because here and there there are some things I think could have been done better. I ultimately think the pacing drags a bit when the movie stops to focus on minor characters that are ultimately not that likable or not developed enough to be interesting to follow or to witness being killed, such as (respectively) Sydney's publicist Rebecca, or Perkins and Hoss. There's the wasted potential of a conversation between aunt Kate and niece Sidney about Maureen that sadly never takes place. There's the questionable acting of Marielle Jaffe as Olivia that fortunately doesn't last long. And maybe most importantly, there's the fact that everything that Jill herself does at the hospital in the last scene, upon discovering of Sidney's survival, ultimately disintegrates her entire plan up to that point and inevitably taints the story she wishes the world would be told, regardless of whether her secondary attempt at killing Sidney proves to be successful or not. Simply put, if she could have gotten away with everything she had orchestrated at Kirby's house... she would have never managed to preserve her imaginary status as heroic victim within the public consciousness after confronting a very-not-dead Sidney, even if she had managed to effectively kill her the second time. That makes the entire last scene, though satisfying in many ways, ultimately pointless with respect to Jill's entire mastermind plan, thus losing at least some of the viewers' investment into (and respect for) her character. But that's pretty much it.

All in all, this is a very strong and successful attempt at bringing the saga back to life, with excellent ideas and shocking reveals, a large amount of strengths and very few, almost insignificant weaknesses. And despite falling down a bit in my current ranking compared to the position it used to hold, I still think it's an amazing entry for the franchise.

3. SCREAM 3 (2000).

I think this is by far the most underrated movie in the entire franchise. I know it's a bit divisive, because there's also people who really love it and share my same opinion, but at the same time this is the instalment I find most often at the bottom of people's ranking, and I genuinely don't understand why. There's very little here that doesn't work, and most importantly, it builds on its predecessor with impeccable ability. It's a movie that, from beginning to end, is imbued with a deep sense of finality, with the clear intent of having the story of Sidney Prescott come full circle in a way that truly proves to be successful in selling the idea that the franchise was actually meant to be a trilogy all along (especially because if there's something Scream 2 lacked, was a sense of overarching closure to the entire story). It ties so flawlessly and spontaneously with how Scream 2 had left things that I wouldn't be surprised if it turned out that the second and third entries of the saga were planned simultaneously, and the idea of having the story evolve into a trilogy was entertained even before starting to make a sequel to the successful original Scream.

I find the opening scene of the movie really effective in awakening the audience to the fact that this chapter of the story is meant to be climactic. The stakes are higher than before right from the get-go: Ghostface's first attack is against a main player in the background story of Sidney, other than the very person who saved Sidney from Nancy Loomis at the end of the last movie. In fact, Scream 3 starts by getting rid of the same person that made its entire existence possible in the first place. Ghostface also has voice-changing devices that he exploits to trick Cotton's girlfriend Christine into attacking him, already establishing to the audience that, this time around, an additional level of mistrust and impairment for the heroes to communicate with each other will be in place. The feeling of climactic finality is effectively laid out here, and remains constant through the entire movie.

I know one of the most common complaints about this movie lies in Sidney finding herself out of reach from the main source of the action, the Hollywood set of Stab 3, for a significant portion of the film (about half), but it actually doesn't bother me at all. Her arc through the movie is a perfect continuation to her Scream 2 more secluded, antisocial persona, other than being the exact follow-through solution to her problems she herself proposed to Dewey during the previous film, as soon as Ghostface had reappeared and bogyguards were being given instructions to keep her safe. Other than feeling totally IC, this seclusion plan allows for Sidney to undergo a deeper and richer introspective exploration of the way she has been psychologically scarred by Maureen's death and her own previous victimizations, in such a way as to lead both the character and the audience to understand that a resolutive point is going to come (by the way, having her work as a crisis counselor for women is actually a brilliant narrative choice). I also love the way Roman's Ghostface allows for the movie to play with the idea that Sidney might be actually allucinating her mother, in a not so different way than how Scream 2 never made clear if she was allucinating Ghostface sorrounding her during threatre class or if she was actually being toyed with by him. This ability to play with real-or-not-real is what, in my opinion, makes these kind of PTSD-like allucinations in the original trilogy way more interesting and effective than those Sam suffers from during the requel generation.

Dewey and Gale's relationship likewise seems like a perfect follow-up to the previous movie, with their dynamic feeling like the same while simultaneously changing just as much as to keep it interesting and keep us invested in what's going to happen next between them. The writing of the movie is also really good, and while I don't necessarily agree with those who claim that Scream 3 is tonally different from all the other instalments (I don't find it too light or too funny for its own good, as seems to be the general opinion), I will admit it keeps me highly entertained and consistently amused - almost certainly more than any other entry of the franchise is able to do. Another huge positive for me is the supporting cast. There's a lot of secondary characters here, and they all feel aptly characterized and pleasant to watch. There's never a moment where I'm bored or uninterested in what's happening, or a character that I find too generic and caricatural. The movie also takes advantage of its setting to provide some solid and daring commentary on Hollywood culture, power dynamics and exploitation. I also love that in the same movie where Sidney enhances her isolation to the point of social seclusion she ends up finding her future husband - we don't have much with respect to romantic tension between her and Kincaid, but we have enough to grasp that a mutual fascination is taking place.

The climax of the movie works very well, in my opinion. Sidney shows experience and a renowed sense of badassery that proves to be the culmination of three movies by tricking Ghostface with a double gun and a bulletproof vest. I also like the idea of Ghostface exploiting Dewey and Gale to lure Sidney into the mansion, capitalizing on the audience being finally able to preemptively exonerate them from their suspect lists. And I will say it right here, I'm usually not a fan of retcons at all, because in my opinion it takes a certain kind of talent to be able to pull an effective retcon off - someone like Joss Whedon, for instance. Not many screenwriters are able to do that convincingly. But I think this particular retcon actually works. Both because it is actually cleverly orchestrated and doesn't delegitimaze or confute anything the canon previously established, and because it does provide the ultimate circular closure to the story of Sidney, retroactively lending a justification to her ongoing allucinations of Maureen and her inability to move on and get past her own past. The entire subplot about Maureen having worked as an actress under stage name and about her known promiscuity being the traumatic response of the sexual exploitation she endured during the ‘70s is incredibly fitting and interesting; the twist of Roman being Sidney's half-brother feels merited and credible, and the actual retcon of Roman being behind Billy's discovery of his father cheating with Maureen, which as we know prompted his decision to kill her and then to try to kill Sidney one year later, is actually a very smart narrative choice. And I know the story works because I don't find cringe at all the moment where a filled-with-trauma Sid takes the hand of a seemingly dead Roman, whose own mother's rejection lead him not only down the path of psychopathy but also to find common ground with Billy as well. Everything truly does come full-circle in a way that's commendable.

Why the third position, then? Because there's one scene that I struggle to get behind: the Randy scene. I get the need to have a meta scene to explain to the characters the rules of a horror trilogy, but the idea of Randy having decided before his death on Scream 2 to capture on tape such a discussion just doesn't work. It's silly. It would have been much better if Martha herself had been introduced as a fellow geek and done the explaining herself, in my opinion. I love Randy and was happy to see him again, but that scene is just too much a stretch of credibility for my taste.

Other than that, I think I have nothing else to complain about. I also loved the ending of the movie, with Dewey's proposal to Gale and Sidney finally coming to terms with her past and cutting ties with her self-perception as a constant victim. Perfect.

2. SCREAM 2 (1997).

I think this is an excellent sequel, that in some ways ends up being even an improvement from the original. People often underestimate the importance that a sequel holds in establishing not only the trajectory, but also the very existence of a franchise. If the original movie is good, then a sequel is green-lit; but if the sequel is also good, then the opportunity for a significant expansion of the world is presented, and talks about the creation of an entire franchise start to happen. Just like it was Empire Strikes Back, not Star Wars, that determined the direction and expansion George Lucas's franchise could be able to reach, it's Scream 2 that solidifies the idea that Woodsboro is a place worth revisiting, and our characters are people worth exploring and knowing better. Without Scream there would be no Scream 2, but an argument could be made that without Scream 2 there could be no franchise. This by itself cements the importance of this movie.

I don't think I'll be spending that much time on this. I have next to nothing to complain about. Not only does everything basically work, in many cases it builds on the previous instalment to effectively raise the audience's expectations. The opening scene introduces the metatextuality of Stab to the franchise; it's incredibly fun and suspenseful at the same time, with two iconic kills, some commentary about the tropes found in horror cinema, a subversion of racial expectations and a kind of gimmick that is capable of capturing the full attention of the viewers early on (the woman is named Maureen). The movie is written incredibly well, to the point that I would go so far as to say that it's the best written out of the entire franchise. The film class scene where sequels are discussed is arguably the best and most successful attempt the franchise is able to make at effectively providing meta commentary about the specific instalment it's producing (be it a sequel, a conclusive chapter of a trilogy, a remake, a requel, or a sequel of a requel), because in this case it almost doesn't even feel meta.

Perhaps the biggest accomplishment of this movie lies in the way it's able to take the distinctive character profiles that were introduced in Scream and make fully fleshed-out people out of them, ending up being arguably the best movie for Sidney, Dewey, Gale and Cotton when it comes to characterization. If Scream established that Sidney was a self-described "sexually anorexic" girl with unresolved family trauma and a survivalist attitude likely steming from a coping mechanism, Scream 2 builds on the additional trauma she experienced during the first movie to depict an even more secluded, guarded and mistrustful individual, whose PTSD has significantly increased to the point of genuinely affecting her own day-to-day life, who is somehow shown to be both more afraid (as she knows what Ghostface is capable of this time) and more badass and willing to fight back than she was previously, without it ever seeming contradictory. She is afforded well-executed psychological exploration and many occasions to show mental frailty and inability to cope with her reality of seemingly inescapable victimization, while simultaneously attesting that she has an inner core made of steel and a fiery determination. Between the "I'm a fighter" moment, the "I want to know who it is" moment and the iconic "You forget one thing about Billy Loomis. I fucking killed him" moment, this movie shows Sidney at her lowest and at her highest, and officially turns her into one of the best written female protagonists of a cinematic franchise.

Likewise, if Scream established that Gale Weathers was an unscrupulous, power-hungry journalist who was willing to do anything to advance her career and, while clearly harboring some kind of fascination towards Dewey, was mainly concerned with how to manipulate him to make her job easier, Scream 2 gives her a full character arc, re-acquainting her with the audience with that same archetypal persona but clearly showing that this time (as opposed to last time) she learns something from her experience with Ghostface and undergoes a clear character development, ending the movie prioritizing her humanity and genuine care for Dewey to her conventional opportunism. Dewey also gets to shine through this instalment in a way that was not possible to him before, showcasing the lasting effect of physical scars and a newfound level of maturity and assertiveness that clearly sets him apart from his boyish characterization in the previous movie, highlighting the important role experience and Tatum's death had in accelerating his growth. A honorable mention also goes to Cotton Weary, who goes from being barely a face in the background that fed Sidney's insecurities in Scream to a very interesting and well-written character here that constantly seems to vacillate between hero and anti-hero until the final act.

Scream 2 also features some amazing sequences, mainly Dewey and Gale's chase at the movie archives, Sidney's reharsal in theatre class, the car scene (which has to be the most successfully suspenseful the franchise has ever been) and the entire final act. I've already talked about my opinion on Mrs. Loomis as Ghostface, so here I will just reiterate that I love her. Mickey's motive is definitely banal, but I think it works perfectly as complementary to Billy's mother, who is clearly meant to steal the show. Besides, Timothy Olyphant imbues Mickey's character with gleeful euphoria as well as psychopathy, and Derek's death scene has to be one of the most tragic moments of the entire franchise because of what Sidney's deep-seated traumatic mistrust says about her willingness to risk him being killed. This might be as close an ending to the original movie as there have been in the franchise thus far, with respect to success and effectiveness. It's just an amazing final act.

The only complaint I have about this movie is that, as opposed to what happens in Scream 3, here a lot of secondary, background characters do feel severely underwritten. Derek has a very plain personality, and the cafeteria scene is more cringe than cute on his part (even though I think it was absolutely needed to show Sidney's ability to still enjoy life and not fall into despair). The top chicks of Omega Beta Zeta are so useless I don't even remember their names. Hallie is just kind of there until she isn't. Joel is cool, though.

I've nothing else to add. Amazing sequel. About Randy's death scene I'm just going to say: it was the right call. An effective way to raise the stakes without compromising the narrative too much for its own good.

1. SCREAM (1996).

Of course the one that started it all had to be first. It just occurred to me that this ranking may probably seem incredibly ordinary at this point, but it is what it is.

This is arguably one of the best horror movies ever made. Certainly one of the most iconic, and one of the most capable of exploring an entire generation's relationship with the horror genre, the ongoing and rapid technological development of the modern age and the way society is impacted by it, with a particular emphasis on the existential crisis of the modern man, his constant feeling of dreadful out-of-placeness and the role cultural artifacts play in incentivizing him to consider unhealthy let-outs for his ill approach to life and the world. There's pretty much nothing here that the movie fails at. It features one of the most iconic opening scenes of all time, great characters, an amazing story and fantastic writing. It effortlessly manages to blend horror and comedy together creating a successful mixture of vibes, in such a way as to easily remind me of its contemporary masterpiece that is Buffy The Vampire Slayer. One of my absolutely favorite things about this movie is its ability to allow the full spirit and atmosphere of the ‘90s to manifest on screen and to color the entire story with a specific generational touch that, in my opinion, truly ends up making this one of the most emblematic movies of that decade to ever be produced.

Honestly there's very little else to point out because everything works perfectly. One aspect of the film that particuarly striked me during this latest rewatch is how much Scream actually spends on the subplot regarding Cotton Weary's incarceration being the result of a convinction likely based on erroneous testimony - a testimony at the hands of the daughter of the town's notorious promiscuous woman who was raped and murdered a year before the events the movie focuses on. Sidney's character is incredibly fascinating, has a very interesting and peculiar backstory and makes for a perfectly conceived and very well-written protagonist. Likewise, Billy Loomis makes for at least as alluring an oppositional character, showing his ability to hold his ground against the main heroine in terms of character depth, iconicity and background material. Sidney and Billy, with everything intertwined about their past that comes on the surface during the third act, are by far the pinnacle of the movie with respect to what makes the story fascinating and worthwhile to watch. But every other secondary character is iconic in its own way - Gale, Stu and Randy in particular. The metatextuality is brilliantly executed. Randy's scene on the rules of horror, juxtaposed to Billy and Sidney's sex scene, and his subsequent advice to Jamie Lee Curtis to turn around while Ghostface is right behind him are some of the most memorable moments that helped turning Scream into a cultural milestone of the genre. The entire third act is phenomenal, with Billy's motive being the perfect piece of the puzzle to make the entire story come together fully in a satisfying way, and Stu managing to come off as both terrifying and hilarious in his psychopathy. Sidney in the Ghostface costume will always be iconic. "Not in my movie" will always be iconic.

Overall, there's only praise and absolutely no complaints here on my part, and If I was to pause and analyze everything that I believe makes the original instalment of the franchise the one deserving the first spot, I would end up writing about pretty much every single scene of the movie, and that's beside the point of this ranking.

It's just a masterpiece, and still remains an unicum in the horror landscape to this day. I mean, there's a reason why almost thirty years later an entire franchise based on the success of its formula is still going on, and the fanbase for this movie is still continuing to grow. It's just a classic.

[gamingpark]

Melissa Barrera grata per il "sostegno" dopo il licenziamento di Scream

Melissa Barrera era in uno “stato d’animo annebbiato” dopo essere stata licenziata dalla serie “Scream”. L’attrice 33enne è stata eliminata dal ruolo di Sam Carpenter nei film slasher a causa dei suoi post filo-palestinesi sui social media e ammette di essere stata “fortunata” ad avere una forte rete di supporto in seguito. Melissa ha detto all’Hollywood Reporter: “È sicuramente difficile, perché…

[devilsgatewayhq]

Name: Ruby Batista Age: 35 Time living in Tonopah: Birth to 18, now returned 8 months ago Occupation: ATF Agent Gang Affiliation: Los Santos Neighborhood: Downtown Face Claim: Melissa Barrera

Biography (TW: murder, blood, corruption, gambling):

Life doesn't always turn out the way you had dreamed it to be. Good thing Ruby never dreamt of anything at all. Her mother had left her when she was fresh out of the womb - seeking a life that would be different to what her gambling father could offer. The clothes, the money, the trips - that's all the woman wanted and the family, she was never in the picture.

That didn't matter though - you can't miss someone you never met.

Her father wasn't a perfect figure, either. He was never home, gambled most of the money away, drank all the time, and then was gone when he got the odd jobs. So Ruby grew up alone. As soon as there was some understanding within her brain, she helped her father on the days he crawled back home, took herself to school, took the odd jobs and some random shops to at least get some food on the table and supplied she needed for herself. It wasn't a fairytale life, and if anything, she probably would have hated it, if anything, she may have turned out like her mother, longing for the better things in life.

When she was fifteen, Ruby came home to the doors of their shitty apartment, wide open. What she found was something she did not expect - her father on the floor with his throat slit open and blood - so much blood that it seemed to cover their entire floor. For a moment, there was the childlike panic arising within her; her palms got sweaty, her whole body was shaking as she dropped down to her knees to her dead father's body, seemingly trying to stop the blood coming out. Blood that had already stopped.

That feeling was short lived as soon there was noise coming outside the door, Ruby could hear people coming up, so quickly she got up and ran to the door trying to close it but someone's boot was already in the way.

If this was going to be how she was going to be taken out, she wasn't going to go down without a fight. As the man kicked the door open, pushing her out of the way, she grabbed a butter knife that she used in the morning and charged at him. She fought with as much as she had, managing a few cuts before sticking the knife into his leg. It wasn't a winning battle per se, but leaving marks? That was herwin.

The man turned out to be Camilo Wylder - a member of Los Santos, one that was making his way up. Apparently, her fight impressed him so much that he took her in, together with his wife. It took some time for the trust to build, for her to understand what he was saying. It wasn't them that did this, it was someone one else. And if she wanted, he was going to give everything she needed to find out who did it.

It would have been foolish not to accept. So in the three years, she trained with him. Camilo taught her how to fight, how to shoot, how to behave. At one point, he threw her into a ring with people who were way more experienced than her and simply told her to fight through it, or she wouldn't have been worth it.

She did, Ruby always delivered.

Camilo's plan was more than just having a girl to be able to fight her way through. With the years, they developed a mind, one where they saw the same things, aimed for the same futures so it was decided where she would go. Training undercover - getting some influence within the field where they had none. It gave him points, and it gave her points.

Ruby's direction was decided.

It wasn't an easy road. To become an AFT agent, she got a degree in criminal law, specialised experience before even applying. Even there, she used all the training which Camilo offered her through the years. Panel interviews, background checks, polygraphs, physical exam - she passed it all with flying colours. No one ever even thought her loyalties would have been elsewhere.

It took time but it delivered. It gave clearance for Los Santos, as Ruby was meticulous in how she helped her gang. Never obvious, for a while simply clearing the roads for when things affected the gang. However, Ruby always knew there was going to be a time when she was brought back to Tonopah Valley.

Since she's been back, she's been helping Los Santos, making sure not to raise suspicions.

Headcanons: 

Is an avid chain smoker

Has a Doberman named Prince

She is very good at manipulating who she needs to be - in appearance and mannerisms

Can speak Korean, English and Spanish fluently

Has tattoo's but not in places people could easily notice 

[nezoid]

April 2024 Recap:

- ​Connor Price concert and finally meeting!

- Meeting ​⁠Mason Gooding

- Meeting Liana Liberato

- Getting a Buck 120 Knife (Ghostface Scream) personalized and signed by Melissa Barrera

- Abigail premiere

- The Last Improv Show with Dan Black, Bobby Moynihan, Brandon Scott Jones, D’Arcy Carden, Jon Gabrus, Jason Mantzoukas, and monologist Iliza

- #searchhistoryucb

- The Last Improv Show with Dan Black, Bobby Moynihan, Carl Tart, Mary Holland, Mitch, Eugene Cordero, and monologist Kevin Miles

- Comedy Pole Show Rachel Bloom

- Spanish Aqui Presents

- Weer Natalie Palamides

- Deadline Contenders - Abbott Elementary Quinta Brunson William Tyler James Chris Perfetti William Stanford Davis

- SBG Socal Iron Man

- Lunch with @nightlight_k and Maira

- Wednesday and Hanzo’s first birthday

- “Splat” by Connor Price

- As per usual, doggos galore. My girls Tallula & Wednesday as well as Emma, Winston, Hanzo

[zendyval]

my takeaway is that z is not coming out of this on any winning sides, which may be a good thing because a shift in celebrity culture deteriorating never harmed anyone. if it's for a good cause and can lead is to effective change then i fully support it. it's unfortunate that her attending one event after a 5 year long gap made her the face of a genocide, but when you see her co-stars like hunter going out & risking her life for the cause when she has more to lose, it's welcome criticism.

I have never said I have an issue with people criticizing Z for her silence and I'm not looking for her to win anything, because there is no reason to center her in any of this. My question has always been just not totally getting what the boycott does for the cause. I don't know if they were fake, but I saw whole block lists yesterday people were using that had Melissa Barrera on them. Melissa, who literally lost her job due to being outspoken about Palestine. What more could people want from her?

I get the logic behind blocking influencers because influencers whole livelihoods depend on people viewing their tiktoks and what not, so that actually hits their pocketbook. Someone like Z (or any A-lister), who really only goes on instagram when she's promoting a movie, losing a million followers does not really effect her bottom line in any way. Block away. What would effect her bottom line is if all those people stop engaging with posts about her that media outlets make, or fashion posts, or if they don't go see her movies, etc.

But as per my TSwift example yesterday, it's also not a boycott if you are blocking Swift and then privately streaming her music and engaging with other content about her. I'm sure people that are serious about the boycotts are not doing these things, but I think that needs to be a clear distinction. Blocking people does nothing unless you are going to stop engaging with that persons art entirely.

[d2kvirus]

17/1/24 Fact or Fiction

Statement #1: John Wick: Chapter 4 was the best movie of 2023. ABSTAIN - As I haven't seen it (or, you know, John Wicks 2 or 3) I can't say whether it is or is not the best film of 2023, though I can say it would have to be pretty bloody spectacular to dislodge Oppenheimer, Godzilla Minus One or Suzume (due to the UK release being in 2023, it counts) from my personal top three. Thought there is one way to say John Wick 4 was the best film of 2023, and that is if I say that The Stray's was my second-favourite film of 2023, with literally every other film (including ones I haven't seen) ahead of it. You get the feeling that I thought The Strays was an irredeemable pile of shite, don't you...?

Statement #2: You want to see more “experimental” horror movies after the success of movies like Skinamarink and The Outwaters in 2023. FACT - Although hopefully not "experimental" as a euphemism for "half-baked crap carried by its visual style", because I don't want another Cosmopolis and/or Crimes of the Future experience if I can potentially avoid it

Statement #3: Moving forward, the MCU needs to pivot away from the Kang character and the “multiverse” in general. FICTION - The MCU definitely needs to pivot, as 2023 was the year where people caught on to how it is the very definition of "content" in the reaction channel definition of the word, but what it needs to pivot towards is something that shakes the formula up. Oh who are we kidding, this is Disney we're talking about, so they'll just do an MCU/Star Wars crossover

Statement #4: The Last of Us was the best TV show of 2023. FICTION - It was good, in fact it was very good, but Inside No 9 takes the crown for me, because which other show can have people raging about an episode being bumped for a gameshow and then getting wrongfooted as the gameshow was the episode? And that's barely scratching the surface...

Statement #5: The only thing left worth watching on network TV is live sports. FICTION - Partly because Inside No 9 is on network TV in the UK, and partly because live sports is either the dregs that Sky or BT don't want such as darts, snooker, darts, crown green bowls and darts, Six Nations matches other than England home games (which are on Sky, along with the one song their supporters sing when England are at least 10 points up with five minutes to go...) and because the live football is almost inevitably Manchester United's match in every single round of the FA Cup until they're eliminated

Statement #6: The producers of the Scream franchise need to do whatever it takes to get Melissa Barrera and Jenna Ortega back. Barrera already met with Spyglass Media a week or two ago, and that meeting lasted all of 45 second between her walking in and walking out again. In other words, Spyglass need to accept that they fucked it and put the franchise on the backburner

Statement #7: You find it annoying that streaming TV series can have any random number of episodes per season and new seasons can sometimes take years to come out without any explanation. FICTION - In terms of streaming platforms, there are far more annoying things they can do with shows, such as cancel them after a season or two, or what Crunchyroll did a couple of years ago and put 95% of their shows behind a paywall with zero warning, while All4 found a new way to be annoying in 2023 by heavily advertising a couple of shows but neglecting to mention that they'd be leaving the platform within a month. So if anyone would like to let me borrow their Apple TV account so I can finish watching The Girl from Plainview...?

Statement #8: We won’t see any theatrical events in 2024 like we did in 2023 with Barbenheimer or the Taylor Swift concert film. FICTION - Guaranteed somebody will try to manufacture one like that at some point in 2024. Actually, scratch that, attempts at forcing another Barbenheimer have already happened as we saw desperate attempts to make Saw Patrol a thing with Paramount even tweeting about it, though we were robbed of ExorSwift when Universal lost their nerve. That being said, if a cinema did happen to show Oppenheimer and Godzilla Minus One at the same time, there is still time to make Godzenheimer a thing. Come on, people!!!

[nepofm]

[     𝐏𝐋𝐄𝐀𝐒𝐄  𝐔𝐍𝐅𝐎𝐋𝐋𝐎𝐖  . . .     ]    due  to  INACTIVITY  AND/OR  FAILURE  TO  MESSAGE  THE  MAIN  ,  the  following  have  been  reopened  :  

@twinswzns  (  melissa  barrera  +  muse  y  )  

@traitcrs  (  cindy  kimberly,  jacob  elordi  +  sasha  de  leon's  long-term  fling  wc  )  

[     𝐅𝐑𝐈𝐄𝐍𝐃𝐋𝐘  𝐑𝐄𝐌𝐈𝐍𝐃𝐄𝐑𝐒  . . .     ]    just  a  couple  of  house  reminders  in  regards  to  activity  !

our  activity  rules  are  as  follows  so  please  keep  this  in  mind  to  stay  off  checks  :  activity  will  count  as  having  posted  at  least  3  in-character  replies  per  muse  (  with  at  least  2  different  muns  to  discourage  bubble  rping  )  within  the  past  5  days.  you  will  be  placed  on  an  activity  warning  if  you’ve  been  INACTIVE  for  5+  days  and  will  have  24  hours  to  become  active  or  risk  being  unfollowed.

if  you’re  in  need  of  a  hiatus  or  semi-hiatus  ,  please  don’t  hesitate  to  submit  a  HIATUS  FORM  to  the  main  !

[brokehorrorfan]

New York. New rules. New contest. Scream VI slashes into theaters this weekend via Paramount. Broke Horror Fan is celebrating the highly-anticipated sequel with a giveaway!

10 lucky winners will receive a pair of run-of-engagement passes to see the film and a mini poster. To enter, email brokehorrorfan@gmail.com with SCREAM in the subject line. In the body, tell me your Scream franchise ranking and include your name and mailing address.

One entry permitted per address. This contest is open to US residents only. 10 winners will be randomly drawn on Friday.

Scream 2022 directors Matt Bettinelli-Olpin & Tyler Gillett and writers James Vanderbilt & Guy Busick return for the latest installment. Melissa Barrera, Jasmin Savoy Brown, Jack Champion, Henry Czerny, Mason Gooding, Liana Liberato, Dermot Mulroney, Devyn Nekoda, Jenna Ortega, Tony Revolori, Josh Segarra, Samara Weaving, Hayden Panettiere, and Courteney Cox star.

Following the latest Ghostface killings, the four survivors leave Woodsboro behind and start a fresh chapter.

[aurorabayrpg]

per player request please unfollow:

@buryeden

@gcldengrime

@rippinsinners

@rominacortez

the faceclaims of britt robertson, dylan o'brien, barry keoghan, and melissa barrera are now available!

[john-wickchapitulo4-5ub-ita]

(CB01) John Wick: Chapter 4 Film Streaming ITA/Sub ITA

Guarda John Wick: Chapter 4 (2023) 𝐅𝐢𝐥𝐦 Streaming ita in Alta Definizione

John Wick: Chapter 4 film completo streaming con sottotitoli in italiano e gratis. Guarda John Wick: Chapter 4 film completo streaming gratuitamente in formato audio, con sottotitoli in italiano e senza clip in qualità HD Full HD - 460p - 720p - 1080p - BRRip - DvdRip

John Wick: Chapter 4: uscita, trama, cast e streaming

È in arrivo John Wick: Chapter 4: cosa sappiamo finora su uscita in Italia, trama, cast e personaggi, e streaming del sequel.

John Wick: Chapter 4 uscita

Dopo il ritorno al cinema della saga di Scream, è stato annunciato che ci sarà anche un sesto capitolo. Infatti l’amatissimo slasher continuerà la sua storia con un nuovo sequel.

Rivedremo vecchie glorie e nuovi volti, le cui trame andranno a intrecciarsi per fronteggiare l’ennesimo copycat di Ghostface. Ma cosa sappiamo di John Wick: Chapter 4? Quando esce?

Fortunatamente conosciamo già la data di uscita di questa pellicola, che debutterà il 10 marzo 2023 negli USA. In Italia, invece, uscirà un giorno prima, e quindi il 9 marzo.

John Wick: Chapter 4 trama

Il sequel senza titolo di Scream sarà diretto da Matt Bettinelli-Olpin e Tyler Gillett e scritto da James Vanderbilt e Guy Busick con lo scrittore e creatore originale Kevin Williamson che torna come produttore esecutivo. Sarà il sesto capitolo della serie di film e un sequel diretto di Scream del 2022.

A luglio 2022 il film è ancora ufficialmente senza titolo, ma i documenti di produzione hanno rivelato che il titolo di produzione è “Blackmore“, mentre le foto dal set rivelano che Scream II è il titolo provvisorio.

Dalle anticipazioni sulla trama di John Wick: Chapter 4 scopriamo che la storia continua con i sopravvissuti agli ultimi omicidi di Ghostface mentre lasciano Woodsboro alle spalle e iniziano un nuovo capitolo a New York City. Il franchise quindi si allontanerà dall’iconica città che ha fatto da sfondo ai film passati, e si sposterà nella Grande Mela.

Cast, attori e personaggi

Chi tornerà del cast dei precedenti film? In John Wick: Chapter 4 rivedremo diversi volti noti ai fan della saga, come Courteney Cox che sarà sempre Gale Weathers. La star del franchise Neve Campbell ha annunciato che non sarebbe tornata perché non era soddisfatta dell’offerta che le era stata presentata, il che renderebbe John Wick: Chapter 4 il primo film del franchise a non presentare l’attrice. Tuttavia dei rumor avrebbero rivelato che invece l’attrice riprenderà il ruolo di Sidney Prescott. L’attrice ha dichiarato:

“Come donna ho dovuto lavorare molto duramente nella mia carriera per stabilire il mio valore, soprattutto quando si tratta di Scream. Ho sentito che l’offerta che mi è stata presentata non equivaleva al valore che ho portato al franchise. È stato una decisione molto difficile per me. A tutti i miei fan di Scream, vi amo. Siete sempre stati di incredibilmente di supporto per me. Sono per sempre grato a voi e a ciò che questo franchise mi ha dato negli ultimi 25 anni”.

David Arquette ha dichiarato: “Mi piacerebbe che lei ne facesse parte. Un film di Scream senza Sidney è un po’ strano, ma capisco la sua decisione. È tutto business in un certo senso, devono bilanciare tutti questi elementi per adattare un budget e produrre un film“.

Nel cast di John Wick: Chapter 4 vedremo quindi:

Melissa Barrera nei panni di Sam Carpenter, la figlia illegittima di Billy Loomis; Jenna Ortega nei panni di Tara Carpenter, la sorellastra di Sam; Hayden Panettiere nei panni di Kirby Reed, sopravvissuta agli omicidi seriali di Ghostface del 2011; Jasmin Savoy Brown nei panni di Mindy Meeks-Martin, la nipote adolescente di Randy e la gemella di Chad; Mason Gooding nei panni di Chad Meeks-Martin, il nipote adolescente di Randy e il gemello di Mindy. Inoltre Dermot Mulroney, Jack Champion, Liana Liberato, Devyn Nekoda, Josh Segarra Henry Czerny, Samara Weaving e Tony Revolori si uniscono al cast.

Streaming John Wick: Chapter 4

Al momento non sappiamo se John Wick: Chapter 4 sarà disponibile in streaming dopo la sua uscita al cinema. Attualmente il capitolo precedente non è ancora su alcuna piattaforma, se non su quelle che lo propongono a noleggio, come Apple TV+, Chili, TIMVision, Prime Video, Play Store e Rakuten. Non appena avremo notizie sul suo destino e se Netflix o altri servizi streaming acquisiranno i diritti per la distribuzione online vi aggiorneremo.

Allora, sei pronto? Se vuoi scoprire come guardare film John Wick: Chapter 4 in streaming gratis su iPhone, non devi far altro che impugnare il tuo “melafonino”, accedi le siti che consigliarti e provarle tutte, devi solo andare al link che ho fornito sopra. È così semplice, giusto?

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Alla prossima e buona visione!

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März 2023 Im Kino / 2 Std. 02 Min. / Horror Regie: Matt Bettinelli-Olpin, Tyler Gillett Drehbuch: James Vanderbilt, Guy Busick Besetzung: Jasmin Savoy Brown, Melissa Barrera, Jack Champion Synopsis : FSK ab 18 Sam (Melissa Barrera), Tara (Jenna Ortega), Mindy (Jasmin Savoy Brown) und Chad (Mason Gooding) reicht’s. Nachdem sie das letzte Massaker von Ghostface in Woodsboro überlebt haben, ziehen die vier kurzerhand nach New York. Dort wollen die beiden Geschwisterpaare sozusagen ein neues Leben beginnen und die Kleinstadt zusammen mit den traumatischen Erlebnissen hinter sich lassen. Doch der blutige Killer mit Geistermaske und scharfer Klinge lässt sich offenbar nicht so einfach abschütteln, denn plötzlich taucht er auch im Big Apple auf. Und zwar auf der Straße, in der U-Bahn, im Supermarkt – scheinbar überall nutzt er den Trubel der Großstadt aus, um genauso schnell wieder in den Menschenmengen zu verschwinden, wie er vorher auftauchte. Und obwohl Sam, Tara, Mindy und Chad schon Bekanntschaft mit dem Killer gemacht haben, können sie sich dieses mal nicht auf ihre Erfahrung verlassen. Denn wer auch immer hinter der Maske steckt, hat neue Tricks auf Lager.

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Wo kann man John Wick: Kapitel 4 sehen:

Ab sofort ist die einzige Möglichkeit, John Wick: Kapitel 4 zu sehen, ins Kino zu gehen, wenn es am Freitag, den 16. Dezember veröffentlicht wird. Sie können eine lokale Vorführung auf Fandango finden.

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Andernfalls müssen Sie nur warten, bis es auf digitalen Plattformen wie Amazon, Apple, YouTube oder Vudu zum Mieten oder Kaufen oder zum Streamen auf Disney+ verfügbar ist. Lesen Sie weiter für weitere Informationen.

Wird John Wick: Kapitel 4 auf HBO MAX zu sehen sein?

Nein, John Wick: Kapitel 4 wird nicht auf HBO Max zu sehen sein, da es sich nicht um einen Warner Bros.-Film handelt. Das Unternehmen veröffentlichte seine Filme zuvor am selben Tag auf dem Streamer und in den Kinos. Allerdings erlauben sie jetzt ein 45-Tage-Fenster zwischen dem Kinostart und dem Streaming-Release.

Wird John Wick: Kapitel 4 auf Netflix sein?

Nein, John Wick: Kapitel 4 wird wahrscheinlich in absehbarer Zeit nicht auf Netflix zu sehen sein, da es nach seinem Kinostart direkt zu Disney+ geht.

Ist John Wick: Kapitel 4 auf Hulu verfügbar?

Die Zuschauer sagen, dass sie den neuen Film John Wick: Kapitel 4 auf Hulu sehen möchten. Leider ist dies nicht möglich, da Hulu derzeit keine der kostenlosen Folgen dieser Serie im Streaming anbietet. Es ist exklusiv für den MTV-Kanal, den Sie erhalten, wenn Sie Kabel- oder Satellitenfernsehdienste abonnieren. Sie können es nicht auf Hulu oder einem anderen kostenlosen Streaming-Dienst ansehen.

Wann wird John Wick: Kapitel 4 auf Disney+ erscheinen?

Während ein Streaming-Veröffentlichungsdatum für John Wick: Kapitel 4 noch nicht bekannt gegeben wurde, sendet Disney seine Filme normalerweise etwa 45 Tage nach dem Kinostart an Disney+ – genauer gesagt am Freitag danach. Mit dieser Strategie könnten wir Anfang Februar 2023 John Wick: Kapitel 4 bequem von zu Hause aus ansehen.

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