#source: Abbott and Costello | Explore Tumblr posts and blogs

anithemonsterlover · 7 months ago

Text

Overall thoughts and opinions on the most famous Phantom adaptations / most famous Eriks

Because these things are fun, i thought maybe it could be interesting for me to reunite my overall thoughts on the most popular adaptations, because everybody has opinions on them (and maybe my takes are super cold and vanilla). Still, it's fun!

I'm also gonna go with the most popular because there are like a million Phantom adaptations and I don't have the energy to rank them all. (i'm also mostly doing the ones that are series / shows / musicals- the books i would pretty much mostly mention the Leroux OG and Kay, and i'm already going somewhere with the second one). (Forgive me all Ken Hill / Song at Midnight / MazM fans)

-The 1925 silent film with Lon Chaney: I'm really biased, but I admit this is my favorite Phantom adaptation, even if i know as a film it's rather limited by the constraints of the era (bad acting, slow pacing, the weird whitewashing of the Persian etc etc). It downplays the tragic romantic elements of the story (Christine is very one-dimensional and seems more afraid of Erik than empathetic), and Erik is written a little too "generic evil villain", but there are elements to suggest that there's more to Erik than meets the eye, and why he's an engaging figure in the first place. Yeah, like most, i hate the ending, but it's saved by overall faithfulness to the novel (he's born deformed! he has a death's head! he has a life of tragedy! he loves Christine! you can't imagine the number of adaptations that don't get these simple things RIGHT), and the subtle moments Chaney adds to make his Erik more three dimensional (the moment in the Apollo's Lyre scene where he holds his mouth in pain lives in my head rent free) It has my favorite movie Erik, and that's all that matters to me. <3 8/10

-The 1943 film with Claude Rains: I always call this film "missed potential". It looks beautiful, it sounds beautiful, it has good quotes, I like the film delving more into Christine's character; but the Abbott and Costello comedy of the two Raouls is out of place, and the writing of Erique is kinda of a mess (and considering he's the most important character in POTO...YEAH a good adaptation depends a lot on his writing). You don't really understand what is his connection with Christine, and how his initial sympathetic scenes kinda clash with his more violent streak (he gets thrown acid in the first place because he kills a man pre-Phantom); making the character come off as a little inconsistent and not as sympathetic as he should be. This movie also started the "disfigured in an accident, no Persian" versions of Phantom that I feel kinda cheapen the story later on (a lifetime of tragedy is what shaped Erik, not "one bad day"). A real shame, because Rains carries an elegance to Erik that I think helps with the imagery of the character (a monster trying so much to be "human"). Hmm...6.5/10

-The 1962 with Herbert Lom. This one also changes a bit, and normally i'd be bitching and moaning about it, but i prefer the changes here to the Claude Rains version since they're more consistent in portraying Erik's character. You feel for his music being stolen, and want to see this artist have such a simple dream as seeing his creation come true. People don't like it erases his obsession with Christine, but i think here it works, since you can believe his passion for his art is what drives him. (Also, i think this movie is what started the trend of Phantom adaptations having another villain, which is something explored better in Phantom of the Paradise). It doesn't look as nice as the Claude Rains film, tho, and something in the acting stops it from going the most. 6/10

-Phantom of the Paradise: A BLAST. It changes a lot about the source material, but considering even the setting is different, everything works to its advantage. Winslow is the first Phantom that really delves well into the "tragic monster" element of the character, with even his violent tendencies being a consistent trait from the start of the story (he attacks Philbin for making an inoffensive comment about the Juicy Fruits). The imagery is distinctive, Swan is a very compelling villain, and the songs are fantastic. Winslow's sacrifice, like Lindsay Ellis said, is simply a progression from his acts in the novel (yes, I believe Erik would sacrifice himself to guarantee Christine's safety, post development). What only sucks is that I don't feel you buy Winslow's passion for Christine / Phoenix, and she comes off as inconsistent in her ambition and not as empathetic (still, she sings very nicely and I love that the actress resembles Mary Philbin (1925 Christine) at times). Also while the Faustian elements add to the movie, i'm not sure how they can relate to Erik's' character in general (not to mention the Dorian Gray element). Also the pacing in the last 10 minutes is rushed and kinda sucks. But still...As a movie? It's my favorite. 9/10

-The Maximilliam Schell 1983 made for TV film: My least favorite, and it all has to do with how slow and dull the pacing is, you just don't get the sense of dread or tragedy. The reincarnated wife subplot is really random, and it makes Sandor pathetic and delusional instead of empathetic and tragic. And i'll take bad over boring any day of the week. 2/10

-ALW's musical (add here the 25th version too): Oh ho ho, the one piece of media that got us all into Phantom I think. It's a big, bombastic musical, and you can see the appeal. While i don't like some characters are turned more one-dimensional (Raoul, Christine); I do like how it pushes forward Erik's trauma, and how it has broken him; he's not a good man, no, but not a monster, either. And this idea that abuse victims can turn cruel as well...But, you know, they still deserve love. Perhaps they always did! And the focus on the romance which puritans complain about...Boy you will not be ready to hear me when i tell you the original novel implies Christine is indeed into both Raoul and Erik, for different reasons lol. I dont like the omission of the Persian, but I like that this cements that again, Erik wasn't a rando who one day snapped, it was a life of tragedy that turned him into what he is....We can dislike it, we can like it, but we can admit it has influenced our perception of the story in more ways than one. 8/10.

-The 1988 cartoon: The most faithful adaptation of the novel is also the cheapest movie of the bunch. Whew lads...Tho I do like Erik's character. He's got the redemption, the deformity, the sense of humor (when i read Erik i often headcanon him having this Erik's voice). I also like Christine, she's not written as a bland damsel, she shows a bit of an attitude. And hey, rare Persian appearance! I even like the ending, with the cast showing compassion towards Erik's misfortune. It's just that the technical limitations of the movie avoid the film from reaching high status. 6.5/10

-1989 with Robert Englund: An unpopular opinion, but I love this film. It's strange in that it's both very faithful to the novel, adapting the gothic horror of the elements, but it changes way too much Erik's character (the crux of the story) into somebody who isn't really tragic or sympathetic. A musician who sells his soul to the devil (an element it took from Phantom of the Paradise...I have the theory that Phantom adaptations take elements from each other more than from the novel) and gains immortality...and kills people for no reason??? Normally, in another adaptation, I would dislike a lot this change, but Englund's interpretation turns the character into more layers than simply a psychopathic asshole. He gets the "allure" and horror of Erik, which is a big part of the character. I feel with a more book accurate backstory, and impulse more the angle of "doomed dark lover" with Christine (yes his love is also...downplayed), this would easily be one of the more popular Eriks. Yeah it steals a lot from Nightmare on Elm Street, but there's an interesting movie in here, amidst the music and the beautiful cinematography...8/10.

-The 1990 miniseries with Charles Dance: Cherik! The phandom darling! This one is strange since i feel it diverges from the novel as much as the Robert Englund version, yet it's one of the most beloved adaptations. It offers an interesting interpretation of Erik, he's not as cruel, but the movie delves more into the aspect of him being a doomed romantic lover. He's not as manipulative to his Christine (i'd argue this is one version of the story where they should've gotten together imo), and has a gentler approach to life. The series takes the element of the book of him having arrested development and runs with it. Still tho, the gentler approach kinda cuts the tragedy of the character; what with loving parents and all being something Erik DIDNT have growing up. The appearance of the father is what dulls the film, and makes Erik come off as more dependent and childish. Still, Charles Dance gives his Erik a quiet dignity, that avoids the character falling into a manchild interpretation. 7/10 (not bad, just that i like my Eriks more lonely and threatening)

-The 1998 film of Dario Argento: Y'all owe Gerard Butler an apology, lol. This is the ONE truly shit adaptation of Phantom, lol. It feels like a fever dream. It's more gross than scary, it's not tragic, it's not romantic, Erik is not in any way sympathetic or complex or alluring...Like the fuck lol. 3/10 (and that 3 is because it makes me laugh...)

-Wishbone "Pantin' at the Opera" episode: Eh, "Phantom for kids", not a interpretation of the story I like, but it's accurate to the novel, which makes it stand out. And it gives Erik a rare happy ending! Tho, as expected since it's for kids, it downplays a lot of the more complex themes. Still...gotta praise the accuracy. 5/10

-2004 with Gerard Butler: I don't think it's as bad as the phandom made it out for years. It could be better, but i think the technical details and the bad makeup are what drag the film down, since it doesn't diverge massively from the story or themes (except the weird grooming thing...ew). This Erik is interesting in that much like Cherik, he grew up inside the Opera House, and it's an unique view of the character, that he's got arrested development due to never leaving his own "house" growing up (a bit of a plot hole then how he learned magic, engineering, architecture, etc etc, but eeeeh). He's also more vulnerable and emotional compared to the stage counterpart, who seems more self assured and angry. It's not horrible, just average, and could be better. 6.5/10

-The cartoon episode of the Triplets with Phantom (aired in the 2000s-something): Phantom for kids again. it's not an interpretation of the story in general that i like (too fluffy for my liking), but this episode gets the points of the story; Christine's complex feelings and Erik's redemption, while still keeping his initial wickedness (he even gets a sorta happy ending! my boy!). also it's funny at times, so there's that. 6/10

-Love Never Dies: This is...frustrating. I'm of the unpopular opinion that a sequel focused on Erik can work, but I feel his story with Christine is over, and dragging it back again just places the characters in square one, their development null. As an original story, it can be a potential good drama, but with these established characters, a lot of the emotions feel forced and manufactured. 5/10

So overall...My favorite versions of Erik and the story are...the musical and Chaney? And Paradise and Robert Englund for the wild out there versions. But there's always something missing, i can't always point to one and go "THAT is the definitive Erik". Erik is a very complex character, made of light and shadows, and the movies never reflect that.

I don't think most of these movies are good, we like them because they're Phantom content, but still, it's interesting to observe how this story has changed reflecting the interests of society at the time being. Before, we wanted this cruel monster punished...Then we turned him into an 80s slasher...And now in the monster fucker era we see him as a potential romantic lead...Huh.

#phantom of the opera #poto #erik poto #erik the phantom #erik destler #poto meta #mine #lon chaney erik

28 notes · View notes

tyrantisterror · 1 year ago

Note

You've stated that you’ve found every Dracula adaptation EXCEPT Netflix’s Castlevania to a pale imitation of Bram Stoker’s original novel. Why then do you have a soft spot for Legosi’s Dracula? Are there any other unfaithful adaptations of Dracula you feel particularly affectionate towards?

...I don't think that's quite what I've stated, actually. While I think almost every adaptation of Dracula I've seen/listened to/read has altered and cut a lot of the things I love about the book they're supposedly based on, often to the point of being unrecgonizable, I don't think that means they have no merit as stories of their own. Like, an adaptation can be unfaithful to the source material and still be a good story in its own right. And you can be disappointed that an adaptation took so many divergences from the source material while still liking the end product.

I have affection for the vast majority of Dracula adaptations I've seen. The Hammer Dracula movies are some of my favorites - they're really what people are adapting when they turn Van Helsing into Dracula's nemesis, and Peter Cushing's take on Van Helsing is, while not quite true to his literary counterpart, absolutely iconic. He's like the Sherlock Holmes or MacGuyver of vampire slaying, constantly improvising new methods of fending off and fighting vampires.

Or, like, Abbott and Costello Meet Frankenstein, which is one of the first and absolute best horror comedies ever made, and marked the only time Bela Lugosi returned to play Dracula. It has almost nothing in common with the book by Bram Stoker, taking just the concept of Count Dracula and inserting him into this farce where he tries to make the Frankenstein monster his minion by giving it Lou Costello's brain. Not a "faithful" adaptation, but the world would be worse without it.

Almost every adaptation of Dracula takes every character from the book who isn't named "Dracula" or "Van Helsing" and either drains them of personality so they're no longer recognizable, or cuts them altogether, and I will always find that disappointing as a fan of the book. But those adaptations often have other things going on that compensate for it and make them good or at least interesting stories in their own right. Do I wish more adaptations were faithful to the book? Yeah, because the characters in the book are excellent and deserve to be known just as well as the Count himself. But that doesn't mean the adaptations that gut them don't have their own charms.

57 notes · View notes

lovetransaction · 2 years ago

Text

It's wild to me that people's opinions of John (not factoring in personal bleed) are based ENTIRELY on the shitshow that was his life post-Mary death. Like people are out here measuring Sam's and Dean's heights to calculate the nutritional deficit in Dean's physical development but can't spare a minute to think about John as a whole character. Okay come with me for a minute:

you're John Eric Winchester from Normal, Illinois, and you're a pretty ordinary child, there's literally nothing exciting about you but here you are! You exist! You like yo-yos and guns and planes or at least that's what your parents buy for you.

your dad, who tends to go to work at odd hours, takes you to see an Abbott & Costello movie about a mummy when you're a pre-schooler and it scares the piss out of you. Your dad (who has intimate knowledge of the REAL things that go bump in the night) buys you a music box to calm you down. This music box plays a song from one of the most famous cinematic scenes of romantic melancholy that exists. Despite the late 50s being music box heyday with many options available that play lullabies, for some reason everyone thinks this is a reasonable choice. You will in fact idly whistle "As Time Goes By" all throughout your life.

when you're four, your dad abandons you and you never hear from him again or ever find out why he left you.

your mother Millie doesn't remarry. You have no family around (presumably?) so she raises you, alone, a single mother who can't even claim her husband died in the war, any war. You barely talk about your childhood even in relation to your own sons and how you raise them.

you play baseball/softball because where else can you find a readymade source of companionship and a built-in father figure (from a distance).

at seventeen full of anger and a dad-hole a mile wide you fake your age to join the Marines and be shipped off to Vietnam. While you don't talk about it much when you return to the World, you will default to drill sergeant when your back's to the wall.

you become a mechanic because you come from a family of mechanics.

you meet Mary Campbell and your whole future falls into place. Or at least, that's what you believe. Until November 2nd, 1983.

like there's ALL OF THAT before the John Winchester who's an enormous mess but does everything he can to keep his kids alive. I'm not saying anybody needs to like John but the kneejerk response of "he should be KILLED ACTUALLY" to even the canonically unequivocally good things he did while examining other characters' microexpressions down to the nth degree to ascribe victimhood is just so weird.

#john winchester #look i'll never say he was without flaws #he had MANY and he made no attempt to work on them #but as a character and esp the one who haunts the whole narrative #he's fascinating #TO ME! there's my disclaimer. to MEEEE

129 notes · View notes

thenightling · 26 days ago

Text

Monster Mash-ups

I love Monster Mash-ups. I don't mean "Versus" movies like Godzilla vs. Kong or Freddy vs. Jason. I mean I love movies, shows, and even songs where the classic monsters co-exist and interact with each other. The earliest "shared universe" cinematic crossovers were in Universal's classic monster movies (now held under the defunct and then revived Dark Universe banner). Universal's first "Versus" movie was Frankenstein meets The Wolfman, which was unfortunately the victim of heavy editing after it "confused" casual audiences who had not followed all the previous monster movies before it and missed the important events of Son of Frankenstein and Ghost of Frankenstein for the continuity. But the first real monster mash-up was House of Frankenstein. There's something about settings where all the classic monsters co-exist that has always delighted me and even as I got older I was very lax about some of the rules of most of the role playing games I DM / GM to allow canon characters from different source material to meet and interact. I also have a particular fondness when they use the literary version of the Frankenstein monster instead of the zeitgeist depiction. The big difference between a "Versus" movie and a Monster mashup is Monster Mashups usually allow three or more monsters to interact instead of just two. Monster Mashup movies include (but are not limited to) The Hotel Transylvania movies and TV shows The monster High movies and TV shows House of Frankenstein House of Dracula Abbott and Costello meet Frankenstein Monster Squad Monster Mash (2024) Scooby Doo and the reluctant werewolf Scooby Doo and the Ghoul school Nightmare before Christmas League of Extraordinary Gentlemen Van Helsing _________________ Monster mashup TV shows include (but are not limited to) Penny Dreadful Monster High (TV series) Hotel Transylvania (TV series) Motel Transylvania (TV series) Gravedale High Monster Force Drak Pack __________________________ Monster Mashup songs include (but are not limited to) The Monster Mash by Bobby Boris Pickett Monsters' Holiday (Bobby Boris Pickett Jr. song) A Monster's Holiday (Aurelio Voltaire song, NOT a cover of the Pickett song.) Halloween bash by Irving Fink This is Halloween by Danny Elfman (and several other Nightmare before Christmas songs) Monster by Emma Reinagel (from the 2024 movie Monster Mash) Monster High Fright song (original 2010 first generation Monster High promotional music video and web series theme song.) Coming out of the Dark from Monster High (first live-action movie) Shout the Boo by "Count Crow" (Count Dracula's rock persona for a novelty album). _________________________________________________ The fact that Universal just made a theme park zone in Epic Universe dedicated to the classic monsters (Dark Universe) all year long and the main attraction is a dark ride monster mashup (Frankenstein Experiment: Monsters Unchained) is a source of constant delight for me.

#Monster mashups #Monster mashup #Monster Mash-up #Monster Mash up #Monster Mash-ups #Monster Mash ups #Universal Monsters #Classic Monsters

5 notes · View notes

ananke-xiii · 4 months ago

Text

I can't ever be normal about "As Time Goes By".

I really live for the "Casablanca" and "Abbott and Costello Meet the Mummy" mentions because what they're telling me is that Henry and John's stories are about colonization, armies, forbidden love, dead/resurrected lovers and a general sexualization of the "Mystic Other" that must be dominated, classified, explained and organized in card indexes/journals. Their stories are so fundamentally similar (they also both travel to the future!) but they're also so different because Henry's primary purpose is to go back to his son, whereas John's is to avenge Mary's death (how I wish there were an episode where he tries to resurrect her just to complete the whole "mummy fantasy").

And how do their stories fare against Samuel and Mary's and their tragic fates (getting resurrected at different times and getting re-killed by their (pseudo) nephew must be a thrill)? Samuel and Henry couldn't be more different and yet there's something that makes them very similar and I think this something is their attachment to their respective families (specifically their children) whereas what makes Mary and John similar is their attachment to each other, to someone they think they've "chosen". It's like an Inside vs Outside thing, Settler vs Nomad or whatever. The Other as source of dread, horror and sense of annihilation vs the Other as source of resources, love and sense of possibilities (the dominion aspect is still there, just differently translated).

#i need to think about it but i like to see mary and john's relationship differently #cause i get bored with the related apple pie images that usally accompany them while i want them totally out of their fucking minds #which is a contradiction because i do love apple pie images à la charming acres but not for them #they were the ones born to be on the road committing felonies and living la vida loca #mary is. of course. the leader but she lets john drive precisely bc she doesn't have to prove anything. case in point: SHE PICKS THE MUSIC #mary picks the music #<<< new fave tag #spn #supernatural #john winchester #mary winchester #henry winchester #samuel campbell

3 notes · View notes

dr-archeville · 2 years ago

Text

This weekend (Friday, October 6th to Thursday, October 12th, 2023) at the Carolina Theatre of Durham, it’s the Universal Monsters Film Series!

Universal Monsters is the name given to a series of distinctive horror, suspense and science fiction films made by Universal Studios from 1923 to 1960. Although not initially conceived as a franchise, the enduring popularity and legacy of the films and the characters featured in them has led the studio to market them under the collective brand name of Universal Studios Monsters.

Featuring:

Charles Barton’s Abbott & Costello Meet Frankenstein (1948)

James Whale’s Bride of Frankenstein (1935)

Jack Arnold’s Creature from the Black Lagoon - 2D Version! (1954)

Tod Browning’s Dracula (1931)

James Whale’s Frankenstein (1931)

James Whale’s The Invisible Man (1933)

Karl Freund’s The Mummy (1932)

George Waggner’s The Wolfman (1941)

Movie tickets are $10.00 each, or you can get a 5-pack for $30. Check here for schedule.

“Along with the City of Durham, we have made major investments in the Carolina Theatre for the comfort and safety of our guests during our closure,” says Randy McKay, the Carolina Theatre’s President & CEO. “That includes tens of thousands of dollars in new state of the art HVAC upgrades from Global Plasma Solutions (GPS) that remove biohazards, pollen, and other contaminants to make our air as pure — and sometimes purer — than outdoor air.” The theater has also earned a Global Biorisk Advisory Council® (GBAC) STAR™ accreditation for its cleaning practices to ensure that guests have a safe and enjoyable experience. “Together, these cleaning practices and advanced air filtration make the Carolina Theatre one of the safest spaces to attend a film or live event in the region,” says McKay. [source]

Carolina Theatre of Durham 309 W. Morgan St., Durham, NC http://www.carolinatheatre.org/

#Universal Monsters #Retro Film Series #Carolina Theatre of Durham #CToD #Durham #NC #spoopy #horror

2 notes · View notes

hollywoodandstagebeauties · 2 months ago

Text

Would you believe that Jethro Bodine himself once roamed a Hollywood set as a 12-year-old kid? Back in 1949, young Max Baer Jr. visited his father, the legendary boxer Max Baer Sr., while he was filming Abbott & Costello’s Africa Screams! 🥊

Of course, little Max had no idea that years later, he’d become a TV icon as the lovable but dimwitted Jethro Bodine on The Beverly Hillbillies—a role he played for nine hilarious years!

Today, Max Baer Jr. turns 88, and we’re tipping our hats to a man who made us laugh like crazy with his “double-naught spy” dreams and his endless quest for a job that paid “at least a hunnert dollars a week!” 💰😂

Source: Flashback Flames

Facebook

#television #vintage #old hollywood #the beverly hillbillies #comedy #actor

1 note · View note

monkeyssalad-blog · 6 months ago

Video

Marilyn Maxwell by Truus, Bob & Jan too! Via Flickr: Italian postcard by Rotalfoto, no. 52.13. Photo: Paramount. Curvaceous, platinum-haired, sparkling-eyed Marilyn Maxwell (1920-1972) was a leading lady in Hollywood films of the 1940s and 1950s. Marilyn Maxwell was born in 1920. She was trained in dance from age 3. While still a teenager she worked as a radio singer. In 1942, she signed up with MGM. Studio head Louis B. Mayer wisely insisted she change her real first name 'Marvel'. She dropped it and kept Marilyn, which was her middle name. Tall, blonde, with good looks and a pleasant singing voice, she scampered through many breezy, forgettable film roles. Her films included Lost in a Harem (Charles Reisner, 1944) with Abbott and Costello, the Film Noir Champion (Mark Robson, 1949) starring Kirk Douglas, the Bob Hope comedy The Lemon Drop Kid (Sidney Lanfield, 1951), and Rock-A-Bye Baby (Frank Tashlin, 1958), starring Jerry Lewis. Her style was once described as part Joan Blondell's 'Good Joe' and part Mae West's vamp. She was once compared to Marilyn Monroe and replied, "Hey, I'm the blond with her clothes on." She was popular in nightclubs, particularly in New York's famed Latin Quarter. She was also a crowd-pleaser and stalwart trouper in Bob Hope's legendary tours of US and Allied military installations worldwide. Part of her act with Hope was wearing a tight sweater and singing 'I Want to Love You'. According to Arthur Marx's Bob Hope biography 'The Secret Life of Bob Hope', Hope's long-term affair with Maxwell was so open that the Hollywood community routinely called her "Mrs. Bob Hope." She also appeared on TV as a sexy foil to many top comedians, especially Hope and Red Skelton. Marilyn Maxwell was a close friend of Rock Hudson, and she helped to closet his homosexuality by making frequent public appearances with him and teasing reporters about how their relationship was "only a friendship." At one low point in 1967, she performed in a burlesque show as a stripper in Queens, New York. Marilyn Maxwell married three times, each marriage ending in divorce. She married MGM actor John Conte in 1944 in The Little Church Around the Corner in New York City. They divorced two years later. Her second marriage to restaurateur Anders McIntyre lasted one year. Her third marriage to writer/producer Jerry Davis produced a son, Matthew. They divorced after six years of marriage. In 1972, her then 15-year-old son Matthew found her dead in the bathroom of their home, the victim of a heart attack brought on by high blood pressure and a pulmonary ailment. Rock Hudson looked after her son during the funeral arrangements. Sources: Wikipedia and IMDb. And, please check out our blog European Film Star Postcards.

#Marilyn Maxwell #Marilyn #Maxwell #American #Actress #Hollywood #Film Star #Film #Cinema #Filmster #Star #Vintage #Postcard #Rotalfoto #Paramount #flickr

0 notes

mirandamckenni1 · 2 years ago

Text

youtube

16: The (Rhymes With Corn-O) Trolling Law Firm Illinois attorneys John Steele and Paul Hansmeier had an X-rated dream: to represent the “little guys”. The wrongfully accused? The juvenile delinquents? The small businesses? Porn production companies, of course. What started out as a seemingly legitimate copyright business model snowballed into what Federal Judge Otis D. Wright II called “a porno trolling collective”. Yes, there are court transcripts. Wolf of Wall Street meets Suits meets adult film stars meets iconic court transcripts. Watch Reb unzip the epic saga of Prenda Law and Ingenuity 13 LLC v. John Doe (2012). *** INTRO: 00:00 CASE STARTS: 11:10 Sources/Articles/Transcripts/Court Orders - Defense attorneys: Prenda litigation is 'unbelievable', 'just epic' - Washington Examiner (Dec. 23, 2012) (https://ift.tt/UfydpZV) - What Prenda Law is facing in Los Angeles - Ken White, Pope Hat (Mar. 6, 2013) (https://ift.tt/3OQP2gS) - Copyright Troll Case Tossed For 'Fraud On The Court' After Abbott & Costello-Worthy Hearing - Mike Masnick, TechDirt (Dec. 3, 2012) (https://ift.tt/Y4Dmfux) - John Steele's Property Caretaker Intervenes in Copyright Trolling Case, Alleging Identity Theft - Mike Masnick, TechDirt (Dec. 7, 2012) (https://ift.tt/x2la7uy) - Prenda Law's Attorneys Take The Fifth Rather Than Answer Judge Wright's Questions - Ken White, Pope Hat (April 2, 2013) (https://ift.tt/fAtgO1k) -Deep Dive: Prenda Law Is Dead - Ken White, Pope Hat (April 2, 2013) (https://ift.tt/nqs1N6y) - Judge Orders Prenda Law Group Beamed Out Into Space - Lowering The Bar (May 7, 2013) (https://ift.tt/hKoNclI) - Judge Wright's Sanctions Order (May 6, 2013), https://ift.tt/fAIZRMO - 'Look, you may hate me': 90 minutes with John Steele, porn troll - Joe Mullin, ArsTechnica (May 10, 2013) (https://ift.tt/zZf3EyO) - Another Judge Refers 'Porn Troll' Prenda Law to Prosecutors - Bill Donahue, Law360 (Nov. 12, 2013) (https://ift.tt/cgo0fQO) - Prenda's Hansmeier sentenced to 14 years, ordered to pay $1.5 million to victims - Fight Copyright Trolls (June 14, 2019) (https://ift.tt/bUDhH7P) via YouTube https://www.youtube.com/watch?v=k4WWI3XE99U

#IFTTT #YouTube #Youtube

0 notes

saphira-approves · 4 years ago

Text

Murtagh: Alright, I have a joke.

Eragon: You have a joke?

Murtagh: Yes.

Eragon: Is it funny?

Murtagh: Yes.

Eragon: Where’d you get it?

Murtagh: I wrote it.

Eragon: And it’s funny?

Murtagh: …YES.

Eragon: Well okay then, tell it.

Murtagh: Okay, well, here’s the thing—you can’t talk.

Eragon: W-

Murtagh: No talking, no questions, no interruptions. Got it?

Eragon: Yeah, yeah, got it, tell your joke.

Murtagh: Okay. So, once there was a whale—

Eragon: What kind of whale?

Murtagh:

Eragon: What kind of whale, Murtagh?!

Murtagh: I SAID NO INTERRUPTIONS. NO TALKING.

Eragon: Alright, alright! I just wanted to know what kind of whale!

Murtagh: I DON’T KNOW WHAT KIND OF WHALE!

Eragon: THEN JUST SAY THAT!

Murtagh: CAN I CONTINUE NOW?!

Eragon: YES

Murtagh: OKAY! Alright, so, there was a whale, out in the ocean—

Eragon: What ocean?

Murtagh:

Eragon: What ocean?! I WANNA KNOW!

Murtagh: I DON’T KNOW WHAT OCEAN, PICK ONE!

Eragon: OKAY, FINE! Fine! Go on, tell your joke!

Murtagh: ALRIGHT!! …okay, so, there was a whale, in the ocean, yes? And it was following a ship—

Eragon: What shi—

Murtagh: OH FOR CRYING OUT LOUD

#inheritance cycle #eragon shadeslayer #murtagh (inheritance cycle)#christopher paolini #source: abbott and costello #inspired by abbot and costello #hi im not dead!!#enjoy some comedy!!

107 notes · View notes

incorrectcomicbookquotes · 11 months ago

Text

Young Justice New Recruits 1

Robin: (moping) This sucks. Not a single person came to the tryouts! I wanted to get at least three new members now that Empress quit the superhero life and Slo-bo is... well, who knows where Slo-bo is? What am I gonna do? (hears a knock at the door) Uh... come in?

???: Hello. Are we too late for the tryouts?

Who: My name is Who.

What: My name is What.

Where: And my name is Where.

Who, What, & Where: We're Who, What, and Where.

Robin: "Who, What, and Where?" What kind of codenames are those?

Who: We're from Hub City.

What: We're apprentices of the Question.

Where: We were hoping to join your team.

Robin: Alright, fair enough. Welcome aboard!

(Later)

What: (cleaning the trophy room)

Superboy: (walks in) Hi! You must be one of the new recruits Robin told me about. What is your name?

What: That's right!

Superboy: What's right?

What: Yep, What is my name.

Superboy: That's what I asked; what's your name?

What: Yeah, you just said that.

Superboy: I just said what?

What: That's right.

Superboy: ... okay, listen; my name is Superboy. What is your name?

What: Yeah, you already said that four times.

Superboy: (frustrated) I just said what four times?!

What: That's right.

Superboy: ... tell me your name.

What: What.

Superboy: Tell me your name!

What: What.

Superboy: TELL ME! WHAT IS YOUR NAME?!

What: Now, you've got it!

Superboy: ARRGH! (storms out)

To Be Continued

#incorrect comic book quotes #young justice comics #robin #tim drake #superboy #conner kent #source: garfield and friends #abbott and costello

13 notes · View notes

liam-the-dilly · 4 years ago

Text

And now, “Who’s On First?” DDLC Edition

Monika: Alright, Natsuki. If we're gonna convince Team Salvato to make a Doki Doki baseball game, we need to make sure everyone else is on board. Natsuki: Not to worry, I got ways of persuasion. *chuckles deviously* But in case that doesn't work, yeah, we gotta make sure we got enough people to support our cause. Now, you said you got a list of players? Monika: That's right. Natsuki: Well, I'll be honest, Monika, I haven't exactly seen your list yet. I think I already know some of 'em, but, ehhh...not all of 'em. ...Actually, all I know is that Sayori's playing right field. So how about you tell me the names of everyone else? Monika: Oh, I'll tell you their names. But I have to warn you, they give these ball players these days some...odd names. Natsuki: You mean like funny names? Monika: Strange names, yeah. Like, uh...Sleve McDichael... Natsuki: Or Shown Furcotte... *they both chuckle* Monika: Yeah, I'm not sure why people don't give their kids normal names anymore...but anyway, we've got...Who's on first, What's on second, I Don't Know is on third... Natsuki: That's what I want to find out. Monika: I say Who's on first, What's on second, I Don't Know's on third. . . . Natsuki: Monika? Monika: Yes, Natsuki? Natsuki: Aren't you the manager of this team? Monika: Yes. Natsuki: And you're the coach too? Monika: Yes. Natsuki: And you don't know the guys' names? Monika: Well, I should. Natsuki: Well then who's on first? Monika: Yes. Natsuki: I mean the dude's name. Monika: Who. Natsuki: The guy on first. Monika: Who. Natsuki: The first baseman. Monika: Who. Natsuki: The guy playing... Monika: Who is on first! Natsuki: I'm asking YOU who's on first. Monika: That's his name. Natsuki: That's who's name? Monika: Yes. Natsuki: Well go ahead and tell me. Monika: That's it. Natsuki: That's who? Monika: Yes. ... Natsuki: *exasperated sigh* Look, you got a first baseman? Monika: Certainly. Natsuki: Who's playing first? Monika: That's right. Natsuki: When you pay off the first baseman every month, who gets the money? Monika: Every dollar of it. Natsuki: All I'm trying to find out is the guy's name on first base. Monika: Who. Natsuki: The guy that gets... Monika: That's it. Natsuki: *starting to get angry* Who gets the money... Monika: He does, every dollar. Sometimes his wife comes down and collects it. Natsuki: Who's wife? Monika: Yes. . . . Monika: What's wrong with that? Natsuki: Look, all I wanna know is when you sign up the first baseman, how does he sign his name? Monika: Who. Natsuki: The guy. Monika: Who. Natsuki: How does he sign... Monika: That's how he signs it. Natsuki: Who? Monika: Yes. . . . Natsuki: All I'm trying to find out is what's the guy's name on first base. Monika: No. What is on second base. Natsuki: I'm not asking you who's on second. Monika: Who's on first. Natsuki: One base at a time, Monika! Monika: Well, don't change the players around. Natsuki: I'm not changing anything! Monika: Take it easy, girl. Natsuki: I'm only asking you, who's the guy on first base? Monika: That's right. Natsuki: Okay. Monika: All right. . . . Natsuki: What's the guy's name on first base? Monika: No. What is on second. Natsuki: I'm not asking you who's on second. Monika: Who's on first. Natsuki: I don't know. Monika: He's on third, we're not talking about him. Natsuki: Now how did I get on third base? Monika: Well, you mentioned his name. Natsuki: If I mentioned the third baseman's name, who did I say is playing third? Monika: No. Who's playing first. Natsuki: What's on first? Monika: What's on second. Natsuki: I don't know. Monika: He's on third. Natsuki: There I go, back on third again! . . . Natsuki: Would you just stay on third base and don't go off it. Monika: All right, what do you want to know? Natsuki: Now who's playing third base? Monika: Why do you insist on putting Who on third base? Natsuki: What am I putting on third? Monika: No. What is on second. Natsuki: You don't want who on second? Monika: Who is on first. Natsuki: I don't know. Both: Third base! . . . Natsuki: Look, you got an outfield? Monika: Of course. Natsuki: The left fielder's name? Monika: Why. . . . Natsuki: I just thought I'd ask you. Monika: Well, I just thought I'd tell you. Natsuki: Then tell me who's playing left field. Monika: Who's playing first. Natsuki: I'm not... stay out of the infield! I want to know what's the guy's name in left field? Monika: No, What is on second. Natsuki: I'm not asking you who's on second. Monika: Who's on first! Natsuki: I don't know. Both: Third base! . . . Natsuki: The left fielder's name? Monika: Why. Natsuki: Because! Monika: Oh, he's centerfield. . . . Natsuki: Look, You gotta pitcher on this team? Monika: That's right. Natsuki: The pitcher's name? Monika: Tomorrow. Natsuki: You don't want to tell me today? Monika: I'm telling you now. Natsuki: Then go ahead. Monika: Tomorrow! . . . Monika: What time? Monika: What time what? Natsuki: What time tomorrow are you gonna tell me who's pitching? Monika: Now listen. Who is not pitching. Natsuki: I SWEAR I'LL LOSE IT IF YOU SAY WHO'S ON FIRST! I want to know what's the pitcher's name? Monika: What's on second. Natsuki: I don't know. Both: Third base! . . . Natsuki: Got a catcher? Monika: Certainly. Natsuki: The catcher's name? Monika: Today. Natsuki: Today, and Tomorrow's pitching. Monika: Now you've got it. . . . Natsuki: Okay, so, all we got is a couple of days on the team to set up a presentation for Mr. Salvato. Now, I'm a pretty good catcher too. Monika: I can believe that. Natsuki: So what I'm thinking is this: I get behind the plate to do some awesome catching, Tomorrow's pitching on my team and a heavy hitter like, say, Yuri gets up. Now Yuri bunts the ball. When she bunts the ball, me, being a good catcher, I'm gonna throw her out at first base. So I pick up the ball and throw it to who? Monika: Now, that's the first thing you've said right. Natsuki: I DON'T EVEN KNOW WHAT THE HECK I'M TALKING ABOUT! . . . Monika: That's all there is to it. Natsuki: Is to throw the ball to first base. Monika: Yes! Natsuki: Now who's got it? Monika: Naturally. . . . Natsuki: Look, if I throw the ball to first base, somebody's gotta get it. Now who has it? Monika: Naturally. Natsuki: Who? Monika: Naturally. Natsuki: Naturally? Monika: Naturally. Natsuki: So I pick up the ball and I throw it to Naturally. Monika: No you don't, you throw the ball to Who. Natsuki: Naturally. Monika: That's different. Natsuki: That's what I said. Monika: You're not saying it... Natsuki: I throw the ball to Naturally. Monika: You throw it to Who. Natsuki: Naturally. Monika: That's it. Natsuki: That's what I said! Monika: You ask me. Natsuki: I throw the ball to who? Monika: Naturally. Natsuki: Now you ask me. Monika: You throw the ball to Who? Natsuki: Naturally. Monika: That's it. Natsuki: Same as you! SAME! AS! YOU! I throw the ball to Who. Whoever it is drops the ball and Yuri runs to second. Who picks up the ball and throws it to What. What throws it to I Don't Know. I Don't Know throws it back to Tomorrow. Triple play! Someone else gets up and hits a long fly ball to Because. Why? I don't know! He's on third, AND I DON'T EVEN CARE AT THIS POINT! Monika: What was that last part? Natsuki: I SAID I DON'T EVEN CARE AT THIS POINT! Monika: Oh, that's our shortstop.

#source: Abbott and Costello #feel free to dub this

1 note · View note