#truly a staple of Hallmark movies

[keldae]

The Mistletoe Trap

Drastic times called for drastic measures. Or that's what Jonas insisted from his precarious perch atop a pilfered desk chair that he was currently standing on, in the middle of the dorm lounge, stretching to drive a thumbtack into the dorm ceiling. “Trust me, this will totally work!”

Lana dubiously looked up at him, arms crossed and blonde eyebrow raised. “Are you sure it won't just make things awkward with them?"

“Even those two idiots have to clue in with this!” Jonas hopped off the chair and stepped back to survey his handiwork. “I mean, this is a central element in every cheesy romance movie set around Christmas. Guy encounters girl, guy and girl both look up and realize they're under thr mistletoe, guy and girl kiss, guy and girl realize they're in love…”

“And are you an expert in Hallmark movies?” Lana asked, brushing a lock of blonde hair out of her eyes.

“I have a mother who's obsessed with those movies,” Jonas answered. “I learn things by osmosis. Besides, you only need to see one Hallmark movie to figure out the plot for all of them…”

“You're not wrong,” Lana conceded. She looked over her shoulder as Koth emerged from his room, shrugging his jacket on. “What do you think? Do we have a chance of setting our favourite idiots up with this?”

Koth craned his neck to look up at the mistletoe and frowned. “Isn't it supposed to be in a doorway, instead of the middle of a room?”

Jonas groaned. “I spent long enough fighting to get it to stay up there without falling! Can't we break tradition just this once?”

“Nope. If we're doing a mistletoe set-up, we gotta do it right.” Koth jumped up on the desk chair and pried the thumbtack, with its precious burden of mistletoe, out of the ceiling. He paused and dubiously eyed the little pin. “... This will be a pain to stick into the doorframe.”

“Nothing some tape can't fix,” Lana said with a nod. She hurried down the hallway to her room, and returned a minute later with a roll of tape in her hands. “Just don't use all of it, mind.”

“You're the best.” Koth dragged the chair over to the entrance of the dorm lounge and clambered back onto the seat. “Am I centre-ish?”

Jonas stepped back and tilted his head. “Bit to the left… no, no, my left… smidge more… there, that's about as centred as you're gonna get. I'm too lazy to find a measuring tape to make sure.”

“Works for me!” Koth started taping up the mistletoe, making sure to leave most of it dangling in the doorway. “How's the rest of the decorating coming along, do you know?”

“Mako and Vette were working on what they say will be the most epic paper chain to grace a dorm floor,” Lana said. “And I think Kira and Xaja are in charge of paper snowflakes. A pity we have no space in here for a tree…”

“Or budget,” Jonas added. “Being that we're all broke college students.” He watched as Koth jumped back down from the chair, mistletoe in place, then grinned. “Shall we find covert watching positions so we can observe our handiwork?”

“Great, give them both performance anxiety,” Koth snorted. “They'll both appreciate that so much.”

Jonas snorted a laugh. “That's why I said covert, moron.” He sharply looked to the front door as he heard the sound of a keycard on the security panel. “Quick, that might be them!”

The trio scrambled for the shelter of the couches, and by unspoken agreement, all pretended to be intently interested in their phones. They could hear the sounds of two pairs of feet coming down the hallway, around the corner, and pausing at the entrance to the lounge…

“Oh, hell no,” Thexan's voice sounded. “Go ahead, Arcann, I insist.”

“Why do you insist I–?” There was a pause before Arcann groaned. “Ah. Yeah, there is no way in hell I'm kissing you, Thexan.”

Suppressing her disappointment that the intended targets weren't the ones who had arrived first, Lana looked up. “You know you two would have gotten a pass, right?” she asked. “Being literal brothers and all.”

“I dated a girl in high school who was really into a particular subset of the Supernatural fandom,” Thexan answered. “And I don't mean the Destiel shippers. I've had trust issues ever since I caught her quizzing Arcann on some very personal questions.”

“Ewww.” Jonas looked up from his phone. “Yeah, valid. Now shoo so we can wait for the actual targets.”

“You mean the two who were walking back from the cafeteria?” Thexan grinned. “You guys are not subtle at all about this. I mean, waiting for them?”

“Subtlety isn't working!” Koth complained. “We gotta go for the obvious now.”

“I still say we should lock them in a closet,” Arcann commented as he dropped his book bag by Jonas’ couch. “Or set up a blind date for each of them.”

“If they haven't figured it out by spring break, we'll try the closet,” Lana promised. “By then there should be enough sexual tension pent up…”

“What are we talking about with sexual tension?” A horned head poked itself into the lounge, a huge grin on its face.

“I thought I told you to fuck out of here and not come back again last week, Gault!” Lana snapped, amber eyes flashing angrily.

“I'm an invited guest!” Gault protested. “Hylo said I could come in!”

“Not if you two are going to lock me out of my room for three hours while you have sex and then have a blow-up fight!”

“That was one little argument–”

“At one in the morning, that woke both me and Torian up,” Koth interjected, scowling.

“So the timing wasn't ideal,” Gault said with a shrug. “Sorry for disturbing your beauty sleep.” He glanced upward and grinned. “Awww, but you lot can't be that hard-up about it! Look what's on the ceiling!”

“Not for you,” Jonas interrupted. “It's a trap for Theron and Xaja!”

“We’ll break it in for them!” Gault cheerily grinned, then darted through the lounge to Hylo and Lana's room, pounding on her door.

Lana sighed in frustration, jaw visibly clenched. “If he turns up dead one day, I had nothing to do with it,” she growled.

“We'll help with the alibi,” Koth nodded, watching as Hylo emerged from the room with her brow wrinkled. The frown turned into a grin from the Mirialan as she followed Gault under the mistletoe; the Devaronian took the opportunity to dip Hylo for a passionate kiss.

“Get a room!” Jonas hollered over when the kissing didn't seem to abate after a few seconds.

“And not mine!” Lana added indignantly. “Again!” She looked over at Jonas. “I'm much more sympathetic toward Theron now…”

“I don't lock him out that often!” Jonas protested. “And the one time I did led to him meeting his soulmate, so…”

Gault finally straightened up from the kiss and let Hylo up to catch her breath. “See? We're wingmaning for you, Lana–” His eyes suddenly went wide, and he booked it for the safety of the front door, fleeing Lana's wrath as the blonde started to get to her feet.

Hylo watched her boyfriend escape, then shrugged at Lana. “He's not wrong?” she said with a little chuckle. “It's just his way of helping – and look at that, I need to be in the library right now!” She fled after Gault, with a bit of a laugh, as Lana snarled something entirely unprintable at her back.

“... The library?” Thexan asked as the door slammed shut behind the couple. “She hasn't set foot in the library since term started!”

“You'd know, considering you live there,” Arcann commented.

“Very funny,” Thexan muttered, then looked over as the front door opened and closed again. “Is that finally them?”

“Get over here in case it is!” Koth hissed. “Act natural!”

“Gawking is natural, for having just watched Hylo and Gault apparently make back up,” Arcann commented with a grin. Still, he sat down on the arm of Jonas' couch, as Thexan hurried over to flop beside Koth. Still grumbling, Lana sat back down and scowled at her phone like it was responsible for her roommate woes.

And not a second too soon – Theron Shan was the next person to poke his head into the lounge, not realizing he was directly under the mistletoe trap. “Well, don't we look conspiratal,” he commented, looking at the cluster of students on the couches. “We planning evil things here?”

“Just concerning my roommate and the douchebag she's dating,” Lana grumbled. “Do you know of a good place to dump a body?”

“Xaja says she watches true crime shows,” Theron suggested, as the aforementioned redhead popped up beside him. “You got an idea for a good place to dispose of Gault or Hylo?”

“I owe Hylo one for that troubleshooting with my car the other week, so I can't help murder her,” Xaja said. “Gault, on the other hand, I can definitely help dispose of.” She paused, frowning at the widening grins being sent at her and Theron. “... What? Do I have something in my teeth?”

“Theron could help with that, if you do,” Jonas innocently suggested.

Theron promptly sputtered in mortified indignation. “I – what?!”

“Look up,” Thexan said with a smirk.

Both Theron and Xaja glanced upward – a second later, Xaja squeaked, her cheeks going as red as her hair. “Is that… which one of you assholes hung up mistletoe?!” Beside her, Theron seemed to be at a loss for words, eyes wide and mouth dropped open.

“Doesn't matter,” Koth said, grinning impishly. “To quote from the third Pirates of the Caribbean movie – just kiss!”

“It needs to be cleansed after watching Hylo and Gault make out under it,” Lana added in a mutter.

“But– we're not–!” Xaja yelped. “Hylo and Gault are at least a thing! Theron and I aren't!”

“Being a ‘thing’ isn't part of the mistletoe rules,” Arcann retorted, laughing. “Or are you two chicken?”

“We aren't chicken!” Theron piped up, indignant despite the flush to his cheeks. “We just… uh…” He rubbed the back of his neck awkwardly. “... Which one of you assholes had this idea?”

“Does that matter?” Jonas all but cackled. “Kiss her already!”

Theron softly groaned, then turned to look at Xaja, who seemed to have become very focused on a random spot on his hoodie shoulder. “Erm… listen, I'm sorry about this…” he started to say.

“No, uh, it's… it's okay. It's definitely not your doing.” Xaja looked up from her visual examination of his hoodie, still bright red. She hesitated, then glared in the direction of the couches and the pair's eagerly-watching audience. “Do you fuckers have to sit there and watch like that?”

“What, do you have performance issues?” Jonas grinned evilly. “I'm reasonably sure Theron won't care about that–”

“Forget Gault – I'm murdering you,” Xaja growled. She looked back up at Theron. “You can look forward to a single room next semester.”

“Works for me,” Theron agreed, giving Jonas a malevolent glare. He shifted awkwardly, then quickly stooped to give Xaja a brief peck on the lips, seemingly before he could lose his nerve.

“Awww, come on!” Koth complained. “That barely counted as a kiss!”

“If you dumbasses weren't fucking staring at us…” Theron snapped.

Koth sighed dramatically. “Fine, if we all look away, are you two actually gonna kiss properly?”

“You know,” Jonas commented, “if you're the one with the performance issues, Theron, I'm sure Xaja will be happy to help you out with–”

“I will kill you dead, Balkar.” Theron glared at his roommate and former best friend, then caught Xaja in his arms and stooped to give her a dramatic, lingering kiss. She squeaked as she was pulled into his embrace, then seemed to wrap her arms around his neck and return the kiss, apparently trying very hard to ignore the whistles and chorus of “Awwww"s from their dormmates.

They finally came apart after a few seconds, seemingly trying to regain both breath and coherent thought before Xaja looked over at their audience. “Happy now?” she growled, more than a little bit of bite in her tone.

“Immensely,” Lana answered with a little laugh. “Now shoo so we can wait for our next victims. If that pre-med student Archiban comes in here next with this week's girlfriend…”

“We hate you all,” Theron announced, as he and Xaja tried to make their way to their respective rooms with as much dignity as they could muster. “Sleep with one eye open until the end of term.”

Jonas laughed, then as the pair vanished into their rooms, sobered up slightly. “I'm gonna die, but this was totally worth it.” He looked over at Arcann and Thexan. “Hey guys, can I crash with you for the rest of week so Theron doesn't kill me in my sleep?”

“As long as you're prepared to deal with Arcann's snoring,” Thexan said with a grin. He paused, looking at the mistletoe contemplatively. “... Did we overdo it?”

“Nah.” Koth laughed and stood up. “Someone got a picture of that, right? Kira will be so pissed that she missed it.”

Jonas grinned and flourished his phone. “Sending it to the group chat as we speak. And if they aren't dating officially by the end of winter break, I may smack Theron upside the head until he comes to his senses and asks her out.”

[socallook45]

Ho Ho Horrendous: The Ultimate Guide to Men's Ugly Christmas Sweaters

In the merry labyrinth of holiday traditions, there's one trend that has brazenly stitched its way into the fabric of festive celebration: the ugly Christmas sweater. These gaudily garnished garments, often festooned with an array of clashing colors, blinking lights, and eccentric patterns, have become a hallmark of holiday hilarity. In this ultimate guide, we're unwrapping the world of men's ugly Christmas sweaters, ensuring your holiday wardrobe is as memorably horrendous as it is heartwarmingly humorous.

The Rise of the Ugly Christmas Sweater

The ugly Christmas sweater phenomenon, while seeming a modern marvel, has roots that stretch back to the 1950s. Originally dubbed "Jingle Bell Sweaters," these festive frocks gained notoriety for their cheerful, albeit cheesy, designs. However, it wasn't until the 1980s and 1990s, with the advent of television shows and holiday parties dedicated to the garish garb, that the trend truly took off. Today, donning an ugly Christmas sweater is a badge of honor, a symbol of embracing holiday cheer in its most ludicrous form.

Finding Your Perfectly Horrendous Sweater

When embarking on your quest for the ultimate ugly Christmas sweater, there are several factors to consider to ensure your selection achieves peak atrociousness.

1. Bold Patterns and Colors: Look for sweaters that boldly defy fashion norms. The more outrageous the color combination and pattern, the better. Think neon greens and reds clashing in a festive explosion of bad taste.

2. Tactile Terror: Texture adds a whole new layer of horror. Sweaters adorned with pom-poms, sequins, felt appliqués, and anything that adds a 3D element will elevate your ugly sweater game.

3. Interactive Elements: Sweaters with interactive elements like working bells, lights, or even built-in games not only draw attention but also serve as excellent icebreakers at holiday gatherings.

4. Pop Culture References: Incorporating pop culture references, from beloved holiday movies to viral internet memes, can add a layer of cleverness to your sweater's overall hideousness.

5. DIY Disasters: If you're feeling particularly adventurous, consider creating your own ugly Christmas sweater. This allows for unparalleled personalization, ensuring that your sweater is uniquely atrocious.

Embracing the Spirit

Donning an ugly Christmas sweater is more than a fashion statement; it's an embrace of holiday spirit and communal joy. It represents a willingness to laugh at oneself, to foster a sense of belonging through shared amusement. In this light, the ugly Christmas sweater transcends its material form, becoming a conduit for holiday cheer and camaraderie.

Navigating Social Gatherings

Ugly Christmas sweater parties have become a staple of the holiday season. Whether you're attending a corporate event, a family gathering, or a festive soirée with friends, here are a few tips to ensure your horrendous sweater is a hit:

1. Confidence is Key: Wear your ugly Christmas sweater with pride. The more confidently you sport your festive monstrosity, the more it becomes a statement of joyous defiance.

2. Prepare Your Backstory: People will inevitably ask about your sweater. Having a humorous or creative backstory can add to the entertainment.

3. Complement Your Look: Consider pairing your sweater with equally absurd accessories. Think themed hats, garish trousers, or even outrageous footwear to complete your ensemble.

4. Embrace the Competition: Many ugly sweater parties feature contests. Strategize your outfit with categories like "Most Outrageous," "Most Creative," or "Lights Out" (for the best use of illumination) in mind.

Conclusion

The ugly Christmas sweater, once a fashion faux pas, has evolved into a beloved holiday tradition. Its appeal lies not in aesthetic beauty but in the joy, laughter, and unity it brings to holiday festivities. As we embrace the ho ho horrendous, we find that at the heart of this quirky tradition is a celebration of the joyous, irreverent spirit of the holiday season.

[hallmarkspeedreviews]

The Scottish Love Scheme

* Is this about to be another movie where a person is very much and obviously American but I’m meant to believe they are from somewhere else

* So her mom’s is def dying, right?

* Ten bucks that’s why they break up in the third act

* Divorcee who isn’t pissed at her ex? Hate it. I like having an ex to hate

* Her mom isn’t good at keeping people from knowing she’s dead

* I had to turn on the subtitles

* What am I meant to believe this relationship is? Childhood friends? If so, I must ask once again: why does she sound American?!?

* I love old people. Just living life.

* Another dog!

* This conundrum being a marketing issue is funny.

* I’m sure promising honesty and transparency won’t blow up in either of their faces.

* Not he forgot to sign the rugby tryouts slip!!! He tryna ruin this boy’s life!

* A pair of meddling moms? Love it.

* Ahhh. So the moms are the schemers

* Where is this third brother?

* Also, why does he think Lily knows her mom is dying? do men not listen to anything they hear?

* We stan emotionally intelligent Scottish men!

* Ah yes…the random gay brother. A cherished hallmark staple.

* These moms are funny. If I was dying I would ALSO be in everyone’s business

* Naughty fun?! In this economy?!

* Oh she wearing the fuck outta that dress

* A brewer who doesn’t drink? Fascinating

* Maiden, mother, and crone? I’m the crone for sure.

* They’re not doing a great job reminding us that these two people know each other

* God, I wanna be old meddling white woman. They are living life exactly as they should be.

* What a bunch hater ass Europeans. These people won’t let this poor lady cheer?! This baby is playing his heart out!!

* “Delicious accent” alright…yall doing a lot.

* “Enjoy the company of a good man” is the kind of shit I would say if I was dying.

* If her mother dies on this trip I’m calling hallmark in the morning

* “You deserve to be spoiled.” C’mon sir!!!

* Oh, so now you can cheer?! A bunch of haters

* my heart strings? consider them pulled

* I understand every third word this kid says. And I’m West Indian

* This movie is just a lady living her best Scottish romance dream. Good for her.

* This man woulda got me caught up. I can’t lie.

* “I’m in awe of you!!!???” This movie gonna end me. I will fucking weep.

* Girl. Spain ain’t going nowhere. Marry this man and stop playing with me.

* “You didn’t say anything?” maam. Maam.

* These people are annoying. Her mama is dying. She gonna know eventually!!

* They legit kept terminal liver cancer from this lady?! Wild.

* This movie is so damn cute. If they show her mother’s funeral imma weep.

* Listen…hallmark spent money on real ACTORS

* A pocket guide to Spanish?! This is too sweet

* Hallmark said “wanna cry for 40 mins?”

* “Whatever you need…I am here…” nah. I love him.

* There is such good romance in a check kiss.

* Taking off the ring? I’m a puddle on the floor

* These Scottish men planning a perfect day for a dying old lady?!? Please kill me here 🥹😫🥹

* “Let me help you build it back up again” yall will make me weep.

* This is too much.

I am crying as I write this. This movie was so damn good. Truly this is the, if not one of the best Hallmark movies I’ve ever seen and I’ve seen hundreds.

9.5/10 - Almost perfect

[peternelthorpe]

Market Feasibility

New Post has been published on https://wr1tepress.com/market-feasibility/

Market Feasibility

Fear is part of the fundamental core of human existence, as connected to the basic functions of survival and the psyche as the survival instinct or the need to mate. Fear and anxiety, therefore, are among the staples of any genre that deems itself fit to entertain the masses, an art form to be mastered in the hands of a true artiste. Fear, dread, and anxiety are all integral components of any successful horror story, for example, but not everyone who writes horror manages to get the mix of the important elements – — pacing, plot, and characterization – — all of which must be just right to create a classic that will frighten generations long after the first copy was printed. There are a few that manage to accomplish the difficult feat of being eternal in their horror and long-lasting in their ability to turn anxiety into outright terror.

Edgar Allan Poe, author of “Annabel Lee” and “The Fall of the House of Usher” , is easily recognized as one of the foremost masters of horror and the macabre. His works have inspired terror and anxiety in many individuals, primarily through the use of heavy psychological tones, as opposed to the gore and blood themes used and abused by writers of his time. Poes collected works easily counts as some of the most frightening material ever written, especially now, in an age where horror movies are relegated to two hours of bloodshed and senseless violence, lacking any true horror and relying solely on shock value to appear “scary.” Poe also stands out as being among the few who can make even the most mundane things seem utterly terrifying, a feat emulated by Stephen King and several Japanese horror authors, but never truly duplicated.

In a completely different vein of horror from his predecessors, and arguably creating a sub-genre of horror through his works, H. P. Lovecraft also stands out. His works, while lacking in humanity, are difficult to see as anything but terrifying, particularly because of the apparent lack of humanity in them. In contrast to writers of previous generations, Lovecraft focused more on the truly monstrous, ignoring the human element that most horror writers tended to insert into their works since the days of the Gothic era. His stories were littered with monsters that knew neither morality nor mercy, seeing humanity as insignificant insects and, in Lovecrafts malignant world of ancient races and Elder Gods, humanity was insignificant. He also brought back something from the Gothic horror era, showing his readers that knowledge, even just a little knowledge, can lead to the most terrifying of discoveries. This is perhaps best exemplified by the so-called “Cthulhu Mythos,” a collection of stories that centered around Lovecrafts anti-mythological beings.

Frankenstein

Among the most enduring horror classics in the world is that of Shelleys “Frankenstein,” which combines the elements of horror with the intrinsic questions that plagued morality and philosophy at the time.

In some ways, the story is one that puts a new spin on the old ghost story, in that the “ghost” is inevitably caused by the actions of mortal men who meddled in things they were not meant to.

The story, aside from being a genuine tale of terror, also took on the role of a lesson in morality and the limits to just how far medical science could go.

Prolonging life is one thing, but bringing back the dead is another thing entirely, which is one of the subtle messages of the novel.

The underlying question of whether or not Frankensteins creature is the monster, or if it is Frankenstein himself, also contributes to making the story a memorable, chilling tale.

However, very few stories can truly stand up against the pure terror and the subtle anxiety and dread caused by Bram Stokers infamous novel, “Dracula.” The novel is a hallmark of the Gothic horror era, presenting a villain of potentially epic scope in the guise of a remarkable gentleman and nobleman. It deviated from other vampire stories of the time in that the vampire, Dracula, was not monstrous in appearance. He looked every inch a master and nobleman, establishing the “lord of the night” archetype that would be a stock image of vampire characters in literature for centuries to come. It also had all the elements necessary to both frighten readers and keep them coming back for more, marking it as the most enduring horror novel in history.

[dweemeister]

Woman in the Moon (1929, Germany)

By the end of the 1920s, humanity could envision a world where spaceflight might be possible. Several decades before that, the science fiction books of Jules Verne, H.G. Wells, and others thrilled viewers with promise of adventure and the unknown. Also capturing that interest in space would be Georges Méliès’ film, A Trip to the Moon (1902, France) – even if you have never heard of this film, you may be familiar with its most iconic frame. A Trip to the Moon is one of the first science fiction films ever made and, for the 1900s decade, among the most innovative of its time. Though other filmmakers around the world dabbled in science fiction, the genre never truly took off until mid-century.

One of the few filmmakers bringing a sense of spectacle to sci-fi silent films was German director Fritz Lang, best known today for Metropolis (1927) and M (1931). Because of its release in between Metropolis and M, Woman in the Moon tends to be underseen and undermentioned. But, like Metropolis and A Trip to the Moon, it is a silent film exemplar of science fiction. It is a remarkable piece of entertainment in its second half, even as it wastes too much of its runtime on a tiresome subplots that involve gangsters and romance. When Lang brings his showmanship during the crew’s trip to the Moon, the results are unlike any other filmmaker working in cinema at that time.

Businessman Helius (Willy Fritsch) meets with his friend, Professor Mannfeldt (Klaus Pohl), to discuss developments over Helius’ plans to journey to the Moon. The mission was inspired by the Professor’s hypothesis that the Moon, “is rich in gold” – something that has attracted the mockery of his fellow academics. In the shadows, an unidentified gang sends a man calling himself “Walter Turner” (Fritz Rasp) to spy on Mannfeldt and Helius. More trouble comes to Helius when he learns his assistants Windegger (Gustav von Wangenheim) and Friede (Gerda Maurus) announce their engagement. Helius, who has never confessed his love for Friede, finds himself in an awkward romantic bind in the events leading up to launch. On launch day, Helius, his assistants, and Professor Manfeldt board the Friede. But their crew complement includes two others: Walter Turner (who threatens his way onboard) and a stowaway child, Gustav (Gustl Gstettenbaur).

Thea von Harbou, Lang’s wife from 1922-1933, wrote the screenplay, adapting her book The Rocket to the Moon. Just a quick glance through her filmography recalls a number of great Lang-von Harbou collaborations: Dr. Mabuse the Gambler (1922), the Die Nibelungen saga (1924), and Metropolis. She truly is one of the great screenwriters of early cinema, but Woman in the Moon is an underwhelming display of her talents. Von Harbou mires with its Earth-bound scenes, and Woman in the Moon reaps no benefits from its spy subplot. There is a straight science-fiction story buried somewhere in this overlong 169-minute film, but von Harbou overstuffs her screenplay with the potential sabotage of the rocket to the Moon. Never does the viewer feel that Lang’s astronauts are in danger of being blasted to smithereens in outer space or that “Walter Turner” will ever succeed in whatever murderous plots he has hatched. Isolated from whatever themes Woman in the Moon wishes to present, the love triangle that slowly overtakes the rest of the film always feels vestigial to this overcooked story. Compare this overwrought, yet underwritten romantic drama to Metropolis, where the relationship between Gustav Fröhlich’s Freder and Brigitte Helm’s Maria outlines perfectly the tension of their society’s industrial hierarchies and the geography that separates the classes.

Woman in the Moon truly defies gravity only after its launch and touchdown on the lunar surface. The cinematography team led by Curt Courant (1934’s The Man Who Knew Too Much, 1938’s La Bête Humaine) capture the terror of early spaceflight better than some of the more expensive American sci-fi productions would in the 1950s and ‘60s. The speculative lunar sets – which look more like Méliès’ vision for A Trip to the Moon than anything recognizable from the Moon – tower over the movie’s intrepid astronauts as they explore this lifeless (unlike Méliès’ vision) celestial body.

The screenplay, camerawork, production design, and special effects seen in The Woman in the Moon come from the most widely accepted scientific theories of the late 1920s concerning astrophysics and the nature of the Moon. Where some aspects might feel dated (that includes the appearance and breathable atmosphere of the lunar surface and the submersion of the rocket into water before launch), others are prescient. The explanation of how the rocket’s flightpath is so prophetic that it seems as if Thea von Harbou and Fritz Lang sat in on an Apollo mission briefing by NASA. Woman in the Moon also contains the first countdown to launch seen in a sci-fi film (yes, the launch countdown is an invention of Woman in the Moon), as well as a multistage rocket that jettisons parts of the rocket as it exits Earth’s atmosphere. Prior to launch, the rocket’s assembly in a separate structure before transportation out to the launchpad – where it will blast off to space. For a film released in an era that did not make much use of seat belts and Velcro, the utter violence and human disorientation of a rocket launch requires the astronauts to strap themselves into their bunks and hold onto surface restraints.

The frantic editing and startling cinematography of these scenes, coupled with the film’s undercurrent of distrust and ulterior motives, are a Lang staple during the most technically accomplished scenes of his filmography. It is there in the worker montages of Metropolis, the elaborate assassination scene of Dr. Mabuse the Gambler, and the horrific battle sequence of Die Nibelungen: Kriemhild’s Revenge. Those Lang hallmarks find their way late in Woman in the Moon, well past the point where they might have been effective in alleviating the film of its structural issues. Though Woman in the Moon might not be as influential as any of those aforementioned movies, Lang’s propulsive sense of action is apparent in the film’s second half. Like a silent era John Frankenheimer, Lang is in full control of the film’s tension – knowing when and when not to apply these techniques to heighten the viewer’s adrenaline.

Not nearly as a widely-discussed for Woman in the Moon is its final moments. The film’s concluding dilemma is startling. It precipitates into a situational solution that does not grant a narrative resolution. Are Lang and von Harbou attempting to comment on the lengths of selfishness, of the tension intrinsic between science and human avarice that can endanger others? Or is it more cynical of scientific discovery and technological progression than it might appear? Woman in the Moon wastes too much time on its romantic triangle before even approaching questions as nuanced as these.

However one interprets this, Woman in the Moon – more popular with general audiences than film critics and those noting that Universum Film AG (UFA) executive Alfred Hugenberg was beginning to align himself with the Nazi Party – arrived in German theaters at a time of political upheaval. Among the politically inclined, Woman in the Moon proved divisive: leftists derided its alleged Nazi subtext and the Nazis approved of this depiction of a technologically advanced, forward-thinking Germany. Shortly following Hitler’s ascendancy to German Chancellor in 1933, the Nazis banned A Woman in the Moon and seized the film’s rocket models due to how accurate its depiction of rocketry was. At this time, the Nazis, with a team led by Wernher von Braun, were deep into researching the V-2 rocket – the world’s first long-range guided ballistic missile.

Detractors of Woman in the Moon dismissed Lang and the film as curios of Germany’s cinematic past. With synchronized sound films all the rage since 1927, Woman in the Moon proved to be Lang’s final silent film. Today, the movie is Lang’s final epic, before he transitioned into a career leaning heavily on film noir. The scenes of greatest interest to silent film and sci-fi fans arrives deep in the film, after too many stultifying conversations and lovelorn looks from the main characters. In its greatest spurts, Woman in the Moon’s scientific speculation heralds a future beset by self-interest, yet heaven-bound.

My rating: 7/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

[heartlandians]

Cindy Busby Reveals Her Celebrity Crush, Favorite Movie and Why She Loves Hallmark

Cindy Busby has been acting since she was a child and is best known for her role as Ashley Stanton on the long-running series Heartland. She has been a staple among Hallmark Channel films, including Royal Hearts and fan favorite Unleashing Mr. Darcy. She’ll have two new movies premiering this summer on Hallmark Channel. Her next film is Love in the Forecast with Christopher Russell, which premieres Saturday, June 13 at 8 p.m. ET. Premiering later this summer is Romance in the Air with Torrance Coombs.

In Love in the Forecast, Busby plays Leah Waddell, the local TV weather forecaster who’s not just a pretty face—she’s studying to be a meteorologist. While her on-air persona is sunny and warm, off-air she’s stormy and the forecast for her dating life is bleak.

When she decides to put dating on the back burner to spend the next year focusing on her education and budding career, everyone from her barista to the delivery man (Nelson Wong) start courting her. Things get even more complicated when a new neighbor (Christopher Russell) moves in next door.

Busby recently chatted with Parade.com about… what else? The weather!

Did you do anything special to prepare for your role as a meteorologist like talk to IRL weather forecasters, binge watch The Weather Channel or even stand out in the rain?

Hahaha, I’ve had my fair share of standing and walking in the rain having lived in Vancouver, that’s for sure. I did some of my own research about pressure systems and barometric pressure and learned about the science of weather. It’s important for me to have a feel for the characters I play and know what I’m talking about. Back home, my parents leave The Weather Channel on all day long in background, so it’s like I was born to play a weather girl!

Do you prefer a sunny day at the beach, a snowy day skiing down the mountainside, or walking in a field of flowers during an April shower?

That’s a good question! I love all of these options, but I’m definitely a water girl. I could spend the whole day swimming or walking on a beach in the sun (with sunscreen, of course). My alternate option would be a quiet walk in the forest in the rain.

Tell us something fans might not know about Christopher Russell.

Christopher Russell is HILARIOUS! He and I had incredible banter and would joke all the time. We found ourselves constantly laughing at each other. That’s one of my favorite qualities in people. I really enjoy having fun while I’m at work and he made that easy. He’s talented, handsome, and most importantly, super down to earth.

Tell fans something they don’t know about you.

I’m obsessed with dollhouses and miniatures. I’ve been fascinated by them for as long as I can remember.

You’re in quite a few Hallmark movies. What keeps you coming back for more?

The Hallmark fans! They’re the best and so supportive of my work. As long as they keep asking for more, I’ll be there!

You were part of Heartland for several seasons. Do you think Ashley might make a return after all these years? Did you think the show would still be going strong after 13 seasons?

It’s truly incredible that Heartland is still going strong after 13 years, and they just got picked up for a 14th season. I remember being SO excited when the pilot got picked up back in 2008. You just never know what will make a show work or not, but in this case, I think it’s the cast and crew. It’s one of the best I’ve ever worked with. I still cherish all my Heartland memories. I’m not sure if Ashley Stanton will ever come back, but I know that if they asked me to I would try my very best to make it work! I loved playing Ashley so much.

You had the chance to film in Romania for Royal Hearts and work alongside James Brolin. Tell me more about your experiences there and working with Brolin, who also directed.

I remember getting the call about the opportunity to work on Royal Hearts while driving from Utah to Los Angeles. I had to leave for Romania the next day. It all happened so quickly and it was the most exciting and nerve wracking experience and ended up being one of my favorite movies I’ve ever done. James Brolin is one of the funniest, hardest working, talented and big-hearted people. I learned so much while shooting with him. He has so much experience and wisdom and I soaked it all in. The entire cast was THE BEST, most being from England. We laughed constantly and were always hanging out together while on set and on our days off. We never got sick of each other! We were just so thankful to share the experience of shooting abroad together.

Will there be a sequel to Royal Hearts? What did you love most about Romania?

I spent most of my time shooting in Bucharest and Sinaia in Romania. I even got to go to Transylvania, which is the country right next door and the home of vampires (I’m obsessed with vampires), so needless to say, I was in my element. Romania has incredible architecture and tons of interesting history. Most of all, I loved the people. I had no idea how many movies have shot in Romania before I went. I wish there would be a sequel! As far as I know, there isn’t, but you never know, Hallmark’s known for surprising their fans with sequels.

Unleashing Mr. Darcy was one of the most popular films on the Hallmark Channel. It even spawned a sequel, Marrying Mr. Darcy. Why do you think UMD became so popular? What was the secret ingredient?

I feel like the secret ingredient was the chemistry between the cast and crew on and off camera. We were all so surprised and excited to find out there was gonna be a sequel because we wanted to hang out again.

Tell us something fans might not know about Ryan Paevey.

Ryan is really good at memorizing lines. He has an amazing memory. It’s really impressive. He’s also a very generous person.

Who was your first celebrity crush?

Devon Sawa in Casper. When he came down those stairs to dance with Christina Ricci at the end of the movie my heart melted. I think every girl my age probably felt the same way.

Who’s your current celebrity crush?

Ryan Reynolds in ANYTHING. I love his sense of humor!

What was the last show you binge-watched?

Normal People, I was so sad when it ended. I can’t wait for Season 2! I highly recommend it!

Is there a movie you can watch over and over again?

Back to the Future or Groundhog Day! I’ve probably seen both of them 100 times, not even exaggerating.

What’s your go-to song to sing in the shower?

Greatest Love of All by Whitney Houston.

What’s the best thing you’ve ever eaten?

Anything at this restaurant, Nook, in Vancouver! It’s my favorite and they can do no wrong.

What’s the worst thing you’ve ever eaten?

Uni at a sushi restaurant. It was a work dinner with our director and my co-star and the director wanted us both to try it, so we did. We both tried it with smiles on our faces but we both did not enjoy it.

What book you’re currently reading?

City of Girls by Elizabeth Gilbert.

What’s your all-time favorite book?

The Alchemist by Paulo Coelho.

Source

[samwpmarleau]

snowdrops

Happy holidays @rhoynishnym, from your @gotsecretsanta <3

I hope you like it!

Snow blankets the ground, the interior of the house is half-decorated, the exterior nearly there as well. This should all be her bread and butter, and yet...

Catelyn sighs and stops what she’s doing. She looks at the mesh of red-and-green string lights in her hands that she’d been draping over the bushes, then looks to Ned, up on the ladder affixing blue-and-white lights to the eaves.

“Should we even bother with this at all?” she asks, leaning up against a column to better see Ned. “Not one of the kids will be here this year, it’ll just be us. Do we need so much decoration? The more we put up, the more we’ll have to take down.”

Ned sets the staple gun in the gutter and steps down the ladder, wholly skeptical. “You don’t want to celebrate? Cat, you love this.”

“I know. But it doesn’t feel the same without our family here. It doesn’t feel like Christmas to me. Does it truly feel like Hanukkah to you with the house so empty?”

“Ben’s coming in a few days,” Ned reminds her.

“Who wouldn’t mind fewer decorations, I’m sure.”

Ned is quiet for several moments, then says, “Well, I need to at least finish the lights.”

“Yes, do that,” Catelyn agrees. “People might think you had a stroke partway through.”

She, too, finishes the lights on the bushes but doesn’t change her mind on the celebrating. For eighteen years they’d had a full, or mostly full, home in wintertime. Until this year, when her children are all either with their partner’s family or with friends or curmudgeonly staying at their dorm over break instead of making the trip back.

Maybe next year would be different. But right now, a mug of hot chocolate and watching overacted Hallmark movies with Ned sounds like a plan.

* * *

It’s a perfectly acceptable week, never mind Ned’s not-so-infrequent glances of concern. Come Christmas Day, the woe of an empty nest does niggle at her, but she consoles herself with knowing that it won’t take half as long to put all the decorations back in boxes than in years past. And, to be fair, the kids did text her that morning.

“It’s a Wonderful Life” plays in the background as she helps Ned and Benjen make dinner, when the doorbell rings.

Catelyn checks her watch. “It’s eight o’clock, who’d be at our door now? Are you expecting anyone?”

“Maybe it’s one of the neighbors?” Ned shrugs.

“As long as it’s not Walder Frey telling us we’ve violated some mystical HOA rule again,” Catelyn grumbles as she heads to the door.

It isn’t Walder Frey.

Instead, she’s greeted by all five of her children, plus several other someones. “Merry Christmas, Ma,” Robb smiles. “Sorry we’re late.”

“Late?” Catelyn splutters, thoroughly surprised in the best way. “You said you weren’t coming!”

“And miss out on Uncle Ben’s latkes?” Arya scoffs, brushing right past Catelyn in search of the kitchen. “Fat chance.”

The rest file in, with less urgency—Robb, with Rhaenys on his arm and the baby asleep in her carrier; Sansa, shyly introducing Mya, whom Catelyn has heard about but never met; Rickon, with hair that is in desperate need of a cut and a beard that would shame the Yeti.

And Bran, quiet Bran, wheeling in behind them and pulling off his gloves. “Jon and Aunt Lya will be along, too,” he tells her. “They got caught in the snowstorm so it’ll be a couple hours.”

Once upon a time, Catelyn would have been appalled that Lyanna would drive through a snowstorm, would insist she do exactly the opposite of that, but after two decades of knowing the woman, she’s well-aware her words would—and have—fall on deaf ears.

Catelyn leans down to give Bran a hug. “Was this all your doing?”

“I might’ve helped. But I wasn’t the mastermind.” He inclines his head towards his father, who is brimming with self-satisfied smugness as he hands Sansa and Rhaenys ornaments to place on the tree. “Dad’s very good at guilt-tripping when he wants to be.”

Catelyn laughs. “That he is. Come on, let’s get some food in you.”

As the night wears on, as dinner is eaten and dessert is served and games are played, Catelyn feels her holiday spirit return in full force. One day, she would have to accept, perhaps, that her children have their own lives to live and getting everyone together every year would become quite improbable, but for one more year at least, she has her home—and heart—full.

[hallmark-movie-fanatics]

Love in the Forecast?! Cindy Busby Reveals Her Celebrity Crush, Favorite Movie and Why She Loves Hallmark

BY K.L. CONNIE 

Cindy Busby has been acting since she was a child and is best known for her role as Ashley Stanton on the long-running series Heartland. She has been a staple among Hallmark Channel films, including Royal Hearts and fan favorite Unleashing Mr. Darcy. She’ll have two new movies premiering this summer on Hallmark Channel. Her next film is Love in the Forecast with Christopher Russell, which premieres Saturday, June 13 at 8 p.m. ET. Premiering later this summer is Romance in the Air with Torrance Coombs.

In Love in the Forecast, Busby plays Leah Waddell, the local TV weather forecaster who’s not just a pretty face—she’s studying to be a meteorologist. While her on-air persona is sunny and warm, off-air she’s stormy and the forecast for her dating life is bleak.

When she decides to put dating on the back burner to spend the next year focusing on her education and budding career, everyone from her barista to the delivery man (Nelson Wong) start courting her. Things get even more complicated when a new neighbor (Christopher Russell) moves in next door.

Busby recently chatted with Parade.com about… what else? The weather!

Did you do anything special to prepare for your role as a meteorologist like talk to IRL weather forecasters, binge watch The Weather Channel or even stand out in the rain?

Hahaha, I’ve had my fair share of standing and walking in the rain having lived in Vancouver, that’s for sure. I did some of my own research about pressure systems and barometric pressure and learned about the science of weather. It’s important for me to have a feel for the characters I play and know what I’m talking about. Back home, my parents leave The Weather Channel on all day long in background, so it’s like I was born to play a weather girl!

Do you prefer a sunny day at the beach, a snowy day skiing down the mountainside, or walking in a field of flowers during an April shower?

That’s a good question! I love all of these options, but I’m definitely a water girl. I could spend the whole day swimming or walking on a beach in the sun (with sunscreen, of course). My alternate option would be a quiet walk in the forest in the rain.

Tell us something fans might not know about Christopher Russell.

Christopher Russell is HILARIOUS! He and I had incredible banter and would joke all the time. We found ourselves constantly laughing at each other. That’s one of my favorite qualities in people. I really enjoy having fun while I’m at work and he made that easy. He’s talented, handsome, and most importantly, super down to earth.

Tell fans something they don’t know about you.

I’m obsessed with dollhouses and miniatures. I’ve been fascinated by them for as long as I can remember. 

You’re in quite a few Hallmark movies. What keeps you coming back for more?

The Hallmark fans! They’re the best and so supportive of my work. As long as they keep asking for more, I’ll be there!

You were part of Heartland for several seasons. Do you think Ashley might make a return after all these years? Did you think the show would still be going strong after 13 seasons?

It’s truly incredible that Heartland is still going strong after 13 years, and they just got picked up for a 14th season. I remember being SO excited when the pilot got picked up back in 2008. You just never know what will make a show work or not, but in this case, I think it’s the cast and crew. It’s one of the best I’ve ever worked with. I still cherish all my Heartland memories. I’m not sure if Ashley Stanton will ever come back, but I know that if they asked me to I would try my very best to make it work! I loved playing Ashley so much. 

You had the chance to film in Romania for Royal Hearts and work alongside James Brolin. Tell me more about your experiences there and working with Brolin, who also directed.

I remember getting the call about the opportunity to work on Royal Hearts while driving from Utah to Los Angeles. I had to leave for Romania the next day. It all happened so quickly and it was the most exciting and nerve wracking experience and ended up being one of my favorite movies I’ve ever done. James Brolin is one of the funniest, hardest working, talented and big-hearted people. I learned so much while shooting with him. He has so much experience and wisdom and I soaked it all in. The entire cast was THE BEST, most being from England. We laughed constantly and were always hanging out together while on set and on our days off. We never got sick of each other! We were just so thankful to share the experience of shooting abroad together.

Will there be a sequel to Royal Hearts? What did you love most about Romania?

I spent most of my time shooting in Bucharest and Sinaia in Romania. I even got to go to Transylvania, which is the country right next door and the home of vampires (I’m obsessed with vampires), so needless to say, I was in my element. Romania has incredible architecture and tons of interesting history. Most of all, I loved the people. I had no idea how many movies have shot in Romania before I went. I wish there would be a sequel! As far as I know, there isn’t, but you never know, Hallmark’s known for surprising their fans with sequels.

Unleashing Mr. Darcy was one of the most popular films on the Hallmark Channel. It even spawned a sequel, Marrying Mr. Darcy. Why do you think UMD became so popular? What was the secret ingredient?

I feel like the secret ingredient was the chemistry between the cast and crew on and off camera. We were all so surprised and excited to find out there was gonna be a sequel because we wanted to hang out again.

Tell us something fans might not know about Ryan Paevey.

Ryan is really good at memorizing lines. He has an amazing memory. It’s really impressive. He’s also a very generous person. 

Who was your first celebrity crush?

Devon Sawa in Casper. When he came down those stairs to dance with Christina Ricci at the end of the movie my heart melted. I think every girl my age probably felt the same way.

Who’s your current celebrity crush?

Ryan Reynolds in ANYTHING. I love his sense of humor!

What was the last show you binge-watched?

Normal People, I was so sad when it ended. I can’t wait for Season 2! I highly recommend it!

Is there a movie you can watch over and over again?

Back to the Future or Groundhog Day! I’ve probably seen both of them 100 times, not even exaggerating.

What’s your go-to song to sing in the shower?

Greatest Love of All by Whitney Houston.

What’s the best thing you’ve ever eaten?

Anything at this restaurant, Nook, in Vancouver! It’s my favorite and they can do no wrong.

What’s the worst thing you’ve ever eaten?

Uni at a sushi restaurant. It was a work dinner with our director and my co-star and the director wanted us both to try it, so we did. We both tried it with smiles on our faces but we both did not enjoy it. 

What book you’re currently reading?

City of Girls by Elizabeth Gilbert.

What’s your all-time favorite book?

The Alchemist by Paulo Coelho.

Love in the Forecast premieres Saturday, June 13 at 8 p.m. on Hallmark Channel. 

LINK at parade.com HERE 

[alwaysspeakshermind]

Top 5  Anti-Varchie Arguments & Why They Make No Sense

#4: “Varchie’s boring/predictable, love at first sight is so cliché(d).”

Love at first sight is so clichéd? Okay, sure, I’ll allow that.

I’ll even agree.

But think contextually for a sec: love-at-first-sight is so clichéd as opposed to what? The utterly original, never-been-done-before uniqueness of best-friends-to-lovers that Barchie and also Bughead, why do people who say they want to see a friends-to-lovers relationship keep forgetting Bughead’s in that category? represents? The novel concept of enemies-to-lovers that is Cheryl/Toni (and Veggie if you squint)? The dated-in-the-past-but-sparks-still-fly (Falice, Tom Keller/Sierra McCoy, Fred/Hermione) or misunderstood-outsider-falls-in-love-with-“perfect”-America’s Sweetheart (Bughead, and also Kevin/Joaquin, Kevin/Fangs)? 

Come on.

Whether it’s your cup of tea or not, a trope is a trope is a trope. There are only so many combinations possible when it comes to romantic dynamics, and since fiction and reality have both existed for a really long time, there’s no one trope that hasn’t already been done a million times over. So…what’s the point of harping on this particular one? Or any other trope just because it’s not your personal favorite?

Yes, Love At First Sight is the bread-and-butter of many fairytales and/or Disney movies. But it’s by no means alone in that regard. 

Best friends/childhood friends-to-lovers has been a longtime staple of books, TV shows, rom-coms, and musicals (Harry Potter, Kim Possible, 13 Going On 30, Phantom of the Opera, and Lion King all say hello), and so has enemies-to-lovers (27 Dresses, The Proposal, You’ve Got Mail, Tangled, etc.). I’m not even going to bother touching on the sparks-still-fly/loner-loves-”good” kid thing, because the first is the golden goose for Hallmark, Lifetime, an a billion-and-one romance novels, while the second is YA fiction in a nutshell. And if you’re one of those “I can’t help it, friends-to-lovers is my crack” kind of people, it might be worth noting that “Love At First Sight” is plenty of other people’s crack. Also, if your complaint against a trope you find overused is a valid argument, so is someone else’s. Childhood-best-friends-to-lovers may feel newer and unique to you, but it doesn’t to everyone. Some people are as tired of it as you are of Love At First Sight. 

And even if your claim is that “love at first sight’s not realistic/there’s like zero basis for it in the real world/it’s the exception not the rule,” that claim also extends to Childhood Best-Friends-To-Lovers and Enemies-To-Lovers. 

In the real world, the Best-Friends-To-Lovers thing is about as common as Love At First Sight, with the latter maybe being a bit more common, since the overwhelming majority of people tend to notice attraction within the first fifteen minutes of meeting someone and the overwhelming majority of childhood best friends grow up thinking of each other as a sibling. (Important distinction: when childhood best friends do grow up, fall in love and get married, they don’t tend to take until high school/college to figure out how they feel. They’re typically aware of it from puberty/slightly before puberty onward, and it doesn’t change because they already know everything there is to know about that person...they know if they’re attracted to them; they know if they’re not.) And both those tropes are more common in everyday life than enemies-to-lovers since, in truth, most people don’t want to have anything to do with the antagonistic person who made their life miserable.

So realism/unrealism? Kind of a shifting-sands argument. Especially within the context of a show that puts an ex-“gang” member in as sheriff and deputizes other “gang” members, one of whom is named Sweet Pea, of all things. I mean, if you truly feel morally obligated to reality-police Riverdale, there are far more pressing issues than the likelihood of two teens meeting each other one time and deciding within five minutes that “This is The One” (which is not even how it happens except for Archie, but still).

What it really comes down to is not the trope itself, but how well the trope is executed. 

In other words, it’s not what you’re given...it’s what you do with what you’re given. Every trope has been done many times before. Like it or not, that is an undeniable fact. Arguing that something has little-to-no value purely on the basis of its commonality is in essence weighting originality (theory) over style (practical application). To illustrate why this kind of thinking is a critical mistake, let’s put it this way: weighting originality over style is like saying Riverdale Season 3 is better than Riverdale Season 1. 

...Which, as even the most casual of Riverdale viewers knows, is not the case.

Is S3 more ambitious than S1? Yes. Does S3 contain more jaw-dropping plot twists than S1? Absolutely. Are there some damn fun episodes in S3? For sure. But guess what? S3 also contains far more plot holes, inane plot “twists” and contradictory developments/sheer why-are-you-trying-to-make-fetch-happen-with-this-storyline moments because S3 goes so hard for shock value/the unexpected, that it effectively lapses on execution and winds up with a more creative, but ultimately less-compelling finished product than S1. Moral to the story? Creativity is good, but devotion to creativity at the exclusion of all else is not. If a few predictable elements aren’t mixed into an unpredictable world (or vice versa), everything ceases to shock. On Riverdale, because things are always so wild, the biggest surprises are usually when things unfold normally/don’t go haywire.

Now.

Me personally, I’ve shipped every trope at least once. I’m in the habit of making myself set aside all preconceived notions when beginning a new show/book/movie, because I never know what, if any, ship I’ll go for. Historically, I’m about 50-50 on Childhood-best-friends-to-lovers—sometimes I love it, sometimes I hate it. Enemies-to-lovers—usually, I dig it, sometimes it’s a big, fat no from me, dawg. Love At First Sight however, I am overwhelmingly prejudiced against. And when I say overwhelmingly prejudiced, I mean that as a rule, I flat-out hate it. I find it stupid. It annoys me. I roll my eyes and make jokes.

But, here I am. Writing a bunch of long-ass Tumblr posts in defense of a fictional relationship that makes a direct play on the Love At First Sight trope.

So why are Archie and Veronica my huge exception? 

Well, for one thing, their relationship kicks off in a manner that is highly evocative of the comics. The instant Archie sees Veronica, all of time (for him) stands still. The one solitary thing he’s aware of from the moment she steps into Pop’s and he looks up is her. No matter what he’s doing, he ends up looking at her, and after a very short amount of time, the same goes for Veronica (though of course, she tries to play it cool). Regardless of how I feel about the cheesiness of the trope, the execution of the scene is fricking cute.

For another: it actually is an unusual trope, and I was surprised to see it used. 

Don’t get me wrong, the whole see-a-person-across-a-crowded-room deal is a cliché and it’s a million percent been done to death. But the funny thing is, Love At First Sight is such a clichéd cliché that it’s hardly ever used nowadays. By virtue of its extreme clichédness in fact, it has accidentally and ironically become fresh again because the second someone suggests it, someone else inevitably goes, “Nah, that’s too clichéd, we can’t do that.” In all honesty, I can’t remember one TV show or non-90s-Disney movie I watched in the last ten years where that trope was used over any/all of the other tropes available. I actually intended to make a list of the books/movies/shows I know of that have used the friends/enemies to lovers trope for comparison purposes, but it was getting so long with just the books section I ended up going, “Haha, no,” and scrapped that plan. (But for the record, almost every single Jane Austen novel is on that list.)

So, in summary: Love At First Sight clichéd? Yep. For sure.

Too clichéd?

Nope.

Certainly no more, and arguably less, than the other tropes Riverdale’s many ships adhere to. So if you’re not nonstop complaining about those other ships on the basis of the overdone/predictability factor, it shouldn’t be an issue that Varchie’s relationship is built around a recognizable trope that has been out-of-use by most everyone except Disney for a good while now. (Besides, some tropes are considered timeless for a reason.) 

And seriously, if we’re going to go down the Disney path, let’s stop a second and recall how many Disney Channel shows/movies in the last decade utilized Best-Friends-To-Lovers and Enemies-To-Lovers. Or hey, what about Nickelodeon shows? Or  maybe cop/CSI/civil service-type shows where best friend partners/partners who hate each other eventually fall in love?

Again, a relationship is not automatically made “boring” because it falls within the parameters of a well-known trope, and “predictable” does not automatically mean “bad.” If that were truly the case, no fictional relationship from probably the 18th century onward would have any popularity and/or critical acclaim. And if you try to argue that that’s just how it is for you personally: predictable/clichéd = boring, you should probably keep in mind that when measured by those standards, every single other ship on Riverdale is, by definition, boring. 

Every.

Single.

One.

Not just Varchie. 

So if you really are passionate about Riverdale not focusing on a “boring, predictable, clichéd ship instead of an interesting one,” you might want to take a break from griping about Archie and Veronica and start examining exactly how original those "interesting” ships you’re touting actually are. And if that’s not really what you mean, if you don’t really buy into the line you’re selling (i.e., you’re just using “they’re so boring” as an excuse to disguise the fact that you don’t like Varchie because they prevent your preferred ship from happening), you might also want to consider just being honest about that. 

Because when you build your argument around a point that encompasses more relationships than just the one you’re criticizing, it makes you look like you’re either extremely clueless in not realizing that your complaint also applies to your ship/other ships, or else a giant hypocrite.

[music2liveby]

DAY 220: Night Fever by Bee Gees

Album: Saturday Night Fever Soundtrack Release: November 15th, 1977 Genre: Disco

I don’t care what any damn music historians or critics have to say, disco is a dirty pleasure of mine and nobody can ever take that from me. I mean, it’s a genre that revolves around dancing and having a good time. What isn’t there to love? The 70′s were dominated by disco culture, a decade long party that came to an abrupt end after fierce resistance from metal heads and rock and rollers. No movement has taken America by storm quite like disco fever, although echoes of its influence can still be heard on occasion in today’s music. Disco’s popularity cannot be denied, and you don’t have to look any further than the list of best-selling albums of all time. Just underneath The Eagle’s Hotel California and above Fleetwood Mac’s Rumours resides the highest selling soundtrack of all time, Saturday Night Fever. This groundbreaking soundtrack to the cult classic movie is a whos-who of disco music, featuring songs written for the film by bands like Kool & the Gang and KC & the Sunshine Band. However, the overall curation was overseen by one of disco’s greatest acts, the Bee Gees. In fact, most of their well-known songs were made specifically for Saturday Night Fever, including their magnum opus Stayin’ Alive. But before we can talk about their crowning achievement, we can’t go without talking about the early days of the Bee Gees. Barry, Robin, and Maurice Gibbs began their career in music in the late 60′s with a much different sound than what they are remembered for. Disco wasn’t even a thing when the Bee Gees began recording music, and took on a much more fitting sound for the time that more closely emulated bands like The Beatles who were dominating the charts at the time. Listening to their early library, you would never guess that the guys playing would end up being one of disco’s greatest acts. Where did the switch occur? Well, it began during a period of dormancy for the Bee Gees, who had broken up as a band at the end of the 60′s and soon after reformed with just the core trio of brothers. The three struggled to find a core sound and debated whether or not to deviate from their previous sound. The group moved to more dance-oriented music during their time in Miami, Florida in 1975 and began receiving recognition not long after. Part of this recognition came from David Shire, a composer who was in the midst of creating the score for a movie about disco culture entitled Saturday Night Fever. Initially, the soundtrack was set to include names like Stevie Wonder and Boz Scaggs, but Shire was denied usage rights by Columbia Records who owned the rights to the music. Shire was faced with a massive copyright problem in a film that was already in post-production. Lead actor for Saturday Night Fever John Travolta had never heard of the Bee Gees, the group his character would now be dancing to throughout the movie. The Bee Gees were skeptical to undertake the daunting task, but ended up contributing their part to the soundtrack in a recording session that lasted only about one weekend. In that weekend, the Bee Gees had created memorable hits like More Than A Woman and today’s featured track Night Fever which would become career staples. Just about every track from Saturday Night Fever of the Bee Gees contains the signature disco sound, but there is a certain element to Night Fever that has my toe tapping just a little harder. The tight harmonies of the Gibbs brothers are a hallmark of any disco-era Bee Gees song, and the trio shines bright in Night Fever. Barry Gibb’s silky smooth lead vocals set the tone for this funky little jam, backed by a standard disco beat that doesn’t try too hard to outshine the vocal talent. This careful balance between synthesized riffs and sultry chorus lines proved to be the X factor for the Bee Gees among their fellow artists on Saturday Night Fever, and they truly steal the show from not only their musical contemporaries, but the on-screen actors as well. Sure, everybody knows Stayin’ Alive, but how much else of the Bee Gees do you enjoy? Spoiler alert: the answer is probably most of their work. But you’ll never know unless you get your booty on the dance floor and shake it out to fully gain the immersive experience!

[whydidyoutakemeaway]

Celeste Stella Spade // 17 // Youngest Spade Child

Background

I don’t know how many times we’ve said this, but Celeste is the last of the Spade kids.  And because she was in deed the last one, her dads thought long and hard before picking her name.  Wally and Oliver had always called their kids their little stars, and Oliver even had a star tattoo for each and every one of their kids (so it’s a good thing he’s a damn giant otherwise he wouldn’t have any room left on his body).  They had always tried to find a way to give their kids meaningful names, but figured they should give their last child a name that truly meant something to them and their family.  So they decided to name her after the stars.  

And perhaps the girl embraced her namesake, or it was fate, but even from a young age, Celeste always had a love for anything and everything star and space related.  She seemed to take after her Papa in that way.  And of course, Wally only fueled that love.  Growing up, the girl dreamed of becoming an astronaut so she could go to the stars, and whenever vacations were brought up, her answer was the same, she wanted to visit the stars.

As Celeste grew up, she realized her dream of visiting the stars would never come true, but she never let that break her.  Even getting a C in her astronomy class didn’t break her; she just realized she was really bad at math and that took the fun out it.  Besides, as she grew up, she realized her fascination was with how the stars looked in the sky, not what they actually were.  In her eyes, there was nothing more beautiful than a clear night where all she could see were stars.  The twinkling lights shining against the darkness.  And Celeste wanted to recreate that during the day, every day.

Celeste also inherited her Papa’s affinity for pretty things.  On her 10th birthday, her present from Wally was an eyeshadow palette.  And by her 12th birthday, she was able to give any makeup artist a run for their money.  But for her, it was mostly shiny and sparkly things that caught her eye and were a staple in her closet.  There was rarely a day the girl left the house without something that sparkled.  Usually it was jewelry, but there was also the occasional silk, sequin, rhinestoned or shiny shirts and dresses.  

Having watched Wally design so many pretty dresses when she was growing, Celeste knew that one day she wanted to model them.  And when Wally handed over his company to Allison, Celeste hoped her sister would give her her big break, since she turned down Olivia’s modeling offer since her oldest sister designed wedding dresses and she was incredibly superstitious.  Thanks to Allison letting her model in one of her shows, her modeling career took off and she was able to walk runways all over the world.  Of course her ultimate goal is to become a Victoria’s Secret Angel, much to her father’s dismay, but Oliver can rest easy knowing it won’t happen until at least another year.

Personality

Celeste has dubbed herself the most boring model ever.  She doesn’t live a very exciting life despite her job and who her parents are.  Her instagram is filled with pictures of Spade pets, her in her pjs watching the latest terrible and cheesy Lifetime or Hallmark movie and other lame things with the occasional photo shoot, runway or red carpet event.  Despite appearing to be incredibly high maintenance, Celeste is incredibly down to Earth, she can just be really extra sometimes, but it’s not typical.  She’s a hopeless romantic who would rather spend her nights watching and crying over romcoms with a pile of junk food than going to after parties.  However, she does have a very strong case of wanderlust so she’s always up for a little adventure.

Connections

Reagan Spade: her sister is probably her best friend There are a million nieces and nephews that she calls her cousins because they’re all her age and she thinks it’s weird

Wanted connections:

Movie buddy Friends of any kind Pen pal/Internet friend (they could’ve met in person before or not, personally I think it’d be fun if they hadn’t actually met yet) Friends turned strangers/enemies

As always, I’m open to anything so feel free to message me : )

[dipulb3]

YouTube TV review: The most full-featured live TV streamer is no longer the best value

New Post has been published on https://appradab.com/youtube-tv-review-the-most-full-featured-live-tv-streamer-is-no-longer-the-best-value/

YouTube TV review: The most full-featured live TV streamer is no longer the best value

Sarah Tew/CNET

Ever had a cable bill jump by 30% in a single month? That’s what subscribers of YouTube TV are feeling now after a price hike from $50 to $65 taking place July 31. While the service did get some extra channels in the form of Comedy Central, MTV and Nickelodeon, they’re not worth another $15 a month for most subscribers. YouTube TV is still the easiest live TV streaming service to use and the one with the most channels and best features, but it’s no longer our top overall choice. That honor goes to Hulu Plus Live TV, which costs $55 a month, has an excellent slate of essential channels and includes Hulu’s vast on-demand library.

Like

More channels than any competitor, including PBS

Superb cloud DVR

Excellent on-screen interface and handy search bar

If you’re the kind of cord cutter who can stomach the $65 price, however, YouTube TV could still be for you. It’s easy to use, slick and fast on a variety of TV and mobile devices. Its cloud DVR is the best in the business, with unlimited storage and pretty much all the capabilities of a hardware DVR such as TiVo. And that channel selection is top-notch, including numerous cable staples and coverage of all four local networks — ABC, CBS, Fox and NBC — in most markets nationwide. (Editors’ note: CBS and Showtime are owned by ViacomCBS, which also owns CNET.) It’s also the only multichannel streaming service with local PBS stations. In short, you might not even miss cable.

YouTube TV is more expensive than Hulu with Live TV, AT&T TV Now and Fubo TV, but better than all three if you can handle the price. For people used to the myriad channels and easy DVR of cable or satellite, it may be worth the extra expense. For cord cutters who want more savings, however, we recommend Hulu Plus Live TV for premium users and Sling TV Blue at $30 per month for people on tighter budgets.

What do you get?

YouTube TV is different from YouTube, the free video service with more than 2 billion users a month. YouTube TV offers an experience similar to cable TV, with live channels and on-demand content available on a variety of devices. It works with Apple TV, Roku, Android TV, Chromecast, Amazon Fire TV along with numerous smart TVs, phones, tablets and web browsers. 

The service operates in much the same way as competitors — there’s a program guide, a DVR and dozens of channels. But what really separates YouTube TV from other premium ($50-plus a month) services such as AT&T TV Now, Hulu with Live TV and FuboTV? Let’s take a look.

Services compared

Premium services YouTube TV AT&T TV Now Hulu Plus Live TV FuboTV Base price $65 a month for 85+ channels $55 a month for 45+ channels $55 a month for 60+ channels $60 a month for 90+ channels Total number of popular (top 100) channels 75 45 59 68 ABC, CBS, Fox and NBC channels Yes Yes Yes Yes Record shows for later (cloud DVR) Yes (keep for 9 months) Yes (500 hours, keep for 30 days) Yes (50 hours, 200 hours for $10 a month) Yes (500 hours) Step-up packages with more channels No Yes No Yes Simultaneous streams per account 3 3 2 ($15 option for unlimited) 3 Fast-forward through or skip commercials with cloud DVR Yes Yes No (Yes with $15 option) Yes

YouTube TV’s channel selection is excellent, with more from our list of 100 top channels than any other competitor. That said, more channels doesn’t necessarily mean more of what you want: Some services such as FuboTV lean heavily on sports while others are more wide-ranging. It’s best to check the list at the end of this article, which compares individual channels across services, to make sure you’re getting the channels you want.

Like Hulu, YouTube TV doesn’t offer any add-on channel packages, although it does have a handful of single-channel add-ons like Showtime, Epix, HBO and HBO Max to your subscription. 

What’s it like to use?

YouTube TV’s user interface is fairly simple. There are three top-level tabs broken into Library, Home and Live. Library is where your DVR content lives. Home is where both featured and live thumbnails appear. The Live tab is a familiar-looking program grid which shows currently playing and upcoming shows. You can search for content from the top of any page, which makes it relatively easy to jump straight to the content you want. You can also perform searches with a compatible voice remote or Google Assistant. 

You can connect to YouTube to watch related clips.

Ty Pendlebury/CNET

The service’s tie-in to YouTube proper is welcome — with YouTube originals included — though it could be more tightly integrated, especially on TV devices. For example, a content page appears when you press the Go To button on a show, and a Related on YouTube item appears at the bottom. It would be helpful to have thumbnails of related interviews and trailers appear more prominently on this page without having to delve into menus.

The DVR works well and includes the ability to rewind and fast-forward freely through recordings, even ones that aren’t yet completed. The Roku interface offers a 15-second skip by default while the Apple TV’s control system is even better. You can use the touch pad to scroll through videos — and it’s glorious! It’s so much fun and thumbnails make it relatively easy to home in on the part you want.

The DVR enables you to fast-forward and rewind, while Apple TV enables you to scrub through the timeline.

Sarah Tew/CNET

In the past, when a show appeared in a network’s on-demand library, it would automatically replace the version in your cloud DVR. That means you’d lose the ability to fast-forward through commercials. YouTube TV says it got rid of that restriction in October 2018, but some CNET readers have complained that it still occurs at times. Additionally, YouTube TV’s DVR is not truly unlimited. The shows expire after nine months, but this is still a lot longer than the 30 days you get with most rivals.

YouTube TV won’t save you as much money

At $50 YouTube TV was very attractive, but as the service has added more channels it also added further costs. When you add that $65 monthly fee to the $50 you’re already paying for internet, it means you’re paying over $110 a month. Many cable TV providers will give you a TV-and-internet bundle for around the same money.

Prices vary a lot, of course, and with cable you probably have to pay rental equipment fees, taxes and other extras. And cable providers usually reserve the best bundle pricing for people who sign a contract. The same goes for new “streaming” offerings such as AT&T TV and Comcast’s Infinity Flex.

Like Hulu with Live TV, Sling TV and others, YouTube TV is contract-free, so you can cancel at any time. Streaming services also have other advantages over cable. They’re easier to watch on phones and tablets, for example. At $65 per month, however, you’ll have to be coming from a relatively expensive cable bill to realize substantial savings with YouTube TV. In the meantime, give Hulu Plus Live TV a try.

The service comes with a comprehensive program guide.

Sarah Tew/CNET

Should you get YouTube TV?

If price is no object, YouTube TV is my favorite live streaming service, but the value proposition will be tough for a lot of people. If you don’t want to be beholden to a traditional cable company — and can get a good broadband-only internet package on the cheap — it’s Hulu Plus Live TV that offers the most compelling package right now. It has an improved interface (finally) and a good mix of channels for $10 less a month. For serious cord cutters on a budget, however, Sling TV is a better bet, especially when paired with an antenna or even AirTV 2. 

Channel lineups compared

Channel Hulu with Live TV ($55) AT&T TV Now ($55) Fubo TV ($60) YouTube TV ($65) Total no of top channels: 59 45 68 75 ABC Yes Yes Yes Yes CBS Yes Yes Yes Yes Fox Yes Yes Yes Yes NBC Yes Yes Yes Yes PBS No No No Yes CW Yes Yes Yes Yes MyNetworkTV Yes Yes Yes Yes A&E Yes $ Yes No ACC Network Yes No Yes Yes AMC No $ Yes Yes Animal Planet Yes $ Yes Yes BBC America No $ Yes Yes BBC World News No $ $ Yes BET No Yes Yes Yes Big Ten Network Yes $ Yes Yes Bloomberg TV No $ No No Boomerang Yes Yes No No Bravo Yes Yes Yes Yes Cartoon Network Yes Yes No Yes CBS Sports Network Yes $ Yes Yes Cheddar Yes Yes Yes Yes Cinemax $ $ No $ CMT No $ Yes Yes CNBC Yes Yes Yes Yes Appradab Yes Yes No Yes Comedy Central No Yes Yes Yes Cooking Channel $ $ $ No Destination America $ $ $ No Discovery Channel Yes $ Yes Yes Disney Channel Yes Yes Yes Yes Disney Junior Yes Yes Yes Yes Disney XD Yes Yes Yes Yes DIY $ $ $ No E! Yes Yes Yes Yes EPIX No $ No $ ESPN Yes Yes Yes Yes ESPN 2 Yes Yes Yes Yes ESPNEWS Yes $ Yes Yes ESPNU Yes $ $ Yes Food Network Yes $ Yes Yes Fox Business Yes Yes Yes Yes Fox News Yes Yes Yes Yes Fox Sports 1 Yes Yes Yes Yes Fox Sports 2 Yes $ Yes Yes Freeform Yes Yes Yes Yes FX Yes Yes Yes Yes FX Movies Yes Yes $ Yes FXX Yes Yes Yes Yes FYI $ $ Yes No Golf Channel Yes $ Yes Yes Hallmark No Yes Yes No HBO $ $ No $ HGTV Yes $ Yes Yes History Yes $ Yes No HLN Yes Yes No Yes IFC No $ Yes Yes Investigation Discovery Yes $ Yes Yes Lifetime Yes $ Yes No Lifetime Movie Network $ $ Yes No MLB Network No $ No Yes Motor Trend Yes $ Yes Yes MSNBC Yes Yes Yes Yes MTV No Yes Yes Yes MTV2 No $ $ No National Geographic Yes Yes Yes Yes Nat Geo Wild Yes Yes $ Yes NBA TV No $ $ Yes NBC Sports Network Yes Yes Yes Yes Newsy No No $ Yes NFL Network No No Yes No NFL Red Zone No No $ No NHL Network No $ $ No Nickelodeon No Yes Yes Yes Nick Jr. No Yes Yes No Nicktoons No $ $ No OWN No $ Yes Yes Oxygen Yes Yes Yes Yes Paramount Network No $ Yes Yes Science $ $ $ No SEC Network Yes $ $ Yes Showtime $ $ $ $ Smithsonian Yes No Yes Yes Starz $ $ No $ Sundance TV No $ Yes Yes Syfy Yes Yes Yes Yes Tastemade No $ Yes Yes TBS Yes Yes No Yes TCM Yes Yes No Yes Telemundo Yes Yes Yes Yes Tennis Channel No $ $ Yes TLC Yes $ Yes Yes TNT Yes Yes No Yes Travel Channel Yes $ Yes Yes TruTV Yes Yes No Yes TV Land No $ Yes Yes USA Network Yes Yes Yes Yes VH1 No Yes Yes Yes Viceland Yes $ Yes No Weather Channel No $ Yes No WE tv No $ Yes Yes

[ramajmedia]

Who Is The Best Pennywise: Tim Curry Or Bill Skarsgard?

Who was the better Pennywise in IT: Tim Curry or Bill Skarsgard? Stephen King's novel IT was first published in 1986, concerning a group of childhood friends known as "The Losers Club", who are terrorized by a supernatural force that takes the shape of a clown named Pennywise in order to prey on the unsuspecting population of Derry, Maine. After defeating the murderous clown as children, the return of Pennywise a few decades later leads The Loser's Club reunite as adults to destroy the otherworldly monster once and for all in IT Chapter Two.

As was the case at the time for most adaptation's of King's literary works, the novel was first brought to life as a two-part television miniseries in 1990, with Curry giving an iconic portrayal of the villainous clown. For 2017's IT, Bill Skarsgard would tackle the role of Pennywise in Andy Muschietti's big screen adaptation of the novel, along with reprising the role for the sequel. Both the miniseries and the theatrical films would also divide the story into two separate chapters, with the first devoted to The Loser's Club as children, and the second depicting the group returning to Derry as adults for a final showdown with Pennywise.

Related: Why IT Waits 27 Years Between Attacks

In the years since each actor stepped into the role of the carnivorous clown, both Curry and Skarsgard's respective performances as Pennywise are fondly remembered as highlights from the career of each. However, both would also take a very different approach to portraying the character and truly make the role his own in both adaptations of King's novel - but which one is better?

In his performance as Pennywise, Tim Curry was a cackling, flamboyant cartoon, which by itself is hardly a detour from a typical Curry performance, but it was those very qualities that made him ideally suited for the role. Curry's Pennywise injects as much levity into the film as he does terror, and he could legitimately be mistaken for a genuine clown by the denizens of Derry, which is exactly what makes Curry's performance work.

His first scene in which he lures the young Georgie into a sewer is every parent's worst nightmare, a true "Don't candy from strangers" moment, so much so that the film even directly addresses it, with Georgie commenting that he's not supposed to talk to strangers. Pennywise, in turn, commends the wisdom of the parental advice Georgie's been given, before introducing himself by name, thus circumventing Georgie's concerns on the grounds that "Now we know each other". Pennywise then proceeds to lure Georgie to his demise with his toy boat as bait, but its his ability to gain the trust of children and present himself as a friendly, affable clown that is his true deadliest weapon against those he preys upon. What's more, the design of Curry's Pennywise has a predatory edge on that of Skarsgard's, with the latter much more tailor made to frighten children (and adults), while Curry resembles the innocuous look of a clown seen at any carnival.

Elsewhere in the film, Curry is more haunting and antagonistic towards The Loser's Club, particularly once they encounter him again as adults. However, he still maintains his blend of dark humor and circus antics in a clear bid to drive them insane. This is particularly exemplified in the scene in the Derry library, with the adult Richie being the only person able to see or hear Pennywise and being left unnerved and panicked as the evil clown cracks jokes and blood-filled balloons pop all around him. By this point, Pennywise is a pure force of terror on The Loser's Club, but the film hasn't lost sight of his ability to lure his prey into his clutches either, as we see when he corners Bill's wife, Audra, with his "deadlights" and turns the group's old bully Henry Bowers into his own personal assassin against his returning enemies.

Scenes of Ben suddenly discovering he's kissing Pennywise rather than Beverly or of the clown aggressively asking "Don't you want it?" repeatedly after offering Audra a balloon work as well as they do because we've seen his skill at penetrating the defenses of anyone he targets, either by telepathic ability or offering them a bit of forbidden fruit. With his performance as Pennywise, Curry is able to embody everything a child would expect from a clown, while interweaving it with a subversive sense of humor and skill at pushing the right buttons to keep every member of The Loser's Club petrified and unprepared for when he finally chooses to pounce. The Pennywise portrayed by Tim Curry knew how to lay a trap for the children he hunts and lure them into his waiting claws, the hallmarks of what makes a killer clown scary.

Related: What Happened To Bill In The IT Book

There's no better word to describe Bill Skarsgard's Pennywise than monstrous. His clown look more resembles something one would expect to see in a Marilyn Manson music video than a pie-tossing, unicycle-riding clown, as Curry's Pennywise so convincingly embodied. However, it also works in Skarsgard's favor due to the how much it leaves the audience genuinely dreading what he's going to do to the unsuspecting children. His voice and body language make him that much more terrifying, with the latter carrying an especially nightmarish anti-rhythm to it.

Skarsgard's Pennywise also makes virtually no attempt to hide his own viciousness, something we see right away in the new film's version of his meeting with Georgie. While the plot device of Georgie's reluctance to talk to strangers is still present, Skarsgard's Pennywise can barely contain his obvious bloodlust, and the manner in which he offers Georgie his toy boat back is almost Faustian in his transparently wicked intent. The scene is also far more graphic in its depiction of Georgie's demise, owing to its wide theatrical release and R-rating, but it's the clear delight that Skarsgard's Pennywise takes in preying on his young victim without ever masking his evil intentions that makes the opening of IT possibly the most tragic scene in any Stephen King movie.

Pennywise continues to terrorize The Loser's Club throughout the film, and only grows more chilling with every encounter. If anything, there's much more of an arrogance to Skarsgard's portrayal of Pennywise, with how little effort he has to put into frightening his young enemies and how minimal a threat he perceives from them. Skarsgard has such command over his character's menacing qualities that his sinister grin would become of staple of the film's marketing campaign. Indeed, it's a facet of the character that Skarsgard has so perfected that it's often the only thing his Pennywise resorts to in order to send shivers down the collective spine of The Loser's Club and that of the audience.

Skarsgard's aforementioned body language as Pennywise is also disturbingly abnormal and erratic, something that he fully exploits in his battle with The Loser's Club in a dilapidated house and later in the final showdown in the sewers of Derry. The circus dance Pennywise does before a captive Beverly has inspired countless memes and YouTube parodies, but its undeniably unsettling in its subverting of such a seemingly innocent concept, the very goal of Pennywise himself as he terrorizes and hunts the children of Derry.

Related: What Happened To Richie In The IT Book

Both Curry and Skarsgard portray Pennywise splendidly, and each actor's interpretation of the character is uniquely his own. However, Skarsgard is ultimately the more horrifying movie monster of the two. Curry's Pennywise fits the profile of what a child would expect to see in a clown and has an advantage in being more adept at blinding children to his malevolence, as we see in his first scene with Georgie. Curry's performance is also far more outright comedic, albeit darkly so, with his Pennywise cracking one-liners and frequently engaging in a genuine circus act, while frightening his victims, in an all-around wacky performance not too far removed from Dr. Frankenfurter in The Rocky Horror Picture Show.

On the other hand, Skarsgard's turn as Pennywise is the embodiment of pure evil right from the start, more resembling Satan himself than a circus performer in his very first scene with Georgie. While Skarsgard's makeup is the more explicitly frightening look, and thus less easily equipped to mask his predatory intentions, that ends up being irrelevant due to his very straightforward methods of instilling unspeakable terror in the hearts of The Loser's Club. Skarsgard's voice and body movements are also more unsettling, with the latter especially having the disturbing dance-like feel, while Skarsgard's devilish smirk in the role would sear itself into the memories of moviegoers around the world.

The distinction between Curry and Skarsgard's respective performances as Pennywise is akin to the difference between how Lance Henriksen had been conceived for the title role in The Terminator and the mountainous killing machine Arnold Schwarzenegger would ultimately embody. One flies under the radar to ensnare his victims in the shadows, while the other jettisons with all stealth and goes straight for the kill. While neither actor's approach to Pennywise is lacking, it's ultimately Skarsgard who most effectively keeps the audience in a constant state of dread, after convincing viewers from his very first scene of just how sadistic a monster he really is. The respective performances of both Tim Curry and Bill Skarsgard as the murderous, supernatural clown Pennywise are among the personal best of each actor's filmography, but it's ultimately Skarsgard who floats a little higher.

Next: Every Returning Character In IT Chapter Two

source https://screenrant.com/it-movie-pennywise-best-tim-curry-bill-skarsgard/

[peternelthorpe]

Software Jobs

New Post has been published on https://wr1tepress.com/software-jobs/

Software Jobs

Fear is part of the fundamental core of human existence, as connected to the basic functions of survival and the psyche as the survival instinct or the need to mate. Fear and anxiety, therefore, are among the staples of any genre that deems itself fit to entertain the masses, an art form to be mastered in the hands of a true artiste. Fear, dread, and anxiety are all integral components of any successful horror story, for example, but not everyone who writes horror manages to get the mix of the important elements – — pacing, plot, and characterization – — all of which must be just right to create a classic that will frighten generations long after the first copy was printed. There are a few that manage to accomplish the difficult feat of being eternal in their horror and long-lasting in their ability to turn anxiety into outright terror.

Edgar Allan Poe, author of “Annabel Lee” and “The Fall of the House of Usher” , is easily recognized as one of the foremost masters of horror and the macabre. His works have inspired terror and anxiety in many individuals, primarily through the use of heavy psychological tones, as opposed to the gore and blood themes used and abused by writers of his time. Poes collected works easily counts as some of the most frightening material ever written, especially now, in an age where horror movies are relegated to two hours of bloodshed and senseless violence, lacking any true horror and relying solely on shock value to appear “scary.” Poe also stands out as being among the few who can make even the most mundane things seem utterly terrifying, a feat emulated by Stephen King and several Japanese horror authors, but never truly duplicated.

In a completely different vein of horror from his predecessors, and arguably creating a sub-genre of horror through his works, H. P. Lovecraft also stands out. His works, while lacking in humanity, are difficult to see as anything but terrifying, particularly because of the apparent lack of humanity in them. In contrast to writers of previous generations, Lovecraft focused more on the truly monstrous, ignoring the human element that most horror writers tended to insert into their works since the days of the Gothic era. His stories were littered with monsters that knew neither morality nor mercy, seeing humanity as insignificant insects and, in Lovecrafts malignant world of ancient races and Elder Gods, humanity was insignificant. He also brought back something from the Gothic horror era, showing his readers that knowledge, even just a little knowledge, can lead to the most terrifying of discoveries. This is perhaps best exemplified by the so-called “Cthulhu Mythos,” a collection of stories that centered around Lovecrafts anti-mythological beings.

Frankenstein

Among the most enduring horror classics in the world is that of Shelleys “Frankenstein,” which combines the elements of horror with the intrinsic questions that plagued morality and philosophy at the time.

In some ways, the story is one that puts a new spin on the old ghost story, in that the “ghost” is inevitably caused by the actions of mortal men who meddled in things they were not meant to.

The story, aside from being a genuine tale of terror, also took on the role of a lesson in morality and the limits to just how far medical science could go.

Prolonging life is one thing, but bringing back the dead is another thing entirely, which is one of the subtle messages of the novel.

The underlying question of whether or not Frankensteins creature is the monster, or if it is Frankenstein himself, also contributes to making the story a memorable, chilling tale.

However, very few stories can truly stand up against the pure terror and the subtle anxiety and dread caused by Bram Stokers infamous novel, “Dracula.” The novel is a hallmark of the Gothic horror era, presenting a villain of potentially epic scope in the guise of a remarkable gentleman and nobleman. It deviated from other vampire stories of the time in that the vampire, Dracula, was not monstrous in appearance. He looked every inch a master and nobleman, establishing the “lord of the night” archetype that would be a stock image of vampire characters in literature for centuries to come. It also had all the elements necessary to both frighten readers and keep them coming back for more, marking it as the most enduring horror novel in history.

[talhaghafoor2019-blog]

The Monkees’ Best Kept Secret: Their Music is Really, Really Good  - Music In Minnesota

In a way, the Monkees are known for all the wrong things.  

Their TV show was fun, but it cast a shadow on them, especially their desire to be taken seriously as musicians. The tired storylines that they didn’t play their own instruments (they often did) or write their own songs (they did more than many ‘60s bands) also don’t help. 

The power of their songs was on full display at Mystic Lake. Remaining members Mike Nesmith and Micky Dolenz, accompanied by an impressive eight-piece band, played a 25+ song set that showcased the quality and variety of their music. 

Impressive Deep Cuts

Show opener “Good Clean Fun” set the tone. The title might make you think of the hijinks of the Monkees show, but the seriously good country rock song stands up with anything done by pioneers of the genre like Gram Parsons. Hardly a golden oldie radio hit – it only hit #82 on the Billboard chart – it was the first of many beneath-the-surface fan favorites that comprised much of the setlist. 

If you want to understand just how good the Monkees were in their heyday, you have to listen to these tracks. They are unique even for the ‘60s, combining sunshine pop, rock, country, and folk.  

Highlights in this vein included Headquarters opener “You Told Me,” Peter Tork tribute “For Pete’s Sake,” early Monkees album cut “Sweet Young Thing,” and Micky Dolenz standout “Randy Scouse Git” (which was transformed into a minor-key country song). Nesmith-penned “The Girl I Knew Somewhere,” which features just the right combination of folk and jangly ‘60s pop, perfectly showcased just how good the Monkees’ songs are and how much more attention they deserve. 

The bands truly weird 1968 movie Head (“I have no idea what it’s about,” Dolenz said) was represented by two underrated songs, the epic ‘60s psychedelia of “Porpoise Song” and the reckless rock of “Circle Sky.”  Other cool deep cuts included jazzy b-side “Goin’ Down” and pre-encore closing song “What Am I Doing Hanging Around,” a lovely country rock track that the Monkees recorded in the ‘60s but never released. 

Delivering the Goods – From the ’60s to Today

Although there were many lesser-known selections, they still played a lot of hits. “Last Train to Clarksville,” “Mary Mary,” “Pleasant Valley Sunday,” “(I’m Not Your) Stepping Stone,” “Daydream Believer,” and “I’m a Believer” were each delivered with varying degrees of enthusiasm (they understandably seemed a lot happier playing the less overplayed material). Only on lesser tracks like “A Little Bit Me, A Little Bit You” and “Take a Giant Step” did it seem like they were merely going through the motions. 

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Perhaps surprisingly to some, songs from their newest album, 2016’s Good Times!, were among the shows best moments. “Birth of an Accidental Hipster,” written by Oasis’ Noel Gallagher and Paul Weller, touched on all the Monkees hallmarks (it led effortlessly into “St. Matthew,” another impressive unissued ‘60s track that they unearthed for the show). Nesmith and Dolenz’s harmonies were particularly moving on another track from Good Times!, beautiful “Me and Magdalena.” 

Although Dolenz was in stronger voice than Nesmith for most of the evening, the latter stole the show on his solo masterpiece “Joanne.” He hit all the haunting high notes on his gorgeous country ballad perfectly. A truly remarkable performance. 

More Than a TV Show

What made the Monkees show at Mystic Lake so successful is that it was an ideal balance of radio staples, lesser-known hits, deep cuts, and new tracks. The deep dive into their catalog showed just how impressive it is. When all is said and done, that is what they will be known for. Seeing them perform their best songs was an illuminating, eye-opening experience.

This content was originally published here.

[rogerdscotts]

Classic Men of Style: Clark Gable

from He Spoke Style - Men's Style, Fashion, Grooming, Tips and Advice

Style hallmarks of an Old Hollywood legend

Clark Gable commands a mythic status when it comes to Old Hollywood celebrities, and it’s easy to see why. Words like dashing and debonair seem almost designed for him, with his classic good looks, impeccable dressing sense, and incredibly emotive acting. Clark Gable achieved an incredible amount of professional success and was renowned for his style and grace. Effortlessly shining on camera, it was clear that he was a natural in show business.

Although he led a turbulent personal life, he left behind an incredible legacy that continues today. Movies like Gone With The Wind have cemented his classic masculine style in Hollywood history. Known for his sharp and clean look, that famous mustache and a rugged, manly mystique, Clark Gable is truly a classic man of style.

Exploring Clark Gable’s early life

Born in Ohio in 1901, Gable’s early life started out with a brief stint in oilfields. At sixteen, he dropped out of school, and after seeing his first theatrical production, he knew what he was meant for. At the young age of 23, Clark Gable found himself in Hollywood, looking for his big break. At first, acting didn’t quite pan out. Gable found himself working as a studio extra and a garage mechanic as he tried to find his footing.

Luckily, he was also involved in theater and his stage career helped get him noticed. He received a few parts but they all tended to be the same. Often cast in supporting roles or as a villain, it was starting to seem like he would never quite get that leading man role he so desperately wanted. In fact, a legendary MGM boss once told him that he was “too elephant-eared and unattractive” to get those kinds of parts. But soon, that would all change, as his fan base continued to grow.

Career highlights and personal life

Within a decade, Gable had starred in some of the most iconic movies ever made in Hollywood, earned an Oscar for best actor, and was deemed the “King of Hollywood” – a title he held on to for many decades. Gone with the Wind, of course, is probably the first Clark Gable movie that comes to mind, but he had several classics. It Happened One Night and Mutiny on the Bounty were some of his best works. And he starred with some of the most famous women in Hollywood including Greta Garbo, Jean Crawford, and Jean Harlow.

Throughout his career, Gable married many times but the greatest love of his life was Carole Lombard. Known for her beauty and sharp wit, she was the perfect companion (and opponent) that challenged him with her brash, outspoken nature and Gable loved her for it. One of the happiest periods of Gable’s life, it was cut far too short when Lombard died tragically in a plane crash just a few years after their marriage.

Devastated, Gable left Hollywood and enlisted in the US Army Air Service as an aerial gunner. During that time, he earned many military accolades but eventually made a comeback. Initially, he was met with a lot of success but eventually, his star waned. His final performance was in The Misfits, with Marilyn Monroe.

Hallmarks of Clark Gable’s style

Clark Gable is a great example of the fact that style isn’t always this innate “thing” that someone just has, but it’s something that’s cultivated over time and it takes a lot of hard work. Gable went through a lot of personal and physical transformation to become the classic style icon that he is, and studios helped craft that rugged masculinity he’s so well known for now with meticulous care and a lot of personal grooming.

There are some interesting stories about him during that time like how MGM had his ears (or “flops,” as he affectionately called them) taped back to build that look–to which he told the studio to leave his “flops” alone.

A little known fact about Old Hollywood is that the traditional “wardrobe” didn’t really exist. There weren’t racks of clothing for stars to choose from while filming. Stars really just wore their own clothing when shooting movies, which is likely why Gable became such a style icon. He was known for his clean and elegant suits, sophisticated casual wear and of course, for single-handedly killing the undershirt.

Let’s talk suits

First and foremost, Clark Gable was known for his suits. He loved double-breasted suits with wide lapels and drape cuts for the most part, but Gable was also known to wear three piece suits as well. His suit styles are a testament to the fact that good tailoring is timeless. Even with his single-breasted suits, wide lapels were always a staple. And to top it all off, Gable always paired his evening wear with a boutonniere, favoring roses and carnations.

The death of the undershirt?

When Clark Gable took off his sweater and shirt in It Happened One Night, he’s seen without an undershirt. Urban legends claim that this led to a 40-percent decrease in undershirt sales soon after, but that’s rooted in a lot of myth so it’s hard to find verification for this. The point is, while MGM may have crafted his look, Gable played by his own rules when it came to style. Rather than stick to the status quo, he was all about having that classic look with his own twist.

Trousers, slacks, and tailcoats

In Gone with the Wind, Gable brings a lot of Southern charm to his looks with classic silhouettes. Tuxedos and tailcoats are a large part of the movie’s wardrobe. He also favored high-waisted slacks with pleats, pretty much always. Again, his look was about taking his personal surroundings as a guide and using that to create his own look. The lesson? You can branch out with certain looks, or you can mix your staples with some new twists. Your outfits can reflect your surroundings, but be quintessentially you.

Shirts and sweaters

Gable wore button-down collared shirts and paired them with classic, understated ties. He favored classic shirt collars rather than trendier styles, choosing to stay with what he knew worked for him. Another outfit choice for him was pairing deep v-neck sweaters with a shirt and tie for a sleek and elegant look that could work for a lot of different environments.

Iconic status in Hollywood

When we’re talking about Clark Gable’s iconic Hollywood status, it’s usually in relation to his dashing looks, rakish charm, and of course, who can forget that signature mustache of his, and the slick pomade hair. He was the epitome of masculinity, with his rugged good looks and effortless style.

But ultimately what made Clark Gable an icon was his confidence. He knew that style was much more than the clothes he wore, but also how he adapted to his surroundings, and how he made a look his own. It was about infusing your own personality into the look, and being confident in that. His acting prowess is undisputed, and you can see that talent shine when you see him on-screen. He’s natural and effortless, and his style reflects that.

What are some of your favorite parts of Clark Gable’s style? Chime in below!

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