#source: hey arnold!: the jungle movie | Explore Tumblr Posts and Blogs

theliterarywolf · 5 years

Text

2019′s Animation Hidden Gems

So, another year has come and gone. And, in regards to animated content, we had a sizable smorgasboard of offerings both on the mainstream end and the Indie scene.

I figured I would go over some of the ones that caught my eye that I don’t see many people talking about or, if they are talking about them, they’re focusing on shitty e-drama rather than the content in of itself.

So, let’s begin!

... Just going to use a ‘Read More’ break due to the length of this post as well as spoilers for certain things within.

Tuca and Bertie

So, we’re just going to acknowledge the fact that Netflix’s cancellation of this show before it even had the chance to hit its stride (which coincidentally timed in with the team behind it, the same team behind Bojack Horseman, getting the rights to unionize -- but I’m sure that’s just a coincidence~) was one of the shittiest things they did this year, right? Right.

Anyway, Tuca and Bertie was one of those shows that, while it took me a good few days to finally watch it (due mostly to Netflix burying this show underneath those damn Ted Bundy movies and that fucking Beyonce concert/documentary/what-the-fuck-ever), was definitely a front-runner for adult-centered animation this year.

While the wacky animation styles can sometimes throw initial viewers off, by the time the series is halfway through you’re fully engrossed in how it helps to tell the stories this show wants to focus on.

While, yes, the show was a little heavy-handed in one of the early episodes about women in the workplace (that whole scene of Tuca screaming obnoxiously in the board-meeting to signal that no woman had spoken in 30 minutes was kind of grating even though the message is sound), the series as a whole is a great change of pace in regards to having adult animation centered on/aimed towards women. The characters work great together, the sound design works wonders, and Netflix cancelling this show despite they themselves not promoting it is such a damn crime.

My personal favorite part/episode: While the episode “The Jelly Lakes” was a great, poignant display of showing Bertie opening up about her past trauma and sexual abuse, the episode that I always resonate with during rewatches of this series is “Plumage”. The way that it tackles not only reconciling with addiction but emotional/psychological abuse and how it often comes from sources that are on the outside beneficial hits so close to home. The fact that it was handled with tact and respect while still being in this wacky world of talking bird-people was amazing.

Sound and Fury

I... am just going to come out and admit it, my brain still hasn’t 100% wrapped around the ‘what does it MEAN?!?!’ aspect of this animated album but, damn it all, is it a feast for the ears and eyes.

I honestly can’t talk about it too much because half the enjoyment comes from watching it for yourself.

My personal favorite part/episode: I can’t quite remember what the song’s name was, but visually it was the section that focused on the homeless veteran basically being left outside to die while the city is about to be decimated by a nuclear bomb. The fact that the segment shows everything, right down to how the cat he tries to rescue agonizingly burns to death when the bomb hits, has stuck with me.

Love, Death + Robots

Well, you guys didn’t think I was going to let 2019 pass without me gushing about one of my favorite animation anthologies of the year, did you?

Seriously, I am so glad that Netflix has greenlit a second volume for this project because it really is the type of stuff I like to see: collections of vastly different stories using different mediums and styles.

While two of the entries aren’t as strong as the others (”The Witness” and “Ice Age” freaking suck, don’t @ me), the bulk of the anthology is immensely strong and well-executed and no amount of people whinging about ‘myeh, it’s too sex-filled and violent~’ is going to ruin that.

My personal favorite part/episode: The segment “Suits” still takes my award for best in show, but I still like the series potential of “Shapeshifters” and the attempt at cosmic horror in “Beyond the Aquila Rift”.

Satellite City

I hate, hate, HATE that my initial exposure to Sam Fennah’s creative world, much like other people’s first exposure, was via that DAMN Nostalgia Critic review for The Wall!

But, in all seriousness, Fennah’s web-series as well as the book that he’s been working on are so excellently crafted.

The character design: I’ve gushed so much about the character design that doing so again here would be a crime. But it really is wonderful seeing monster designs that think ‘monstrous’ first and ‘marketability’ second.

The voice acting: everyone in here does an exceptional job with their performances and giving life to not only the characters but the world surrounding them. Seriously, they’re all amazing and I can only hope that their talents are showcased in other projects.

The animation: the fact that it’s all done and rigged by one person is awe-inspiring enough but the way that Fennah works to make sure that the characters don’t stick out too much from their real-world sets is incredible.

The writing: It would be so easy for a series like this to stick to wacky hijinks, violence, and toilet-humor, but no. We have excellently crafted, mature dialogue, we have incorporated world-building that doesn’t rely on exposition dumps, we have diction that rivals some of the commercial hyper-hits of the current year.

Seriously, I wish that more people watched this series; it’s so good..!

My personal favorite part/episode: This relies on some spoilers, but I have to talk about what I think the highlight of the series. While the episode “Slice of Life” gives a good display of the core cast in a day-to-day setting with Lucy Lacemaker giving an incredible monologue about the nature of life and immortality at the end, no where else does the work behind the craft of Satellite City shine more...

youtube

Than in Episode 20 - “The Order of Things”. Satellite City centers around the Kivouachians, a species of unworldly creatures who have been around for billions of years but, due to war and betrayal, lost their homeland and have been scattered across the Earth.

During this war, many died, many were punished, many were tortured, and many were left to deal with horrific trauma and PTSD.

While this episode has the connecting tissue of informing others that the series’ antagonist has escaped her prison, it also centers upon the heavy issue of destructive, toxic relationships and how people can let themselves waste away and decay just because they can’t find it in themselves to let go of something that may ‘make them happy’.

We also get a dialogue from Lucy Lacemaker about the nature of art and imitation, but it’s simply the cherry on top of the sundae that the prior themes build up.

... Seriously, j-just go watch the show; put has-been critics out of your minds and just go appreciate this series for what it is.

Hazbin Hotel/Helluva Boss/Holidaze

God, I can only be in awe of and respect Vivienne for getting to the point that she has gotten to. Two well-received animated pilots, an adorable holiday special, industry ties, and a portfolio that surely can fill two phone books at this point.

Seriously, though, Hazbin Hotel is great: an adult animated show with an interesting art style, engaging characters, and a world that I really want to see more of.

Helluva Boss is great too! That show has a more intimate cast and less insanity so if the barrage of visuals in the prior turned you off, then the latter would probably be more your cup of tea.

Finally, Holidaze is fucking adorable. It boggles my mind that people were getting upset at this special for coming out and doing something different when most complaints against HH and HB were ‘ugh, she really can’t do anything aside from “offensive people in hell are offensive because HELL, lol”’. Well, here you go! Something wholesome and cute and heartwarming!

Some people just want to bitch and moan, I swear...

My personal favorite part/episode: See, here’s where it gets tricky. I love the feeling I get from Holidaze. I love the characters from Hazbin Hotel. I love the setting/premise of Helluva Boss.

But I wouldn’t want all of those things crammed together.

So, all in all, VivziePop and her colleagues have done an amazing job with these shorts and I can’t wait to see what 2020 has in store for them.

Dororo (2019)

Look, man! I get it, okay?! When it comes to anime where the main character in a feudal-era Japan setting goes around killing demons, everyone and their grandma was gushing over Demon Slayer.

And, you know what? Demon Slayer is a good show; it has really good animation and Nezuko is best girl.

... But fuck ALL OF YOU who slept on Dororo (2019), man! I get it, Amazon having the streaming rights to it made it all sorts of awful to try and keep up with, but even so this show was way too ignored by people.

Which is a damn shame because in regards to revamping classic anime IPs, this is right up there in ‘damn, they actually did a good job’ along with Casshern Sins and Devilman Crybaby.

My personal favorite part/episode:

... Have I mentioned that the theme song for this show is an absolute BANGER?!

youtube

That’s all I have for now. I still have yet to watch things like Klaus and I Lost My Body, and I was unfortunately unable to watch Promare due to not having the funds for it when it was in theaters, and -- Oh my fucking GOD, I’m just now finding out that Netflix has Hey Arnold! The Jungle Movie after trying to find a way to legally watch it for ages.

But I hope that I was able to introduce some of you to some animated pieces that got a little overshadowed this year.

Here’s hoping for more amazing stuff to grace our eyes in 2020!

#animation #art #cartoons #anime #web series #film

64 notes · View notes

gamex2020 · 4 years

Text

Best SNES Games

List of All SNES Games Based on Movies

Here are the best SNES Games of all time. Check out our picks for the best SNES games!

3 Ninjas Kick Back

Release Year: 1994

Current Value: $60-$70

This is an action-platformer with co-op gameplay and great sound design. The graphics and controls are a little lackluster.

The Addams Family

Release Year: 1992

Current Value: $14-$17

Mediocre SNES platformers can often be saved with great mascots, and this is no exception. You only get to play as Gomez, and the only levels are in the family’s mansion, but it’s worth a play if you’re a fan.

Addams Family Values

Release Year: 1992

Current Value: $14-$17

This is A Link to the Past, but with Uncle Fester and friends. The password system is infuriating, but the game itself is solid. Bonus points to the developers for making an action RPG with the license instead of a platformer.

Aladdin

Release Year: 1993

Current Value: $15-$17

Aladdin is often considered one of the best licensed platformers of all time. The SNES version and the Genesis version have obvious differences, but they’re both masterpieces.

Alien 3

Release Year: 1992

Current Value: $18-$20

Ripley makes her way through a passable run-and-gun adventure. This port is leagues ahead of the NES version, which was only released a few months earlier.

An American Tail: Fievel Goes West

Release Year: 1994

Current Value: $70-$75

Fievel gets to take down some 16-bit bosses with decent gameplay variety. The colors are sharp, and the levels aren’t too long are hard; this title is very kid friendly.

Batman Forever

Release Year: 1995

Current Value: $8

This is a truly terrible game that’s great fun to watch during speed run conventions. Notably, there is a “training mode” that attempts to be a fully-fledged tournament fighter, but it fails miserably.

Batman Returns

Release Year: 1992

Current Value: $18-$20

Unlike Batman Forever, this is a creative side-scrolling action game that uses the Animated Series’ aesthetic effectively.

Beauty and the Beast

Release Year: 1994

Current Value: $40-$45

This side-scrolling game is rather generic. You play as Beast and try to save Belle, but there’s little to separate it from other games in the genre.

Bebe’s Kids

Release Year: 1994

Current Value: $33-$37

This is the slowest beat-em-up of all time. Walking is slow, attacking is slow, and enemies have seemingly infinite health. Stay away.

Beethoven: The Ultimate Canine Caper

Release Year: 1993

Current Value: $8-$10

A simple platformer where you can play as a dog that barks at enemies for damage. No, it’s not about the composer.

Bram Stoker’s Dracula

Release Year: 1993

Current Value: $8-$10

This is a semi-sufficient replacement for gamers that crave more Castlevania. The graphics are a little gaudy, but you came to fight Dracula, and fight Dracula you shall.

Casper

Release Year: 1996

Current Value: $85-$100

This plays kind of like A Boy and his Blob, with Casper tethered to Kat Harvey. Oddly, the Japanese Super Famicom Casper is different, with the roles reversed in an isometric perspective.

Cliffhanger

Release Year: 1993

Current Value: $5-$7

There’s less cliffhanging and more bad-guy punching. It’s a simple brawler based on a simple movie. Missed opportunity for a cliffhanger ending, of course.

Cool World

Release Year: 1992

Current Value: $10-$13

Although a mediocre adventure game, this stays pretty close to the source material. It’s a lot more kid-friendly, though, and appropriate for Nintendo.

Cutthroat Island

Release Year: 1995

Current Value: $8-$10

Lukewarm swashbuckling action is backed up by nice graphics and music. It’s button mashing, but hey, swords are cool.

Demolition Man

Release Year: 1994

Current Value: $15-$18

Mediocre platforming sometimes switches to decent top-down shooting. Don’t you wish it was one or the other? This could have been a decent Contra clone.

Dennis the Menace

Release Year: 1993

Current Value: $8-$10

You have to collect all of Mr. Wilson’s coins and find two of Dennis’ friends. Notably, there’s a timer; it’s just as anxious as the movie.

Dinocity

Release Year: 1992

Current Value: $13-$15

It’s based on the movie Adventures in Dinosaur City. The graphics and worlds are fun to explore, and the dinosaurs you choose actually affect gameplay.

Dragon: The Bruce Lee Story

Release Year: 1993

Current Value: $9-$12

Bruce Lee gets a well-deserved tournament fighter, but almost every aspect of the game is poor. At least Bruce Lee was given recognition by getting a character in every other fighting game series.

The Flintstones

Release Year: 1994

Current Value: $10-$13

This game uses its overworld as a sort of board game, where landing on a space decides the level you play. Sometimes it’s shops, sometimes it’s bosses, sometimes it’s a normal platformer.

Home Alone

Release Year: 1991

Current Value: $8-$10

Not only does it not follow the movie, but this game can be completed in less than half an hour. Even Macaulay Culkin hates it.

Home Alone 2: Lost in New York

Release Year: 1992

Current Value: $6-$8

There’s powerups, and this has a little more going for it than the first game, but it’s not a significant improvement. It’s a bit nice to powerslide into enemies.

Hook

Release Year: 1992

Current Value: $23-$26

The gameplay is standard platforming, but the graphics are outstanding for the time period. It almost looks like modernized pixel art made with decades of experience.

The Hunt for Red October

Release Year: 1991

Current Value: $6-$8

There’s side-scrolling and underwater action, with Super Scope bonus levels. If you enjoyed Jaws on the NES, this might catch your fancy.

Indiana Jones’ Greatest Adventures

Release Year: 1994

Current Value: $30-$35

Few movie games effectively used the Mode 7 functionality on the SNES, but this game is a joy to look at. It’s the second most iconic sidescroller featuring whip-based combat.

Judge Dredd

Release Year: 1995

Current Value: $7-$9

Run-and-guns don’t often give you the option to arrest the enemies instead of blasting them to bits. There’s hard bosses to make it worth strolling through the brightly-covered comic book levels.

The Jungle Book

Release Year: 1993

Current Value: $5-$7

This game picked up where the original Pitfall left off. It’s platforming with vine-swinging, so of course it’s satisfying. Is there any game with vine-swinging that isn’t?

Jurassic Park

Release Year: 1993

Current Value: $5-$7

Grant has a chibi sprite in this game that utilizes alternating perspectives. Top-down shooting with explosives and tranquilizers switches to first-person gaming when entering a building. No continues and no passwords; you have to beat the whole thing in one go.

Last Action Hero

Release Year: 1993

Current Value: $8-$10

Most of the Arnold Schwarzenegger games are shooters, but this one is a beat-em-up. The final boss of the game is the final boss of the movie to boot.

The Lawnmower Man

Release Year: 1993

Current Value: $8-$10

Nothing to do with the movie, and nothing to do with the book. Yet, it’s just as weird as both. This is a first-person platformer, a first-person shooter, a sidescroller, and a shoot-em-up (with two different perspectives and three distinct styles) all at once. Each level is different.

Lethal Weapon

Release Year: 1992

Current Value: $8-$10

It’s a platformer with shooting elements where you can play as Riggs or Murtaugh. Oddly enough, the developers opted for a more cartoony style than what you’d expect for an adaptation of the movie.

The Lion King

Release Year: 1994

Current Value: $8-$10

One of Disney’s best games, this sold over a million copies in the U.S. alone. It’s really hard, but not terribly unfair.

Mary Shelley’s Frankenstein

Release Year: 1994

Current Value: $18-$20

Thank goodness you get to play as the monster and not some boring human. You can attack all of the vengeful townspeople to your heart’s content; the plot closely follows the 1994 film it’s based on, rather than the book or the old-school Universal movie.

The Mask

Release Year: 1995

Current Value: $35-$40

Gamers would pick this up for the humor and goof factor, and The Mask delivers. It’s a side-scroller with whacky attacks and ammo meters to manage.

Mighty Morphin Power Rangers: The Movie

Release Year: 1995

Current Value: $40-$50

Beat-em-ups suit the Power Rangers cast. Much like other games in the genre, it’s repetitive, but great for fans of the series. There’s six characters, though they do play relatively similarly.

No Escape

Release Year: 1994

Current Value: $11-$13

No Escape’s graphics are really, really good, and it has awesome cutscenes to boot. Unfortunately, it controls really poorly. Something good got lost along the way.

Outlander

Release Year: 1992

Current Value: $10-$12

Outlander was originally developed as a Mad Max game before the developers lost the rights. There’s driving and shooting, and walking and shooting. It’s a bit repetitive, but maybe it would have sold well with an actual license.

The Pagemaster

Release Year: 1994

Current Value: $7-$9

Another Macaulay Culkin game with platforming, this time with magic combat and literature worlds. It’s not bad, but he hates this one too.

Pinocchio

Release Year: 1995

Current Value: $13-$15

Old-school platforming with an emphasis on puzzles. There’s storybook cutscenes too, which are a nice reward for finishing each level.

RoboCop 3

Release Year: 1991

Current Value: $13-$15

He’s slow in the movie, but does he have to be so slow in the game too? It would be funny if it weren’t so hard, though fans will get a kick out of it regardless.

The Rocketeer

Release Year: 1991

Current Value: $6-$8

Like many other games on this list, Rocketeer tries to mix genres; it’s half flying, a quarter shooting, and a quarter brawling. The flying segments would be interesting, but it asks you to look at a tiny camera window at the bottom of the screen instead of the big landscape that takes up the rest.

Snow White: Happily Ever After

Release Year: 1994

Current Value: $23-$25

Targeted at casual gamers, this sidescroller has three difficulty levels. Though the gameplay isn’t extremely unique, you have to give credit to developers that knew their audience.

Stargate

Release Year: 1994

Current Value: $10-$13

Though it controls decently, this is a run-of-the-mill platformer. They played it super safe with this one, considering Stargate lends itself to any number of genres.

Super Godzilla

Release Year: 1993

Current Value: $12-$15

Super Godzilla is hard to classify; half of it is a slow one-on-one fighter, and the other half is tactical tile movement. The bottom half of the screen shows tiles you can move Godzilla to, while the top half shows the actual actions Godzilla is taking. It’s methodical and appropriate.

Super Star Wars

Release Year: 1993

Current Value: $10-$12

Luke starts off with a blaster, and eventually upgrades to a lightsaber! There’s even more action than the movie for this sidescroller, plus a playable Han and Chewbacca. Even though it’s not subtitled, the game is based on Episode IV, clearly preparing for sequels. Don’t worry, there’s vehicle combat too.

Super Star Wars: The Empire Strikes Back

Release Year: 1993

Current Value: $11-$13

Episode V follows the gameplay of its predecessor, adding new weapons and special moves for the characters. Plus, there’s double jumping and a final boss fight with Vader. However, the story isn’t finished…

Super Star Wars: Return of the Jedi

Release Year: 1994

Current Value: $14-$16

Once again, this follows the Super Star Wars formula, but adds Leia and Wicket as playable characters. There’s more content and action-packed levels, and this is about as good as it gets for licensed games of the 16-bit era.

T2: The Arcade Game

Release Year: 1991

Current Value: $9-$11

This is a conversion of the lightgun arcade game; don’t bother playing without a Super Scope or a SNES Mouse. If you have either, this game is a super fun novelty.

The Terminator

Release Year: 1992

Current Value: $32-$35

Difficult side-scrolling with no continues are punctuated by fun driving segments. It’s harder than it is long, but you’d wish it was all driving.

Terminator 2: Judgment Day

Release Year: 1993

Current Value: $32-$35

It’s a sidescrolling adventure game, but half of it is escort levels. Plus, it’s not always easy to tell what you’re supposed to do. In short: quite frustrating.

Toy Story

Release Year: 1995

Current Value: $10-$13

Believe it or not, this is one of the best platformers on the system. It has awesome graphics, controls nicely and has fun levels. It sold so well, they ran out of chips to make more cartridges.

Toys

Release Year: 1993

Current Value: $5-$7

This game is seriously unimpressive. You have to collect toys to fight the enemy with, but most of the screen is covered up by isometric tiles coated in eye-straining blue paint.

True Lies

Release Year: 1994

Current Value: $30-$35

Reviews for this are polarized. It’s a top-down shooter almost reminiscent of modern games like Hotline Miami. It’s short, but very sweet.

Warlock

Release Year: 1994

Current Value: $10-$12

It’s repetitive and you won’t want to finish it, but the puzzles and spells of Warlock are impressive for a couple hours.

Wayne’s World

Release Year: 1993

Current Value: $10-$12

It’s hard to be accurate to a movie like this, but the Wayne’s World game is goofy and fun. The graphics are pretty good, but it’s hard to pay attention to them with the game’s difficulty.

We’re Back! A Dinosaur’s Story

Release Year: 1993

Current Value: $6-$8

It uses the movie’s characters, but has a new plot to follow. The graphics are nice, but it’s a rather simple platformer. Great for kids.

The Wizard of Oz

Release Year: 1993

Current Value: $20-$25

It’s got some cool ideas; the main cast is all playable and there’s new locations to visit in the World of Oz. Unfortunately, the platforming is broken and the foreground and background blend together.

#Best SNES Games #SNES Games #gamex

4 notes · View notes

raccoonfootproductions · 6 years

Text

Hey Arnold! season 6 could happen... on a streaming service.

Bad news first: Nickelodeon has no interest in making a 6th season for Hey Arnold! (on TV, anyway).

Good news: They’re instead pitching the idea to streaming services like Netflix, Hulu, and Amazon.

This is apparently due to the fact that The Jungle Movie attracted a lot more millennial viewers than kids, so they’re attempting to have the series continue on a platform that fits its audience. Fortunately, Nick and Viacom in general have recently started making deals with streaming services that would allow this, where the services gets the rights to distribute original shows that Nick and other MTV Networks make and own (such as Pinky Malinky [despite it being recently delayed again]).

IMHO, I’m 100% OK with this happening, if it does. Not only does stuff like this allow Nickelodeon to get more into the streaming scene, which they need due to ever-declining TV ratings, but it allows longtime fans to get what they want without the company having to worry about ratings or demographics.

Hey Arnold! is one of many classic Nick properties that would fit on platforms like Netflix pretty nicely, so I’m hoping this happens for it and even more shows, be they revived classics or entirely original.

(source)

#hey arnold!#hey arnold!: the jungle movie #nickelodeon #nicktoons

38 notes · View notes

toonrandy · 7 years

Photo

Hey Arnold! The Jungle Movie arrives on DVD two months from now, February 13, 2018! (Sources: TVShowsonDVD.com, Amazon)

#hey arnold!#the jungle movie #dvd releases #nickelodeon

56 notes · View notes

anotherhafan · 7 years

Link

For those who are asking me about Franie, there's a video in the “Hey Arnold! We saved The Jungle Movie” group where fans commented below an interview to Craig and the cast which they're saying “Season 6!” And there's a specific comment that says “she probably wouldn't have time to voice Helga given her job” and then it comes a discuss about a replacement. So, that's it. If anyone knows an official source, let us know too. I'm must say I'm a little worried.

3 notes · View notes

missingverse · 7 years

Text

Missing Chapter Eleven

Notes for this chapter: As I am not from America and Hey Arnold is, a lot of research has gone into the next few chapters when puzzling out locations, but I will probably still get some details wrong. If you notice anything really off, please let me know in the comments.

Also, I have not seen the Jungle Movie yet but I'm hearing good things. Lovely.

…..

Three weeks until:

Waking up was a challenge; actually getting up once she was awake was even worse. The sun trickling through the curtains was stinging her eyes and she had slept with her shoulder at an odd angle, it ached.

Once Helga managed to lift her head off the pillow, she noticed that not only had she been drooling again, but the drool was foamy! Was that normal?

Her arms and legs were heavy, she rolled over with difficulty and picked up her cellphone.

Pheebs, I'm not coming in today.

Thank goodness for predictive text, her fingers wouldn't move the way she wanted them to.

Why not?

I'm sick.

Again?You really need to see a doctor.

Yeah, with whose money?

Free clinic is two bus rides and

I can barely get out of bed.

Ask Patrick's mom to bring you. You know she would.

I can ask my mom when she gets home from work.

It's fine, I'll try and sleep it off

and see how it is later. It's probably

just the flu.

Flu doesn't last this long, Helga.

All right, I'll think about it and

call you later.

She dropped the phone and attempted to get up. She couldn't remember going to bed the night before; the last thing she remembered was getting halfway through her Social Studies report. She stumbled to the bathroom to wash the drool off her face.

Miriam wasn't up yet; Helga heard her thick snoring from what used to be Olga's room. Bob was definitely gone to work, the sink was clogged with shaving foam and stubble.

She leaned into the mirror and poked at the skin under her right eye. It was still marked from where she'd blackened it. Telling everyone it was a baseball injury was marginally less embarrassing than admitting she'd had a dizzy spell and fallen into a door (like anyone would believe that when it was known as the go-to excuse of beaten wives and battered kids).

She turned on the shower and made to get undressed, and then she realized just how bad she was; apparently she'd been so out of it she'd put on her nightgown back to front.

…..

Dawn was just tiptoeing up in the sky when Arnold was rather brutally woken up by a knee in his stomach. He opened his eyes to see Helga thrashing in her sleep, trying to push him away from her but just pushing herself closer to the wall. A small distressed whine was rising in her throat.

“Helga....Helga!” he groaned, still half asleep and a touch winded.

He shook her by the shoulder gently and she stilled, slowly blinking awake.

“You were having a nightmare,” he told her.

“Yes, I was,” she replied. She was damp with cold sweat.

Being this close, it was remarkable how human she looked for a ghost. He could count individual eyelashes, the faint freckles under her skin, the trembling of her lip that indicated she was still upset but trying to hide it.

“You wanna talk about it?” he pressed, scooting to the edge of the bed so she wouldn't feel trapped.

“Not really,” she mumbled, turning so she was lying on her back. “But I probably should, right?”

“Not if you don't want to.”

“There was something around my neck.”

Now cold sweat started beading on Arnold's skin under his t-shirt.

“What kind of something?” he asked cautiously. “A hand?”

“No, not a hand,” she murmured, stroking her throat thoughtfully. “It was cold. And heavy.”

That could be anything, but Arnold's mind helpfully supplied some images.

Jewelry.

A thick rope.

A chain.

Something sinkable if you tossed it in water.

Concrete.

“It's probably nothing,” Helga demurred, but she didn't sound convincing.

Arnold threw back the covers and got to his feet, booted up his computer.

“Maybe you should come with us to school today,” he suggested, pulling up the latest headlines. “Just a distraction. Things have been getting really heavy lately...”

“Maybe,” she agreed, but she had turned over in the bed, facing the wall. Away from him.

They had hit a dead end. They had where Helga had gone last and why she was there, but Officer Plaskett was certain Bob Pataki hadn't been involved in her disappearance.

He wouldn't have wanted to lose his only source of real income Arnold thought sourly.

But that left them with nothing else. Nowhere to go. Part of him was a little glad though, because it was just now occurring to him that if they discovered what happened to her, ghost Helga would have no reason to stay and he had grown very used to having her around.

“Wanna hear some news?” he asked.

“Sure, why not?” she replied, still facing the wall and a little muffled by the pillow.

“Lena Montclare has been slammed for inflammatory tweets about her fans,” he began.

“What kind of news is that?” she said, turning over to look at him. “Who's Lena Montclare?”

“Remember that Netflix movie you watched while I was out? She played the sister.”

“Oh. She was awful in that.”

“She's just awful in general.”

“What else is there?”

“Seven reasons JimBob Saves Christmas doesn't need a reboot....Massive shipment of Lego bricks runs aground on Kettle Beach.... Golden couple Ray Harkness and Mona Washington rocked by rumours of infidelity...Pocaselas cheer team make the nationals....”

Helga sat up suddenly.

“What was that last one?” she asked, a high note rising in her voice.

“What? Pocaselas cheer team....” he answered.

“Pocaselas. What is that?”

“Uh, it's a city two states over, I think.”

Pocaselas was barely a city, more like a halfway point for people on their way to somewhere better. It was full of motels, hotels and trans-state bus lines. Arnold had been stranded there once for seven hours when trying to get to Montana for a concert when he was thirteen. He hadn't even tried to go to a concert since.

“I know that place. I keep seeing the name,” she said, rubbing at her temple (just under her scar).

“Seeing it? Where?” Arnold asked, typing the word into Google.

“In my dreams. It's printed on something.”

“Like a newspaper or a street sign?”

“I don't know, it's hazy.”

Pocaselas was unremarkable; Google brought up basic info about annual rain fall, bus timetables, some mommy blogger's website....

….until about three entries down in the search and the only real reason anyone knew that Pocaselas even existed.

The Black Gulch Ripper.

…..

In the early nineties, Pocaselas became known as a hive for young runaways and working prostitutes, who were sometimes one and the same. For any young person looking to disappear, it was a good option. There were lots of short-term places to stay, lots of abandoned buildings to squat in when the money ran out, and plenty of truckers and blow-ins to keep the working girls in business.

When women began going missing, nobody thought much of it. People left Pocaselas all the time, especially runaways. There were a lot of cases where a john was robbed by a working girl who fled town on the first bus in any direction. So nobody could really pinpoint who the first victim was.

The first victim found, however, was 26-year-old Elisa Frank. She appeared in the Black Gulch on the edge of the city, discovered by a local fisherman, and was so bloated and disfigured it was near impossible to see what had been done to her. Her throat had been cut, and a good number of internal organs were missing.

A girl who had frequently worked the same stretch of highway as Elisa turned up next, not in the Gulch itself but just beside it. Sarah May Caldwell's throat had also been cut but only her heart and lungs were missing. Police arrested the girl's pimp for their murder but he was released without charge (and then picked up again and sent down for three years for soliciting.)

As many as a hundred girls had been reported missing; with the ones that hadn't been reported the number would have been closer to three hundred. Three more bodies were found in the Gulch in the same state as Elisa and Sarah May, but it was near impossible to tell who could be considered the culprit's next victim just looking at the missing reports.

By the time four more bodies appeared in the gulch, a pattern had emerged. They were all young women; the oldest was thirty-four and the youngest nineteen. They were blondes, mostly (Tegan Nicholls was biracial with curly dark hair and Annette Fischer was a redhead) and they were between five foot and five seven. Several of them were heroin addicts and three on some other narcotic, which the police theorized made them easier to capture, and most were prostitutes but two were mere runaways.

The newspapers gave the killer the nickname everyone used. He would go quiet for two to three year stretches and then come back with a new body, and there was a grim sense that the press had been waiting for him because it was the only kind of interesting news you got in a place like Pocaselas.

There had been theories that the Black Gulch Ripper was behind Helga Pataki's disappearance, but it was dismissed as nonsense. For one, Helga was much younger than the killer's usual M.O. He also concentrated his attacks in the Pocaselas general area, and the difference between that city and Hillwood was two states and a mess of highways and sideroads. The roads in and out of Hillwood had speed cameras that had picked up nothing beyond the usual traffic.

It was entirely possible to reach Pocaselas on foot through the forest that ran from Hillwood through the interim state to the edge of the city, but that was only if you managed to avoid swamps full of water moccasins, treacherous sinkholes and the occasional bear. It was said only a madman would attempt it.

…..

“You're not ready yet?” Phoebe said as he opened the bedroom door to her, still in his pyjamas.

“We might have got something,” he told her, ushering her in. “I'll tell you on the way to school, I just need to shower.”

Her attention wasn't on him though; she was looking in the general direction of Helga, sitting on his bed.

“I can kind of see her,” she said, a smile slowly growing. “The air is kind of blurry, like when there's gas in the air.”

“That's good,” he said.

“I have a new notebook for you,” Phoebe said, ignoring Arnold entirely. “I missed your last few birthdays, I owed you a new one.”

“Wow, thanks Pheebs,” Helga said, taking the notebook.

“Did you hear anything? She thanked you,” Arnold told her, and Phoebe's face fell.

“No,” she mumbled. “But it's okay, she can write to me with the notebook.”

Arnold left them there, and throughout his shower he could hear the low murmur of Phoebe talking and Helga answering, although he knew anyone else listening would just hear the sounds of a girl talking to herself. He got out, dressed and just as he was about to come back in, he heard something that made him linger outside.

“....has to know something, doesn't he? I mean, you ended up in his house...”

Helga muttered a reply he couldn't hear and through the crack in the door he saw her scribble out a response and hand over the notebook. Phoebe read it and rolled her eyes.

“If not now, then when?” she said. “Back then you told me you were over it, but you're obviously not.”

Helga scribbled out another response, and at this one Phoebe looked like she wanted to cry.

“What's the point?” she half-laughed. “You tell me! Maybe the reason you're back is nothing to do with how you died, you know? Maybe that's not the right kind of closure....”

They both lapsed into silence, and Arnold felt it was okay to come back inside. He watched Helga slam the new notebook shut when he came back in.

“You ready to go?” he asked.

…..

Helga ultimately decided not to join them, and for the first few minutes of the walk to school Phoebe was silent. Until....

“...why is she in your bed?”

“What?” Arnold sputtered.

“She's in your bed now,” Phoebe continued. “She was on the sofa and now she's not. Why?”

“I had to tell her about the memory stick,” Arnold said with a sigh. “She was pretty upset, and I was worried.”

“So she ended up in your bed because she was upset?”

“I can understand why you're worried, but nothing happened. At least until this morning.”

Phoebe stopped dead in the street and grabbed his arm, turned him around.

“What happened this morning?” she demanded, cheeks turning pink with anger.

“She had a nightmare,” Arnold explained.

The colour drained from Phoebe's face, and she looked abashed.

“Sorry,” she muttered. “I guess I'm still a bit peeved that you can see her and I can't, but I shouldn't take that out on you. How does she look to you?”

“Like herself, but older,” Arnold shrugged. “Speaking of....do you remember any kind of scars Helga had before she went missing?”

“Scars?” Phoebe questioned, thoughtful. “Um...she had one on her elbow from where she broke her arm and the bone went through skin. And she kept saying she had one under her eye from when she blackened it but I think she was just hyper-focused on it...”

“Wasn't that the one her Dad gave her?”

“That was just a rumour, Arnold,” Phoebe sighed. “She ran into a door because she was dizzy and she didn't want to tell anyone because someone would spread rumours. Which they did anyway.”

“Oh,” was all Arnold could think to say. He'd bought into that rumour, they all had.

“Why are you asking? Does she have different ones?”

“Yeah,” Arnold said, and took a deep breath before continuing. “She has a big one, on her head. Looks like she was hit with something big and heavy. There's one on the back of her leg too.”

Phoebe blanched even more.

“And there's one more, a really long one...it goes from her hip to her chest. It looks kind of deep too.”

“Her hip to her chest? How do you know about that one?” Phoebe asked.

“Come on, Phoebe...” Arnold groaned.

“How do you know about that one?” Phoebe growled.

“I looked, okay? She was asleep and I saw the edge of it from under her t-shirt so I took a look.”

“You goddamn perv-”

“There was nothing sexy about it if that's what you're worried about,” Arnold muttered. “I don;t know about you but looking at knife wounds doesn't get me hot under the collar.”

Once again, Phoebe's anger faded.

“Sorry,” she mumbled again. “She used to complain when boys paid attention to her... I guess I'm still a bit protective.”

“It's okay,” Arnold shrugged. “It's nice, actually. Nice to see you trying to look after her even after all of this.”

“Just repaying the debt. I would have been eaten alive at school if it wasn't for Helga.”

Phoebe had forgotten to ask what the new thing they had discovered was, and by the time they reached the school he had debated with himself over and over about telling her.

The Black Gulch Ripper flashed in his mind, over and over.

In the end, he decided it could wait.

#hey arnold #hey arnold fanfiction #tw:crime

2 notes · View notes

zdbztumble · 7 years

Text

Confession time: I love Hey Arnold! Next to Avatar: The Last Airbender, it’s probably the best thing to come out of Nickelodeon. The eccentric art style, the large ensemble cast, the willingness to be sincere and even heartbreaking with regularity; it is a fantastic show.

But I cannot for the life of me muster up any enthusiasm for the upcoming Jungle Movie.

My reasons are entirely to do with preference and opinion; they have nothing to do with the quality of material thus far released for the film. YMMV, and I’m happy that many of my fellow 90s’ kids are on-board with this revival, but a few things just won’t let me get excited for it:

I never cared what happened to Arnold’s parents. The “Parent’s Day” episode of the original show was a beautiful piece of television, tender and brutal in its emotional honesty and realism. It showed something that should be shown on kids’ TV: that some kids grow up without moms and dads, and they don’t get a satisfying answer for what happened to them. But the most important thing in that episode, for me, was the fact that, once he learns why his parents disappeared, Arnold snaps out of the malaise he was in and fully embraces his grandparents as his family. That Arnold’s parents were still alive, and that what happened to them might be fodder that could and should become an episode/movie, never even crossed my mind until years later, when I finally saw “The Journal” and read about plans for the Jungle Movie. When I saw that episode and read those plans, I was glad the latter was canceled; to have an elaborate, globe-trotting adventure around the fate of Arnold’s parents would’ve taken away from that raw, heartbreaking, and honest quality of “Parent’s Day.”

Arnold is no longer a dynamic character. I don’t mean that in a negative way; I think Arnold’s great. But he underwent a major evolution in the course of the original series. He started out as a daydreamer with an inquisitive streak, one that led him to bend the rules and occasionally exhibit some rebelliousness. But as the show progressed, those traits were diminished, and his unerring morality and infinite patience for those around him were emphasized. He ended up as a sort of master of ceremonies for the show, a supporting character who connected all the rest of the cast and served as the neighborhood conscience and sage while others took center stage. I rather liked him in that role, though it did serve to make him more interesting as a counterpoint to others than interesting in his own right. But once a character makes that sort of evolution, it can be very hard to walk them back from it and down another path, and have it all seem organic as composed to contrived. Given that the Jungle Movie seems to put Arnold front-and-center as protagonist again, I’m just not sure that move can be pulled off.

The whole jungle setting. Hey Arnold! is a show about the lives of various people living in the neighborhood of a quasi-New York City. The large cast size, and the size of such a city, offer any number of ideas for episodes and films, and a lot of mileage was gotten from them. To take the cast of such a show and send them off on a jungle adventure seems to me something a lesser show would do. I admit that’s me letting initial assumptions limit possibilities, but the visceral reaction I have is that this is like the “special event” stunts so many cartoons pull to try and dress up an average-to-mediocre episode, goosing the setting and plot with things completely alien to the premise just to seem exciting. I don’t doubt Craig Bartlett and company can make such a move into a viable story, but even if I admit that and set aside my prejudice, I’m just not that interested in the idea of Arnold and his friends in the jungle. With another set of characters in another show, I might get excited by such a risky shake-up of setting, but not with this one.

And then...there’s Helga.

Look - I think Helga is a fantastic character. Francesca Marie Smith was one of the best child actors in American media - live-action or voice-over - and the range of plots that the show got from this poor girl’s twisted little life is impressive. And, when I was a kid, I thought her crush on Arnold was funny and cute. But even as a kid, I felt that it played too large a role in the show towards the end. As I said, Helga episodes covered a wide range, something I appreciate, but her crush was used as a main plot once too often, and as a quick gag five times too often IMO. And while the shrine made of gum may have been a gag from earlier seasons, the later ones inflated the importance of Arnold in Helga’s life to a level that struck me as excessive. The kids of Hey Arnold!, like so many cartoon kids, are not literal children; Arnold’s eventual status as the nine-year old sage of the neighborhood, wise beyond his years, should be enough to tell you that. But they are closer to real children than, say, the kids from Pokemon. Helga’s creative talents and cynical-if-effective maneuvering in her family paint her as mature for her age, but even so, that Arnold would mean so much to her did not sit right with me after a while - and I say that as someone who was prone to developing infatuations as a kid.

In fact - dare I say this - Helga’s crush on Arnold reminds me of Serena’s crush on Ash. Now, there are differences, many and large, between the two, not the least of them being that Helga was far more developed as a character independent of her feelings for a boy. But both crushes were overused as an easy source of comedy and schmaltz, and both - though less so in Helga’s case - became crutches for the characters, defining too much of their identities at the expense of other traits.

And, given Craig Bartlett’s statements, it seems that Arnold is meant to come around and return Helga’s affections, an idea I’ve never liked. For one thing, the few episodes that hinted at something like that were never my favorites. But the unrequited nature of Helga’s crush had a lot of power too. Plenty of characters have unrequited loves, but there was a difference with Helga and Arnold. It’s not as if they don’t know each other. It’s not as if they don’t know each other that well. It’s not as if Arnold is a bad guy, or just the wrong guy for Helga. It’s not as if Arnold has the wrong idea about Helga and sees her as someone she’s not. It’s not as if Arnold is as dense as a brick wall when it comes to anything but Pokemon. Arnold is a great guy, has amazing emotional intelligence and empathy, is capable of helping grown adults through their relationships, develops romantic crushes of his own on various characters, and knows Helga very well. They’re friends, they’re classmates, they’re playmates, and while she might try his patience in earlier seasons, Arnold ultimately treats her with the same kindness he shows everyone else. A relationship with someone like that would be good for her. The fact that Arnold is a great friend to her - and that that’s not enough for Helga, and she does not have the courage or emotional maturity to deal with her feelings in a healthy way - was a strong source of pathos, and helped lessen the sense of fatigue from having the crush brought up so often. Like the “Parent’s Day” episode, it spoke to hard truths - sometimes, things just don’t work out with people quite the way you want them to - and this was just the show to face that kind of issue in a way that made sense to kids. To watch a movie that decides to throw in their getting together - on top of being a crazy jungle adventure to find long-lost parents - just isn’t on my bucket list.

#hey arnold!#hey arnold jungle movie #helga pataki #craig bartlett #critique #commentary #nickelodeon

8 notes · View notes

ramajmedia · 5 years

Text

Hey Arnold's Dark Pigeon Man Theory (& Why It's Wrong)

One of Hey Arnold’s darkest theories is not about the titular character nor his best friends, but about a character who only appeared once: the Pigeon Man. Created by Craig Bartlett in the late 1980s, Hey Arnold! made its debut on Nickelodeon in 1996 and came to an end in 2001 after five seasons and one film, simply titled Hey Arnold!: The Movie. Throughout the series, viewers met Arnold’s family, friends, and some very colorful characters from the neighborhood.

There were Hey Arnold! characters who, despite their appearances being one-offs, proved to be unforgettable, such as the Stoop Kid and Monkeyman (although he one can be seen or heard in the background in a couple of episodes), but one in particular made fans come up with a very crazy and depressing theory: the Pigeon Man, a lonely man who Arnold befriends and who some fans are sure had a very dark and sad fate.

Related: Hey Arnold's Dark Theory: Real Parents & Imaginary Friends Explained

Arnold met the Pigeon Man in Hey Arnold! season 1, in the episode appropriately titled “Pigeon Man”. In it, Arnold needs help as one of his pigeons gets sick, and is taken to the Pigeon Man, a lonely man who knows and trusts pigeons more than people. The two become friends and Arnold takes him for a day in the city. In the meantime, Harold and his friends destroy the Pigeon Man’s home. After finding the place vandalized, the Pigeon Man explains to Arnold why he prefers pigeons to humans, and decides it’s time to leave, and so flies away with the help of his always faithful pigeons. It’s that final scene which has made some viewers believe that the Pigeon Man didn’t exactly fly away – he jumped off the roof and killed himself. In front of Arnold.

The theory adds that, because Arnold was too young to cope with an event like that, he imagined a new narrative in which the Pigeon Man simply flew away towards the sun. Craig Bartlett is aware of this and other theories about Hey Arnold!, and has publicly expressed that he hates this theory, saying that he included the Pigeon Man in Hey Arnold: The Jungle Movie just so people would stop saying he killed himself. In fact, the film revealed that the Pigeon Man now lives in Paris, and continues to look after his faithful animal friends.

The Pigeon Man didn’t die, nor was he supposed to: he really flew away, and made it to Paris (hopefully on a plane and not by flying with pigeons attached to him. That’s terrifying), and better yet, he still has a very special place in his heart for Arnold. While it’s true that some children’s shows have hidden messages and inappropriate jokes, that isn’t the case with Hey Arnold!.

Next: Hey Arnold: Helga's Parents Were The Real Bullies, Not Her

source https://screenrant.com/hey-arnold-pigeon-man-theory-suicide-wrong/

#screenrant

0 notes

rugbyquit5-blog · 5 years

Text

Emmys 2018: The Handmaid's Tale, Game of Thrones, Tiffany Haddish, Black Mirror Among Early Winners

At last, the Emmys have arrived! No, we’re not talking about the 2018 Primetime Emmys broadcast — you’ll have to wait until next Monday, Sept. 17 (8/7c, NBC) for those — but rather, the Creative Arts Emmy Awards, which are being handed out Saturday and Sunday evening at the Microsoft Theater in Los Angeles.

Night 1 of the creative arts event includes honors for Guest Actor and Actress (in comedy and drama), as well as Outstanding Television Movie and Children’s Program. Scroll down for a complete list of winners…

OUTSTANDING GUEST ACTRESS IN A COMEDY SERIES Tiffany Haddish, Saturday Night Live (NBC)

OUTSTANDING GUEST ACTOR IN A COMEDY SERIES Katt Williams, Atlanta (FX)

OUTSTANDING GUEST ACTRESS IN A DRAMA SERIES Samira Wiley, The Handmaid’s Tale (Hulu)

OUTSTANDING GUEST ACTOR IN A DRAMA SERIES Ron Cephas Jones, This Is Us (NBC)

OUTSTANDING TELEVISION MOVIE USS Callister: Black Mirror (Netflix)

OUTSTANDING CHILDREN’S PROGRAM The Magical Wand Chase: A Sesame Street Special (HBO)

OUTSTANDING ANIMATED PROGRAM Rick and Morty (Adult Swim)

OUTSTANDING CHARACTER VOICE-OVER PERFORMANCE Alex Borstein, Family Guy (Fox)

OUTSTANDING SHORT FORM ANIMATED PROGRAM Robot Chicken (Adult Swim)

OUTSTANDING INDIVIDUAL ACHIEVEMENT IN ANIMATION (JURIED) Adventure Time (Cartoon Network) Hey Arnold! The Jungle Movie (Nickelodeon) The Number On Great-Grandpa’s Arm (HBO) The Scariest Story Ever: A Mickey Mouse Halloween Spooktacular (Disney Channel) The Simpsons (Fox) Steven Universe (Cartoon Network)

OUTSTANDING CASTING FOR A COMEDY SERIES The Marvelous Mrs. Maisel (Amazon)

OUTSTANDING CASTING FOR A DRAMA SERIES The Crown (Netflix)

OUTSTANDING CASTING FOR A LIMITED SERIES, MOVIE OR SPECIAL The Assassination of Gianni Versace: American Crime Story (FX)

OUTSTANDING CINEMATOGRAPHY FOR A MULTI-CAMERA SERIES Will & Grace (NBC)

OUTSTANDING CINEMATOGRAPHY FOR A SINGLE-CAMERA SERIES (HALF-HOUR) Atlanta (FX)

OUTSTANDING CINEMATOGRAPHY FOR A SINGLE-CAMERA SERIES (ONE HOUR) The Crown (Netflix)

OUTSTANDING CINEMATOGRAPHY FOR A LIMITED SERIES OR MOVIE Genius: Picasso (NatGeo)

OUTSTANDING SINGLE-CAMERA PICTURE EDITING FOR A COMEDY SERIES The Marvelous Mrs. Maisel (Amazon)

OUTSTANDING MULTI-CAMERA PICTURE EDITING FOR A COMEDY SERIES Will & Grace (NBC)

OUTSTANDING SINGLE-CAMERA PICTURE EDITING FOR A DRAMA SERIES The Handmaid’s Tale (Hulu)

OUTSTANDING SINGLE-CAMERA PICTURE EDITING FOR A LIMITED SERIES OR MOVIE USS Callister: Black Mirror (Netflix)

OUTSTANDING MAIN TITLE DESIGN Counterpart (Starz)

OUTSTANDING ORIGINAL MAIN TITLE THEME MUSIC Godless (Netflix)

OUTSTANDING MUSIC COMPOSITION FOR A SERIES (ORIGINAL DRAMATIC SCORE) Game of Thrones (HBO)

OUTSTANDING MUSIC COMPOSITION FOR A LIMITED SERIES, MOVIE OR SPECIAL (ORIGINAL DRAMATIC SCORE) March of the Penguins 2: The Next Step (Hulu)

OUTSTANDING MUSIC SUPERVISION The Marvelous Mrs. Maisel (Amazon)

OUTSTANDING SOUND EDITING FOR A COMEDY OR DRAMA SERIES (ONE HOUR) Stranger Things (Netflix)

OUTSTANDING SOUND EDITING FOR A COMEDY OR DRAMA SERIES (HALF-HOUR) AND ANIMATION Atlanta (FX)

OUTSTANDING SOUND EDITING FOR A LIMITED SERIES, MOVIE OR SPECIAL USS Callister: Black Mirror (Netflix)

OUTSTANDING SOUND MIXING FOR A COMEDY OR DRAMA SERIES (ONE HOUR) Game of Thrones (HBO)

OUTSTANDING SOUND MIXING FOR A COMEDY OR DRAMA SERIES (HALF-HOUR) AND ANIMATION Barry (HBO)

OUTSTANDING SOUND MIXING FOR A LIMITED SERIES OR MOVIE Genius: Picasso (NatGeo)

OUTSTANDING SPECIAL VISUAL EFFECTS Game of Thrones (HBO)

OUTSTANDING SPECIAL VISUAL EFFECTS IN A SUPPORTING ROLE The Alienist (TNT)

OUTSTANDING STUNT COORDINATION FOR A DRAMA SERIES, LIMITED SERIES OR MOVIE Game of Thrones (HBO)

OUTSTANDING STUNT COORDINATION FOR A COMEDY SERIES OR VARIETY PROGRAM GLOW (Netflix)

OUTSTANDING PERIOD COSTUMES The Crown (Netflix)

OUTSTANDING FANTASY/SCI-FI COSTUMES Game of Thrones (HBO)

OUTSTANDING CONTEMPORARY COSTUMES The Assassination of Gianni Versace: American Crime Story (FX)

OUTSTANDING MAKEUP FOR A SINGLE-CAMERA SERIES (NON-PROSTHETIC) Westworld (HBO)

OUTSTANDING PROSTHETIC MAKEUP FOR A SERIES, LIMITED SERIES, MOVIE OR SPECIAL Game of Thrones (HBO)

OUTSTANDING MAKEUP FOR A LIMITED SERIES OR MOVIE (NON-PROSTHETIC) The Assassination of Gianni Versace: American Crime Story (FX)

OUTSTANDING HAIRSTYLING FOR A SINGLE-CAMERA SERIES Westworld (HBO)

OUTSTANDING HAIRSTYLING FOR A LIMITED SERIES OR MOVIE The Assassination of Gianni Versace: American Crime Story (FX)

OUTSTANDING PRODUCTION DESIGN FOR A NARRATIVE PERIOD OR FANTASY PROGRAM (ONE HOUR OR MORE) Game of Thrones (HBO)

OUTSTANDING PRODUCTION DESIGN FOR A NARRATIVE CONTEMPORARY PROGRAM (ONE HOUR OR MORE) The Handmaid’s Tale (Hulu)

OUTSTANDING PRODUCTION DESIGN FOR A NARRATIVE PROGRAM (HALF-HOUR OR LESS) GLOW (Netflix)

OUTSTANDING SHORT FORM COMEDY OR DRAMA SERIES James Corden’s Next James Corden (CBS on Snapchat)

OUTSTANDING ACTOR IN A SHORT FORM COMEDY OR DRAMA SERIES James Corden, James Corden’s Next James Corden (CBS on Snapchat)

OUTSTANDING ACTRESS IN A SHORT FORM COMEDY OR DRAMA SERIES Christina Pickles, Break a Hip (Vimeo)

OUTSTANDING CREATIVE ACHIEVEMENT IN INTERACTIVE MEDIA WITHIN A SCRIPTED PROGRAM Westworld (HBO)

OUTSTANDING ORIGINAL INTERACTIVE PROGRAM NASA JPL: Cassini’s Grand Finale (YouTube)

OUTSTANDING COMMERCIAL The Talk: P&G – My Black Is Beautiful (CBS)

The Creative Arts Emmys will be broadcast Saturday, Sept. 15, at 8/7c, on FXX.

Source: https://tvline.com/2018/09/08/emmys-2018-creative-arts-winners-list-night-1/

#read more #see more #check it out #interesting #learn more

0 notes

varbontv · 4 years

Text

مشاهدة فيلم Hey Arnold The Jungle Movie 2017 مترجم للعربية

مشاهدة وتحميل فيلم رسوم متحركة و مغامرة و خيال يا أرنولد فيلم الغابة 2017 Hey Arnold The Jungle Movie مترجم كامل بطولة ميسون فال كوتون ، بنيامين فلوريس جونيور ، فرانشيسكا ماري سميث فيلم Hey Arnold The Jungle Movie 2017 اون لاين سيرفرات متعددة وتحميل مباشر بجودات عالية 1080p 720p 480p HD حصرياً على موقع فاربون تي في

#مشاهدة #افلام #مسلسلات #مترجم #فاربون

source https://www.varbon.tv/video/hey-arnold-the-jungle-movie-2017/

#فيلم #افلام #مشاهدة #مترجم #watch #movies #online

0 notes

netunleashed-blog · 6 years

Text

Dwayne Johnson Is Ready For You to See Him Like You Never Have Before (Exclusive)

http://www.internetunleashed.co.uk/?p=2669 Dwayne Johnson Is Ready For You to See Him Like You Never Have Before (Exclusive) - http://www.internetunleashed.co.uk/?p=2669 The crowds amassed in the Hong Kong mall for the premiere of the China-set action flick Skyscraper were packed tens, perhaps hundreds deep, a palpable excitement turning into a deafening roar of applause upon the arrival of a certain sunglasses-bespectacled movie star. "I can't even hear myself talk," co-star Neve Campbell shouted with a smile. "Dwayne Johnson is in the house, evidently."That feeling was very much mutual in the moment. "There’s not a scream, a smile, a tear, a hug, a laugh, more tears, another laugh, another hug that I will ever EVER take for granted," Johnson captioned a photo of himself beaming alongside his screaming, selfie-seeking fans. That is the mentality he's built his entire acting career on. "Our connection is everything to me and I’m boundlessly grateful for this passionate luv," he wrote. "I luv you back."Part of that luving relationship is that Johnson knows what fans want to see from him. In the past year alone, he's starred as the unbreakable Agent Luke Hobbs in The Fate of the Furious, an "elite" "lifeguard" in Baywatch, the video game action avatar Smolder Bravestone in Jumanji: Welcome to the Jungle and a primatologist with a giant, mutant gorilla friend in Rampage. Now, he's ready to introduce viewers to a side they haven't seen from him."He said, 'You're not a superhero. You're a wounded hero and you are a man who's gonna barely survive the entire movie,'" Johnson told ET of the conversation he had with writer-director Rawson Marshall Thurber. The night before their premiere, the actor is standing with his "brother" on the banks of the Hong Kong harbor, backlit by the neon lights of the city's many skyscrapers. Thurber chimes in, "People will see him unlike they've ever seen him before. He's so vulnerable. It's his best performance."The plot of Skyscraper is the sort of ludicrously over-the-top, popcorn-worthy premise you have come to expect from Johnson: he stars as a former FBI agent who must rescue his wife (played by Campbell) and their two young children from the eponymous skyscraper -- the tallest, most advanced building in the world -- after it is taken over by terrorists. After collaborating on the action comedy Central Intelligence, Thurber pitched Johnson Skyscraper as an homage to movies like Die Hard and The Fugitive, and Johnson said no."When he pitched me, I said, 'Hey, listen, let me think about it.' I finally called him back and I said, 'I'm so sorry to do this to you. We're already developing a movie based on the world's biggest building,'" the actor remembers. "He goes 'No!' I mean, he was heartbroken. And I was so happy. I hear him just wilt away on the phone. I'm like, 'I'm so sorry, brother. You got a great idea, but we beat you to it.'""I was really depressed. I was super bummed out," Thurber continues the story. "And then Dwayne hangs up on me and about three seconds later my phone rings and its him. He says 'I'm in!' So, hook, line and sinker. I didn't know he was that good of an actor. That sold me."Before you feel too bad for the director, he is getting his revenge now, launching into a bit about how he didn't actually write the role with Johnson in mind but only asked him after everyone else said no. "Tom Cruise said no and then Mark Wahlberg said no and then Kevin Hart said no twice," he jokingly lists off. "Then Melissa McCarthy and Will Ferrell. Arnold Schwarzenegger said no.""See what I gotta put up with?" Johnson erupts into laughter. Universal Pictures So, the story may be right up the actor formerly known as The Rock's alley, but the role Will Sawyer shows a new side to Johnson; he plays a disabled war veteran who lost his lower leg in an explosion. It's a responsibility Johnson took to heart, doing research and finding inspiration in the Paralympian and first U.S. amputee to climb Mount Everest, Jeff Glasbrenner. ("He told himself, 'It's not gonna be the excuse for me not to do things in my life. It's gonna be the reason why I do do things in life.'") Sawyer is also a family man with the (mostly) realistic skill set that entails. "He has to use his ingenuity to get the job done," Johnson says. "Compared to fighting his way through the building." He doesn't put his life on the line knowing he will come out the other end but does so anyway for the sake of his family. (For the record, Campell kicks her share of ass in this, too.)While the character is only human, it wouldn't be a Dwayne Johnson movie without some insane stuntwork, including one particular crane sequence that has been heavily teased in the trailers. "Hopefully, fingers crossed, it becomes an iconic moment," Johnson smiles. "Take a friend if you're afraid of heights. Or if you have vertigo, take a friend." When a fire erupts in the building, Johnson must leap from a super crane over the fireline and into the skyscraper, some 98 floors up."We built the top of a crane. I was suspended maybe 30, 40 feet in the air," Johnson recalls. "I was wired, but I still did it. Ran, jumped off. One take. I told [Thurber] I only had one take because years ago, I tore the top of my quad and my adductor from my pelvis, so it's hard for me to get a good jump off." To make sure he got the footage he needed, the director set up a number of cameras and Johnson jumped, once. "That's what you see in the movie."At the end of the premiere's red carpet, after Johnson had met and greeted his fans, he was welcomed with a traditional Chinese dragon dance, with large, colorful felt heads snaking around a stage as confetti fluttered downwards. "For luck and prosperity," he explained on Instagram of the dance's significance. Not that he needs either. With Skyscraper hitting theaters on July 13, Johnson already has plenty of prosperity on its way, with little luck required: the sequel to the mega-hit Jumanji, set to begin filming early next year; a Fast and the Furious spin-off centered on Hobbs and Jason Statham's Deckard Shaw, with Idris Elba recently cast as the villain ("He and I have been waiting a long time to work with each other"); and Red Notice, about an Interpol agent tasked with capturing the most-wanted art thief in the world, which co-stars Gal Gadot and will be written and directed by Thurber."He won't stop calling, 'What do you got next, man? I need it,'" Thurber imitates Johnson, before continuing the bit that he tried to get anyone and everyone else to star in the movie. "Chris Hemsworth, yes," Johnson grinned. "Ryan Gosling.""Anybody," Thurber deadpanned. "Literally anybody."In true Dwayne Johnson nature, he's happy to joke around, but never at the expense of sincerity. "You know, we had a great time on Central Intelligence. Skyscraper, we had a great time, too," he adds, earnestly, of his connection with Thurber. "Look, I've gotten to a point in my career, and that point is that life's too short and work is too important to, excuse my language, work with assholes" -- and, of course, candy asses -- "So, I refuse to do that."RELATED CONTENT: Dwayne Johnson Triggers Fan Mania Inside Massive 'Skyscraper' Premiere in Hong Kong! (Exclusive) Dwayne Johnson Jokes He Set Up His Former Co-Stars Nick Jonas and Priyanka Chopra (Exclusive) Dwayne Johnson on Taking Political Meetings and the Possibility of Running for President (Exclusive) Source link

0 notes