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Oscar Watch - Post Venice/TIFF/NYFF Edition

2020.10.12 20:42 jonisantucho Oscar Watch - Post Venice/TIFF/NYFF Edition

Several months ago, right after the last Academy Awards, I posted a long, long, long list of possible contenders that had prospects to fight for the next Oscars. It was a time of hope, of looking forward, and of positivity.
Then, COVID-19 happened.
And now, we find ourselves in a year that may change the movie industry forever, with the lack of safety of theaters in times of a pandemic accelerating the switch of mainstream audiences to streaming and VOD. These are times where some people are beginning to wonder, even after they pushed the eligibility date for two more months, why the Academy doesn’t cancel next year’s Oscars. And in this rocky terrain, we lost many contenders. Fire up the Hunger Games cannons, because these are some casualties of the season (so far).
Launched to 2021: Annette, Benedetta, Deep Water, Dune, In the Heights, King Richard, Last Night in Soho, Memoria, Nightmare Alley, Passing, Red, White and Water, Raya and the Last Dragon, The Last Duel, The Power of the Dog, Tick, Tick… Boom!, West Side Story.
Unknown status / missing in action: After Yang, Blonde, Breaking News in Yuba County, C’mon C’mon, Next Goal Wins, Stillwater, The French Dispatch, The Humans, The Tragedy of Macbeth, The Eyes of Tammy Faye, Those Who Wish Me Dead.
But even if this year isn’t as loaded with clear awards candidates, there are plenty of movies that are already drawing buzz for an Oscar season that started brewing a month ago, with the kickoff of the Venice Film Festival, and will go on for six and a half more months, when the Academy Awards take place on April 25, 2021. It’s gonna be a long, weird and rocky season, which is gonna be great to see in terms of the narratives that are coming up.
-Ammonite (trailer): When people were betting on the likelier contenders of this year, many people pointed in the direction of Francis Lee’s period drama, with previous Best Actress winner Kate Winslet and constant nominee Saoirse Ronan. Going into the premiere at Toronto, people had their eyes set in this queer romance between a paleontologist and a young wife in the coasts of England during the 19th century. But then, some things happened. First, Winslet started her promotion of the movie by talking about her regret for working with Woody Allen and Roman Polanski that sounded unconvincing to the ominous Film Twitter. Then, another queer period drama, Mona Fastvold’s The World to Come, started to take the attention away at Venice. And finally, the movie premiered. The reaction? Cold. Critics came out mixed with the movie, with many of them comparing it negatively to last year’s Portrait of a Lady on Fire, and saying that it’s too dull and alienating. Does that mean that all is lost? Not exactly. While the movie (which, considering the genre, really needs critics' support to get into the Best Picture category) has been dismissed, the acting by Winslet and Ronan has been received positively. Now that so many other contenders have been dropping out of the year, they might get some room to campaign from a (social) distance.
-Another Round (trailer): Speaking of TIFF premieres, a film that had a better time at the Canadian festival was the reunion between director Thomas Vinterberg and star Mads Mikkelsen, who reunited years after making the stirring drama The Hunt (not the one with Betty Gilpin carrying a bad political satire, the one about a Danish teacher wrongly accused of sexual abuse). This time, the material is lighter, being a dramedy about four teachers who decide to test out a theory about how people can live and work a little better if they increase the level of alcohol in their blood. Critics really liked the way the movie dealt with alcoholism, and Toronto audiences made it a runner up for the People’s Choice Award of the festival. In a year without so much exposure from other festivals, this Cannes 2020 selection could make a candidate for the Best International Film category.
-Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan (trailer): Surprise, new Borat film! While Sacha Baron Cohen made headlines several times this year because of stunts that people assumed were about a second season of Who is America?, the Internet was shocked when, in early September, it was confirmed that it was actually a very niiiiice return from the journalist character that made him famous, shot during quarantine. In a matter of weeks after the reveal, the sequel got sold to Amazon Prime and got a release date for October 23. Why so soon? Well, apparently the movie, which got him in trouble with Rudy Giuliani and other people, is about Borat taking his daughter on a road trip to give her as a bride to VP Mike Pence. Even if this movie doesn’t manage to achieve the feats of the 2006 movie (which got a Best Adapted Screenplay nomination, let’s remember), it will help Baron Cohen’s image a lot, because it will come a week after his big Oscar play.
-Cherry: While everybody knows them mostly because of their contributions to the MCU, directors Joe and Anthony Russo and actor Tom Holland are trying to branch out together. Now Apple has bought into their efforts, paying more than 40 million dollars to acquire their new crime drama, about the life of former Army medic Nico Walker, who started robbing banks after his days in Iraq left him with PTSD and a pill addiction. Will Holland manage this time to escape from the shadow of “oh, jeez, Mr. Stark” Spider-Man before Chaos Walking or the Uncharted movie come out? That’s a question for another day.
-Da 5 Bloods (trailer): Talk about timing. Merely days after the country was mobilized by the police brutality that continues to divide the United States, Spike Lee premiered his new war drama on Netflix. In a vibrant, disjointed but passionate portrait of four African American veterans who return to Vietnam to search for their fallen leader and some treasure, Lee struck gold yet again with his usual fans, even though the moving of the Oscar ceremony threatened to make it harder to remind Academy voters about this movie. However, with an astounding performance from Delroy Lindo (who is confirmed to be campaigned in the Best Actor category) and a supporting turn from Chadwick Boseman which got reframed with the news of his bravery in life and death, this has what it takes to fight for a spot in the Best Picture lineup.
-Everybody’s Talking About Jamie (trailer): When it became clear that quarantine wasn’t gonna be a breeze, the first movie in consideration wise enough to move a little further ahead in the calendar was this adaptation of the hit West End production about a gay British teenager who dreams of becoming a drag queen and get his family and schoolmates to accept his sexuality. With a release date on February 26, 20th Century Studios (man, it’s weird to not use Fox in that name) hopes to strike gold, with a cast that mixes young unknowns, familiar names (Sharon Horgan, Sarah Lancashire and my boy Ralph Ineson) and the previously nominated legend that is Richard E. Grant (who is playing a former drag queen named Loco Chanelle), now taking advantage of the move of other musicals like Annette, In The Heights and West Side Story. I mean, this has at the very least some Golden Globes nods in the bag.
-French Exit: Before its premiere as the closing film of the NYFF, many pundits were expecting this surreal comedy to be somewhat of a comeback for past Best Actress nominee Michelle Pfeiffer, who here plays a close to penniless widow who moves to Paris with her son (Lucas Hedges) and cat, who also happens to be her reincarnated husband (Tracy Letts). However, the first reactions for the film adaptation of the Patrick deWitt novel were all over the place, with some people feeling cold by the execution of the weirdness and others being won over. Still, everybody had good things to say about Michelle Pfeiffer’s performance, but after the mixed reception to the rest of Azazel Jacobs’ film she really would need a lot of critics support to get anywhere near the Best Actress category. With a release date on February 12, it seems that Sony Pictures Classics is skipping the critics awards, and the distributor has a couple of big competitors above this one.
-Good Joe Bell: Every year, there are movies with big stars that go to festivals full of hope for praises and awards. Some of them work and go on, others don’t and get forgotten about. Mark Wahlberg tried to remind people that he occasionally is a good actor with a true life drama where he plays a father who decides to walk across America to raise awareness about bullying after his son, tormented for being gay, commits suicide. The film by Reinaldo Marcus Green premiered at TIFF, and the reaction was… not great. Some critics defended it, but most saw it as a flawed, baity product starring a man with a history of hate. Still, it got bought by a distributor: Solstice Studios, a new player in the game which just released its first movie, Unhinged (yup, the one about Russell Crowe road raging). While they paid 20 million dollars for Good Joe Bell, it’s clear that this won’t get near the Oscar telecast.
-Hillbilly Elegy: While many movies this year have some level of anticipation, Film Twitter is bracing for this movie in the “is this gonna be the next Green Book?” way. Ron Howard’s adaptation of J.D. Vance’s memoir about his low income life in a poor rural community in Ohio has many fearing about the overuse of tropes involving what’s called white trash porn, but rarely, Netflix has kept silent about this release. Even though it has Oscar bridesmaids Glenn Close (7 nominations) and Amy Adams (6 nominations), the streamer has not even released a photo of the movie, which supposedly will come out in November. And if you want another bad omen, take a look at the lower levels of this list by a familiar voice.
-I’m Thinking of Ending Things (trailer): Speaking of Netflix, did you know that there is a new Charlie Kaufman there, right now? While his adaptation of the dark novel by Iain Reid, seemingly about a woman (Jessie Buckley) who is taken by her boyfriend (Jesse Plemons) to meet his parents (Toni Collette and David Thewlis), got the usual reception of confusion and praise that follows his movies, the release was followed for what befalls most of the Netflix original movies: a couple of days in the Top 10, and then it fell into the void. While Buckley and Plemons deliver great work in this demented, melancholic story, it’s hard to see this movie getting anything else than a Best Adapted Screenplay nomination for Charlie. And that’s a long shot.
-I’m Your Woman: Following the little seen but critically acclaimed Miss Stevens and Fast Color, Julia Hart started 2020 with a Disney+ adaptation of the YA book Stargirl, and now she follows it with a drama for Amazon that will have its world premiere as the opening film of the AFI fest on October 15. In this movie, Rachel Brosnahan hopes to translate her TV success with The Marvelous Mrs. Maisel to the big screen, playing a woman in the ‘70s that has to go on the run with her kid due to her husband’s crimes.
-Judas and the Black Messiah (trailer): Even if this doesn’t end up winning any awards, it has a real shot at being the best trailer of 2020. Formerly titled Jesus Was My Homeboy, this biographical drama by Shaka King tells the tale of two men: Fred Hampton (Kaluuya), an activist and Black Panther leader, and William O’Neal (Stanfield), the FBI agent sent to infiltrate the party and arrest him. While the trailer for this movie promised a release “only in theaters”, we shall see if Warner Bros backs down from that fight.
-Let Them All Talk: While we’re on the subject of Warner Bros, we have to mention what’s happening with HBO Max. While the start of the streaming service hasn’t been good (I mean, there are still people confused about that name) and it lead to some people assume will cause many firings, it has begun to make some buzzed titles on TV, like Close Enough, Raised by Wolves and the remains of the DC Universe failed streaming service. Now, to make a mark in the movie business, the streamer has a new Steven Soderbergh movie, a comedy that stars Meryl Streep as a celebrated author that takes her friends (Candice Bergen, Dianne Wiest) and her nephew (Lucas Hedges) in a cruise to find fun and come to terms with the past, while he flirts with a literary agent (Gemma Chan). While it doesn’t have a date yet, it’s confirmed to release in 2020, and at least we know that it can’t be worse than The Laundromat.
-Ma Rainey’s Black Bottom: While the expectations for the next film adaptation of an August Wilson acclaimed play were already high, the tragic death of Chadwick Boseman made this Netflix release one of the most anticipated movies of the season, considering this is his final movie. While past Supporting Actress winner Viola Davis takes the lead playing blues singer Ma Rainey in this tale of a heated recording session with her bandmates, her agent and her producer in 1927, Chadwick Boseman has a turn as the trumpeter Levee that was already being considered for awards, and now has even more people waiting to see. The thing is that one of the biggest competitions for Boseman this year will be Boseman himself, for his already acclaimed supporting turn on Da 5 Bloods, also released by Netflix. While the streamer will have to decide which of Chadwick’s performances will get the bigger campaign, this film by director George C. Wolfe has a cushy date set for December 18, and Viola is gunning hard for this movie to win.
-Mank (trailer): As you may have noticed by now, Netflix has a lot of plates spinning around this season, and this is the big one. After befriending the service with House of Cards and Mindhunter, David Fincher is going black and white to tackle a script by his late father Jack, about the making of the classic of classics, Citizen Kane. More specifically, the making of the script, with previous Oscar winner Gary Oldman playing the lead role of screenwriter Herman J. Mankiewicz, while accompanied by Amanda Seyfried, Lily Collins, Tuppence Middleton, Charles Dance and Tom Burke. After watching the first trailer of his satire of 1930’s Hollywood (that will release on streaming on December 4), it’s clear that this is gonna be catnip to old Academy voters, and it would be really hard for this to miss the Best Picture line up. Unless it’s a complete cinematic disaster, Mank is bank.
-Minari (trailer): While the last edition of Sundance took place in January, quarantine makes you feel like it took place two years ago. This year, the big winner of the Grand Jury Prize and the Audience Award in the US Dramatic Competition was a dramedy by Lee Isaac Chung, about a Korean family in the ‘80s who suddenly gets moved by their father (Steven Yeun) to Arkansas, to start a farm. Even though the reviews have been great, distributor A24 hasn’t really had a big, Oscar nominated hit for the last couple of years, and the COVID-19 crisis made them delay all their releases. But when we were ready to write this off, a new trailer for the movie came out, confirming that it’s in the game of this awards season. Maybe the pandemic will be of help to A24, considering that one of the reasons they haven’t had success is that they divided their attention into too many releases, and ended up getting not much. This time, they are betting all on Lee who, even if this doesn’t go anywhere, also has a new gig coming up as the director of the live action remake of Your Name.
-News of the World (sneak peek): So much of this year has felt like a game of chicken between a virus and movie studios. While many movies chose to skip this year altogether, Universal remains firm (for now) with its plans to open a wide movie on Christmas Day, with a Western that reunites Paul Greengrass and Tom Hanks in an enticing premise. In this drama based on Paulette Jiles’ novel, Hanks plays a traveling newsreader in the aftermath of the American Civil War, who is tasked with reuniting an orphaned girl with her living relatives. While the first sneak peek of the movie looks promising, the future is still in the air.
-Nomadland (trailer): While the world burns around Hollywood, Searchlight is betting big on Chloe Zhao’s new film. Using the strategy of taking the spotlight while the rest of the contenders is uncertain about how or when to be released, the indie drama began its journey at Venice, with critics raving about the story of a woman (two-time Oscar winner Frances McDormand) who, after losing everything in the Great Recession, embarks on a journey through the American West, living as a van-dwelling modern-day nomad. At the end of the fest, the movie won the coveted Golden Lion. To put that into perspective, the last three winners of the award were past Best Picture nominees The Shape of Water, Roma and Joker, with The Shape of Water (also distributed by Searchlight) also winning the big prize. After drawing critical acclaim following its virtual showing on TIFF and NYFF, Nomadland seems like the first lock in the Best Picture line up. Still, there are obstacles ahead. Will Zhao break the disappointment of the last few years, when deserving candidates for Best Director got blocked by the likes of Adam McKay and Todd Phillips? And will McDormand manage to get near a third Oscar, following a recent win for Three Billboards in Ebbing, Missouri? Time will tell.
-On the Rocks (trailer): While she hasn’t been near the Oscars for a while, Sofia Coppola is still a name that draws attention. This time, she opened the NYFF with a dramedy about a young mother (Rashida Jones) who reunites with her playboy father (Bill Murray, also reuniting with Sofia after Lost in Translation) on an adventure through New York to find out if her husband (Marlon Wayans) is cheating on her. The consensus seems to be that, while light and not near her best work, it’s still a fun and breezy movie, with a very good turn by Murray. While many would assume that this A24 production will disappear into the abyss when it releases on Apple TV+ on October 23, the dropping out of many candidates gives the movie a chance to, at least, fight for some Golden Globes.
-One Night in Miami (sneak peek): Following her recent Oscar and Emmy wins for If Beale Street Could Talk and Watchmen, Regina King is still striking hard, and this time, she’s doing it as a director. For her big screen debut as a filmmaker, she chose to adapt Kemp Powers’ play that dramatizes a real meeting on February 25, 1964, when Muhammad Ali (Eli Goree) followed an iconic win with a hangout session with Malcolm X (Kingsley Ben-Adir), Sam Cooke (Leslie Odom Jr.) and Jim Brown (Aldis Hodge). Opening at Venice, the film received glowing reviews, with many praising King (even though some said that the movie doesn’t fully translate the play to the film medium) and the actors’ performances, especially Ben-Adir and Odom Jr. (who, it should be said, also wrote an original song for the end credits of the movie, which could help his Oscar chances). Amazon Prime is hoping that this is their big contender this year, with plans of a theatrical release on Christmas and a streaming release on January 15. Judging by the praise this got at festival season, it has a chance to go a long way.
-Over the Moon (trailer): In a year with not that many contenders for Best Animated Feature, Netflix is betting on a musical adventure directed by the legendary Glen Keane, a classic Disney animator who recently won an Oscar for Best Animated Short for co-directing Dear Basketball. While our expectations were lowered by the first trailer for the movie, centered around a Chinese girl who builds a rocket ship and blasts off to the Moon in hopes of meeting a legendary Goddess, it’s still safe to assume that it has a shot at being nominated for something. Netflix also hopes that you like its big candidate for Best Original Song, which really, really sounds like a Disney ballad.
-Pieces of a Woman: While this year doesn’t have the amount of surprise contenders that a regular Oscar season usually has, we still have some movies that sneaked through festival season. The first one was the new, somber drama by Hungarian director Kornél Mundruczó, known for the doggy uprising pic White God, and the not-so-well-received sci-fi Jupiter’s Moon. This time, we follow a woman (Vanessa Kirby) whose life is torn apart after a home birth at the hands of a flustered midwife (Molly Parker) ends in tragedy, and then leads to a court battle that also makes her confront her husband (Shia LaBeouf) and her domineering mother (Ellen Burstyn). While the movie had mixed reactions, Kirby had plenty of raves in her direction, particularly concerning her performance during a 25-minute birth sequence that is said to be brutal. That brutality paid off, though, because Kirby ended up winning Best Actress at Venice, and Netflix bought the movie, which also has Martin Scorsese as an executive producer. If the Academy wants to crown a new face in the scene, Kirby is the one who will be targeted, following her acclaimed turn in The Crown and her supporting roles in blockbusters like Mission Impossible: Fallout and Hobbs & Shaw.
-Promising Young Woman (trailer): When theaters started to close because of the pandemic, Universal started the push of their movies going straight to VOD, with titles including Trolls World Tour and Never Rarely Sometimes Always. However, there was a title that was supposed to premiere in April, and then suddenly disappeared from existence. It was the directorial debut of actress Emerald Fennell, who wrote a black comedy with touches of a thriller, centered on a woman in her thirties (Carey Mulligan) whose bright future was derailed by a traumatic event, and who’s now looking for revenge. While the reaction to its premiere at Sundance wasn’t enough to consider a Best Picture run, the twisted performance by Mulligan earned her the best praise since the last time she was nominated for an Oscar, a decade ago for An Education. Now, Focus Features is planning to open the movie at Christmas, and are positioning Carey for a run at Best Actress.
-Rebecca (trailer): When the news came out saying that Ben Wheatley would adapt Daphne du Maurier’s psychological thriller novel for Netflix, many were shocked. Some people considered the chance that this was an awards play by the cult director, who is doing the same work that earned Alfred Hitchcock his only Best Picture win. But seeing the trailer for this new version, with Lily James playing the newly married young woman who finds herself battling the shadow of her husband's (Armie Hammer) dead first wife Rebecca, we have to wonder if there’s a point to the existence of this remake. We will find out if there’s any awards chances for this movie on October 21, when it releases on streaming. Let’s hope that Kristin Scott Thomas has something to play with as Mrs. Danvers.
-Respect (trailer): Every year, there’s one or two actors who announce to the world “I want an Oscar” and campaign like their lives depended on it. Last time, it was Taron Egerton (accompanied by Elton John, who actually ended up winning another Oscar). This year, it is the turn of Jennifer Hudson, who is playing Aretha Franklin in a biopic directed by first timer Liesl Tommy, and who’s hoping that this attempt at awards ends up more like Dreamgirls than like Cats. She has been doing announcement trailers (a year in advance), quarantine tributes, award show tributes, and every possible thing to get the industry to notice that she’s playing Aretha. Hey, Rami Malek and Renee Zellweger did it in the last few years, why can’t she. With a release date of January 15, Hudson wants that gold.
-Soul (trailer): Disney may be the studio that suffered the biggest hit because of the pandemic. Their parks are a loss, most of their big productions had to stop because of quarantine, and theaters in many parts of the world are closed. After the failure of Tenet for Warner Bros. and the experiment of the mouse house of charging people 30 dollars to see Mulan (which didn’t work at all), many wondered if Disney was gonna delay the new production by Pixar, written and directed by Pete Docter, who brought Oscar gold to his home with Up and Inside Out. The movie, which centers on a teacher (Jamie Foxx) who dreams of becoming a jazz musician and, just as he’s about to get his big break, ends up getting into an accident that separates his soul from his body, had a lot of promise, but the speculation of lost money was also a concern. Finally, Disney decided to release the movie on Christmas, but only on Disney Plus, causing another failure for theaters, but assuring that Disney at least can get more subscribers to its streaming service. And the movie? Well, it just premiered at the London Film Festival, and the critics are saying it’s Pixar at its best, with praises going from the look, to the script by co-director Kemp Powers (who also wrote the play of One Night in Miami, so he has many chances for a nod), to the score by Trent Reznor, Atticus Ross and Jon Batiste. That means that it’s already a top contender to win Best Animated Feature, and this may not be the only category in which the movie is gonna get nominated.
-Supernova (trailer): If there’s a theme this year in terms of Oscar contenders, it might be dementia. One of the examples of this is a small road movie directed by Hairy Macqueen, which premiered to good reviews at the San Sebastian festival. This drama centers on a trip taken by Sam (Colin Firth) and Tusker (Stanley Tucci), partners for 20 years, who travel across England reuniting with friends and family, because Tusker was diagnosed with early onset dementia. While usually the big awards role is usually the one of the person who suffers the illnesses, some reviewers are calling Firth’s work as the supporting companion some of the best of his career. With Bleecker Street buying the rights for a US release, this is a little film that could still make some moves.
-Tenet (trailer): For the first five months of quarantine, the big narrative in the world of film was “Christopher Nolan is gonna save cinemas”. But after postponing the release of the mind bending actioner for months on end, creating big demands and expectations to theater owners, and finally releasing as the sacrificial lamb of Hollywood, Warner Bros ended up seeing the opposite effect. Even though Tom Cruise loved to be back at the movies, critics didn’t share enough excitement to make a spy movie that goes backwards worth the possibility of dying of coronavirus. The audiences didn’t show up as much, and those who did attend, mostly complained about the sound mixing and the plot. After all the sacrifice, it’s highly unlikely that Tenet goes beyond technical awards. Let’s start the “Travis Scott for Best Original Song” campaign now, before it’s too late.
-The Boys in the Band (trailer): The Ryan Murphy blank check for Netflix has been interesting to follow. On the one hand, we have his new TV shows, which go from not existing (The Politician), to alternate movie history that doesn’t know how alternate history works (Hollywood), to a challenge of how much TV will you stomach if Sarah Paulson and other middle aged actresses are campy in it (Ratched). And now, we are seeing his producing hand over the movie side, which starts with the new film adaptation of the cult play from 1968, which was already a movie in 1970 and recently jumped to Broadway in 2018. The cast from the recent Broadway production (which includes Jim Parsons, Zachary Quinto, Matt Bomer and Andrew Rannells) stars in Joe Mantello’s movie, telling the story of a group of gay friends in pre-Stonewall New York who reunite for a birthday party and end up revealing a lot of open wounds. While this movie got good reviews from critics, it kinda disappeared without a sound after beginning to stream on Netflix at the end of September. Unless the service wants to campaign for Golden Globes, this film is lost in the algorithm.
-The Devil All the Time (trailer): Another September release on Netflix was the new psychological thriller by Antonio Campos (Simon Killer, Christine) who didn’t manage to continue his streak of intense and terrifying character dramas with his messy adaptation of the dark novel by Donald Ray Pollock. Wasting a cast that includes Tom Holland, Sebastian Stan, Robert Pattinson, Mia Wasikowska, Eliza Scanlen, Bill Skarsgard, Jason Clarke and Riley Keough, this twisted period piece managed to stay for a while in the Top 10, but the reactions from critics were mixed, and audiences were busy asking what was happening with Pattinson’s Southern accent (which with The King makes two years in a row, baby). The many prognosticators who had hopes for an awards play moved on a while ago.
-The Father (trailer): It’s safe to say at this point that Anthony Hopkins is a lock for a Best Actor nomination at the next Oscars. After its premiere in Sundance, every prognosticator pointed in his direction, and for the next few months he swept praise for his harrowing portrayal of an old man grappling with his age as he develops dementia, causing pain to his beleaguered daughter (recent winner Olivia Colman, who also got praised). Sony Pictures Classics will make Florian Zeller’s adaptation of his acclaimed play its big contender of the season, using Hopkins (who this year got a nom for The Two Popes) as a starter to also get Colman, Zeller and the movie nominated.
-The Human Voice (trailer): And speaking of Sony Pictures Classics, it’s almost safe to say that they have another Oscar in the bag this year. That’s because they just bought Pedro Almodóvar’s short film, his English-speaking debut that is an adaptation of the play by Jean Cocteau. In his version (that was acclaimed by critics after premiering in Venice), Tilda Swinton plays the woman waiting at the end of a phone, expecting to hear from his ex-lover who abandoned her. Considering how the competition for Best Live Action Short Film has become somewhat lacking in the last few years (I mean, have you seen Skin), this should be an easy award to win, especially considering how beloved Almodóvar is in the Academy, which nominated him this year for the great Pain and Glory.
-The Life Ahead: While we’re talking about legends, it’s time to talk about Sophia Loren. 16 years after her last leading role in a movie, the Italian icon returns with a drama that was bought by Netflix, who plans to campaign for her as Best Actress and for the movie in the Best International Film category. Directed by Edoardo Ponti (who is also Sophia’s son), this movie centers on a Holocaust survivor who takes in a 12-year-old boy who recently robbed her, in a contemporary adaptation of Romain Gary’s novel The Life Before Us. Netflix has set a date for November 13 to release this movie, and the campaign seems to be about the narrative of seeing Loren winning another Oscar 60 years after she won her first one for Two Women, by Vittorio De Sica.
-The Midnight Sky: Based on the novel Good Morning, Midnight, this collaboration between George Clooney and Netflix is once again making us ask one thing. Are we gonna get the director Clooney of Good Night and Good Luck, or are we gonna get the director Clooney of Leatherheads, The Ides of March, The Monuments Men and Suburbicon? Let’s hope he breaks his streak of blandness with this sci-fi story, which makes us think a little bit of Gravity: A lonely scientist in the Arctic (Clooney) races to stop a group of astronauts led by Felicity Jones from returning to a devastated Earth. With a release set for December, we have to hope that this is more than some Top 10 filler that will evaporate from existence in a week’s time.
-The Prom: In probably the biggest blank check of the Ryan Murphy deal with Netflix, this musical he’ll direct is based on the Tony-nominated show about a group of Broadway losers (Meryl Streep, Nicole Kidman, Andrew Rannells and James “boo” Corden) who try to find a viral story to get back in the spotlight, and end up going to a town in Indiana to help a lesbian high school student who has been banned from bringing her girlfriend to the prom. While it’s clear that this December 11 release is gonna sweep the Golden Globes, the emptiness of this year compared to others could clear the way for some Oscar nominations, including Meryl and the obligatory original song added to a preexisting musical for easy clout.
-The Trial of the Chicago 7 (trailer): When it was announced that Paramount was selling Aaron Sorkin’s new movie to Netflix, some people saw it as a studio dumping a failed awards vehicle to be forgotten. However, the excuse that Sorkin wanted to release this movie before the US presidential elections seems to be true, because critics really enjoyed his old school courtroom drama, centered around the trial on counter cultural activists in the late ‘60s. Everybody praised uniformly the huge cast, that includes Sacha Baron Cohen, Eddie Redmayne, Yahya Abdul-Mateen II, Jeremy Strong, Joseph Gordon-Levitt, Frank Langella, William Hurt, Michael Keaton and Mark Rylance, which guarantees a SAG awards nomination (but makes it difficult to decide which actors will actually get nominated for Oscars). With a reaction that brings to mind the days of A Few Good Men and is the best reception he got since his Oscar winning script for The Social Network, the film faces a couple of hurdles. First of all, it got positioned as the frontrunner in the Best Picture race by some people, which instantly puts a target on its back. Then, we have to consider that the movie releases on Netflix this Friday, October 16, which makes it the first big contender this year to face the world, and which in these times of lockdown will probably make the reception to Marriage Story and The Irishman from last year look like a walk in the park. I mean, there are some people who aren’t swayed by Sorkin, and for good reason.
-The United States vs. Billie Holiday: While Paramount was quick to hand The Trial of the Chicago 7 to Netflix, there’s another movie that the studio kept to play in the upcoming awards season. This biographical drama follows the life of another famous musician, Billie Holiday (Andra Day), and we see the journey of her career in jazz as she is targeted by the Federal Department of Narcotics with an undercover sting operation led by Federal Agent Jimmy Fletcher (Trevante Rhodes), with whom she had a tumultuous affair. While the movie counts with a screenplay credit by Pulitzer winner Suzan-Lori Parks, the big question mark is the film’s director, Lee Daniels, who hit it big with Precious and then had results that were disastrous (The Paperboy) or financially successful, but not awards-wise (Lee Daniels’ The Butler). However, Paramount trusts in this movie, and with a release date on February 12, they want to make a splash.
-Wolfwalkers (trailer): While the attempts by Apple TV+ to establish themselves as a player in the TV world go from trainwrecks (See) to forgettable (The Morning Show) to eventually great (see Ted Lasso, everybody, this is not a joke), their plans to make a name in the film business have something to do with this year’s Oscars. While Cherry can come or go, they have a solid contender for the Best Feature Documentary with Boys State, but their big dog this year is the new movie by Cartoon Saloon, an Irish studio responsible for the acclaimed The Secret of Kells, The Song of the Sea, and The Breadwinner, all of which were nominated for Best Animated Feature. This time, Tomm Moore and Ross Stewart direct a story about a young apprentice hunter who journeys with her father to Ireland to help wipe out the last wolf pack. But everything changes when she befriends a free-spirited girl from a mysterious tribe rumored to transform into wolves by night. After getting critically acclaimed following its premiere at TIFF, this is a surefire contender for this year’s Best Animated Feature category, and Apple is gonna parade it before its streaming release on December 11. Also, while you watch that, you could watch a couple of episodes of Ted Lasso, too. It’s a really good show, it’s all I’m saying.
Anyways, that’s all the news from the last few months of festivals. No matter what happens next, this is gonna be a long, long, long race.
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2020.10.11 22:24 Romt0nkon Gal Gadot to play Cleopatra

Paramount Pictures has won an auction for an epic that will have Gal Gadot wearing the crown of a real wonder woman of history. Wonder Woman helmer Patty Jenkins will direct Gadot in Cleopatra, a period biographical drama scripted by Laeta Kalogridis. This is the first major project package won by Paramount Motion Picture Group President Emma Watts in an auction that came down to Universal, Warner Bros, Netflix and Apple, I’ve heard.
The film will be produced by Atlas Entertainment’s Charles Roven, Jenkins, Gadot and her Pilot Wave Motion Pictures partner Jaron Varsano. Kalogridis will be the exec producer. Deal closed yesterday after Gadot — the film was her idea and generated by Pilot Wave — took part in a select number of Zoom pitches, accompanied by Jenkins, Roven and Varsano, with Kalogridis laying out the beats of an epic story that is based on the research she did after Gadot enlisted her.
Deal is more than a development pact. There is an accelerated timetable and Paramount prevailed because the studio — led by Watts and chairman/CEO Jim Gianopulos — created an urgency to mount a big budget theatrical release film as quickly as possible. Kalogridis, whose credits include Alexander, Shutter Island, and most recently Alita: Battle Angel, will begin writing immediately, with Gadot, Jenkins, Roven and Varsano helping to shape a narrative they all hope might be the next film together for Gadot and Jenkins, who teamed on two Wonder Woman films.
The Egyptian queen’s tale has all the makings of a big female empowerment story, told by women. She was mostly played as a seductress by Elizabeth Taylor in the 1963 Joseph Mankiewicz-directed Cleopatra. That film cost more than any film to date and despite winning four of the nine Oscars for which it was nominated and being a big hit at the box office, Cleopatra nearly bankrupted 20th Century Fox. Despite that, Hollywood has continued its infatuation with the Queen of the Nile. Sony Pictures and producers Amy Pascal and Scott Rudin have for years developed an adaptation of the Stacy Schiff biography Cleopatra. Angelina Jolie was attached and Lady Gaga was later rumored for a possible coronation following her Oscar-nominated performance in A Star Is Born. The list of potential directors has included James Cameron, Denis Villenueve and David Fincher. The film has been through many rewrites, last from David Scarpa. I hear most recently that Eric Roth is working on it, meaning there might be a footrace here between Sony and Paramount to go first.
Cleopatra is the daughter of Ptolemy, ancestor of the leader of Alexander the Great’s army. When Rome’s ruler Julius Caesar’s mentor-turned-rival Pompey fled to Egypt after a brutal war for control of the empire, Egypt became a fixation of Roman rulers. Two siblings battled for the throne of Egypt. After winning that internal struggle by appealing personally to Caesar, Cleopatra had a complicated relationship with Rome, becoming the lover of Caesar and later Marc Antony. The latter alliance would become the undoing of both Antony and Cleopatra.
Gadot, Jenkins and Roven most recently completed the Warner Bros sequel Wonder Woman 1984, its release just pushed to Christmas Day because of the uncertainty of opening a major film in a movie theater because of coronavirus. While that theatrical release crisis continues because of the pandemic, it is somehow heartening to see a theatrical release studio step up for an epic project, at a time when most of these big package deals have lately been won by the streamers.
Gadot’s Pilot Wave is separately developing with The Affair‘s Sarah Treem the series Hedy Lamarr at Apple TV+, and Polish WWII heroine Irena Sendler at Warner Bros. Both are star vehicles for the Israeli-born actress. Gadot is currently shooting Red Notice, the Rawson Marshall Thurber-directed Netflix heist film. She will next be seen starring in the Kenneth Branagh-directed Death on the Nile, in December, as well as Wonder Woman 1984 from Warner Bros.
Roven, who produced the two Wonder Woman films, is in production on Uncharted, the Ruben Fleischer-directed action film that stars Tom Holland, Mark Wahlberg and Antonio Banderas for Sony, and wrapped the James Gunn-directed The Suicide Squad for Warner Bros.
A new "Gods of Egypt" is coming... which is not that bad of an idea when you think about it. Nothing against Gal Gadot but this role requires a movie star like Angelina or Lady Gaga. This will bomb.
Thoughts? I remember some people were excited when Villeneuve was rumored to direct it...
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2020.09.14 20:31 pretty-mothafucka Boogie Nights and Insecurity (SPOILERS)

I watched Boogie Nights for the first time a couple days ago and I was blown away. It had the electric energy of a 90s Scorsese, the black comedy of any Tarantino movie, and obviously PTA's own great storytelling sensibilities. It was so much fun, even through all the darkness, and I was delighted to see a happy ending, something quite rare in that type of story. It was all quite life-affirming, despite the taboo subject matter. As I think about it though, the theme of insecurity pops up in more and more of the characters, and it specifically emphasizes the problematic nature of male insecurity.
It works on a few levels, and I think this first level is where it's important to not that these people are porn creators. Here its important to draw a distinction between erotic films and straight up porn. Erotic films can be artistic and they very often are, but its incredibly different to make porn artistic beyond making it cinematic. Erotic films have the goal of examining human sexuality, porn is there to exploit human sexuality. It's like a movie like apocalypse now vs that shitty G.I. Joe reboot from a couple years ago. One aims to examine war, and one aims to exploit it. It's clear which one has more artistic value.
So, Burt Reynolds' character is pornographer through and through. He's not Bertolucci making Last Tango in Paris, it's not De Palma's Dressed to Kill, it's P O R N. In fact, when he creates the action-porn movie with Reed and Dirk, it looks like an average 70s b movie with porn scenes. It's nothing much, probably a cut above most porn but nowhere near his ideal of creating something "real, true, and dramatic". He's inflated his ego through simply being the best in the already very very shitty market of porn. About halfway through the movie, he's encouraged to start making erotic films on video instead of film. This alone is a huge hit to his ego, as he feels that he's above that. He fights against this vehemently, but eventually the golden age of porn ends and his ego is checked: people aren't watching his movies for an artistic experience, they watch it to get off. When "the Colonel", who funds his porn is sent to jail for child porn, he's forced to switch to video to maintain his business. His budget gets smaller and smaller as people (or distributors at least) care less and less about "artistic porn". This culminates in him deeming driving around in a van looking for untrained pornstars on the street as revolutionary and hugely artistic. He's still trying to convince himself that his art is worthy, but it's simply...not that. And that's revealed when the backseat porn is completely unsexy. It's schlock. The average person could probably get off to it but it's not enough for his inflated ego. Finally, the guy in the backseat lashes out and tells him his porn is shit NOW. He tackles him and attacks him to the point where he's bleeding for a single comment, because he essentially stated what he thinks of himself, affirming that he's no longer an artist. This is the "intellectual" level, where male artists and intellectuals tend to be super insecure about their intellect and their prowess, culminating in violence.
Second is Little Bill's arc. His insecurity is "lower level" as it pertains to him essentially constantly being weak and unimportant, visually represented most obviously by him being cuckholded by his wife constantly and doing nothing about it. This isn't the only way it's shown, he's also never dominant in conversation, constantly being ignored and spoken over. People don't really respect him at all. Even when he catches his wife being fucked in public in front of a huge crowd, they all basically tell him to fuck off. For fucks sake his name is "little bill". Just a quick sidenote, I dunno how much of a compliment this is but wow Macy is incredible at playing these types of characters between this and Fargo. But obviously, this also culminates in violence. He grabs a revolver, shoots and kills his wife and the guy she was fucking, before smiling and shooting himself in the mouth. His insecurity didn't allow him to leave her, or even fight the guy, which isn't good but far more healthy, he had to make a huge show of their death and his own with a double murder and public suicide. Again, the toxic results of male insecurity.
Third is Scotty J. His role in the movie is relatively minor, but his insecurity over his sexuality and his obsession with Dirk is made a centerpiece. He buys a whole fucking car in order to show off to Dirk, kissing him only after gaining his approval. He bought an expensive car to impress a guy he likely knows he can never have. Dirk is relatively kind (for the time period and place) but he's still cripplingly broken by the rejection. Despite his difference in sexuality to the angry straight male archetype, he still falls victim to male insecurities.
Finally, we come to Dirk. Dirk is completely broken by insecurity throughout the movie. His own mother angrily tells him that he's not good at anything, and his father fails to defend him. She even undermines his security in his sexual talents by claiming that his girlfriend is cheating on him. And, to be fair, she's kind of right. He's not a particularly intelligent guy, clearly throughout the movie. So he leaves his life to exploit the one thing he knows he's truly great at, sex. And he's right. He's a massive rising star and is the biggest fucking thing in the world. He wins tons of awards, makes enough money for a nice mansion in California, and even manages to avoid drugs, for a while at least. However, as the movie shows, the pornographic film industry is not for the insecure. He loses his status as the new rising young star, Burt finds a new young star who's seemingly in the same position he was in just a few years before, and he falls deeper and deeper into drug addiction and paranoia. At the beginning of the movie, he stands in front of a mirror and does karate and has fun in his underwear, kind of ignoring his dick. He's secure. However, as the movie goes on, he jerks off in a mirror to himself, only secure in the size of his dick as that part of him is emphasized more and more and he starts to lose the rest of himself. After his insecurity peaks and leads him to lash out at Burt Reynolds for not letting him film "because he looks like shit", he's fired/quits due to the anger his insecurity brings. Once again, it's male insecurity that's the issue here. Even after, it's reinforced because he doesn't find success in music or even prostitution. Side note again here, but the man who purchases his services, in my opinion, was likely insecure about his own sexuality, leading him to beat up and rob Dirk, even calling him a slur, despite very clearly enjoying his services. Another example of toxic male insecurity. In a close by scene as well, a man in a store feels compelled to pull out a gun during a store robbery, creating a greater issue and greater violence, likely a result of a male power fantasy. That whole sequence with the robbery, the backseat porn, and Dirk getting assaulted in general is one of the most powerful moments in the film, the 3 events are thematically linked on multiple levels, and I'm happy that PTA knew better than to have Buck killed right after showing his wife was pregnant, avoiding the manipulative storytelling that would create. Anyway, back to Dirk. His insecurity is reinforced again and again and again, made worse by drugs, until he returns to his surrogate family and returns to what doesn't make him insecure: porn. It's a depressing conclusion in a lot of ways, not because he does what makes him happy, but because he DOES have a quality besides his sexuality that makes him a worthwhile person: he's incredibly kind. I kinda forgot that he was played by douchebag Mark Wahlberg, because he does a great job at conveying the complete and naive kindness of Dirk. He tells Reed his shitty poem is great, he doesn't lash out at Scotty even after he makes a second attempt at him, he's really caring towards his scene partners, etc, etc, etc. He becomes less admirable towards the middle as his insecurity creates anger and resentment, but he's still a good person with a good heart. That has value, and that's what finally trumps his pride/insecurity when he realizes he's in too deep and needs to reconcile with his family.
I think the movie uses Buck as a counter example to all the male insecurity. Buck is entirely secure in who he is. He's unapologetic about his cowboy aesthetic when confronted about it and his career in porn and his dreams. He strays off briefly, adopting a Rick James esque look, but is quickly brought back to who wants to be and what he likes. And he's all the more successful for that. He's filled with ambition and genuine love for his wife, rather than anger and resentment, even when his life isn't going great. He doesn't get the loan despite working hard for it, his career isn't going great, his aesthetic is out of style, etc. Dirk has similar circumstances and it ruins him. Buck, on the other hand, never lashes out or has a hyper angry moment and is about the only male character besides Reed who doesn't (who's also an example of this, although a weaker one because he gets swept up in Dirk's insecurity). The only really bad things that happen to him really are completely out of his control, even in the situation of the robbery, he doesn't let his insecurity overtake him, which is what constantly saves him throughout the movie.
Anyway, those are my thoughts on this excellent movie. I think PTA does a great job at avoiding cliche throughout the movie in expressing the circumstances and insecurities of the characters, and is able to make what would be a very silly story otherwise something very dramatic and engaging. What do you guys think?
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2020.09.10 14:38 PaulChittenden From Plumbers Apprentice to $100 Million - 26 Business Lessons from an Expert Marketer (Conor McGregor)

Conor McGregor went from plumbers apprentice to making $100 Million. This is not all that surprising given he is a sports superstar.
What is surprising is that he did this in MMA, a sport that notoriously doesn't pay this kind of money.
In fact, McGregor's net worth is at least 3X that of his TOP peers in the sport. And if you look at the Top 15 highest-paid fighters in the UFC, three are only there because they fought McGregor.
Conor McGregor is surely a controversial character, but there are surely some business lessons to learn from his rise to fame. After studying his career and countless hours of video, here are 26 lessons I've learned from the man himself.

Lesson 1 - Find a Need in the Market that Needs Fulfilling

When Conor moved to a new suburb, he lost his group of friends and had to start over. As the new guy, he got in his share of fights. Without a group of friends to back him up, he needed to learn to fight so he could protect himself. With boxing training, any potential attackers might find themselves getting more than they’ve bargained for and decide to pick on an easier target.
Crumlin Boxing Club fulfilled that need for Conor, and initiated his journey to superstardom.
In business, you need to find a need with your particular audience. Fulfill that need and buyers will come to you.
Let’s take boxing gyms as an example.
In a rough neighborhood, you’ll find “real” boxing gyms. The boxers here come to learn how to truly fight and even compete.
In “upper-class” neighborhoods, you’ll find more cardio based boxing gyms. The goal at these gyms are more for exercise than actual fighting. You won’t see too many sparring sessions at these gyms.
Both models are successful. Understand your market.

Lesson 2 - Find Your Passion. Try new things

McGregor and Tom Egan, while opposites, met in high school both enjoyed MMA. They watched UFC broadcasts on weekends together. It was Egan who sparked Conor’s interest in MMA.
Conor started dabbling in both MMA and boxing, and eventually, left boxing for his true love of MMA. With this focus, Conor went on to dominate the MMA scene.
In business, even the best entrepreneurs can get burnt out. If you look at Elon Musk, Richard Branson, or Steve Jobs, they are all extremely passionate about what they do.
They can and do put in the hours to become the best in their niches. When they speak, you hear the passion and feel drawn to their cause.
It’s hard to be tremendously successful if you hate what you do.

Lesson 3 - Find a Mentor to Increase the Likelihood and Decrease the Time to Success

Although they were around the same age, Tom Egan made it to the UFC first. Conor saw his pal in the UFC, and knew that he had a chance too. The impossible became possible and no longer just a dream.
In business, you need to find a mentor who is ahead of you. Mentors can help you avoid big mistakes.
More importantly, mentors show you what is possible and can create a complete level change in your game.

Lesson 4 - Surround Yourself with People That Want You to Succeed & Will Support You. Stay Loyal to Them.

Dee Devlin has been by Conor’s side since the beginning. She supported him when he was a nobody.
She believed in him.
Dee experienced all of the ups and downs on the path to fame. They grew together.
When you become rich and famous, people try to take advantage of you. It becomes harder to find true friends and romantic partners. Conor avoided this and married the girl who helped him get to where he is now.
Let’s face it, some successful entrepreneurs did not have this support system. They were doubted, laughed at even. This doubt fueled their desire to succeed.
Even so, these entrepreneurs eventually built teams which were so inspired by the entrepreneur’s vision, they eventually do build these supportive relationships.
If you do have this support system, remember who was there supporting you from the beginning. True friendships are an important foundation for happiness as you become more successful.

Lesson 5 - Intense Focus on Your Craft Decide on What You Want and Put 100% Focus Into It

Not only did Dee Devlin give Conor emotional and moral support, she financially supported him as well. She waited tables so that Conor could focus 100% on his training. She helped him buy healthier foods to fuel his body.
Conor was naturally talented. Adding in 100% focus to his training allowed him to accelerate his skills much quicker.
Most people are juggling too many things. Spending hours playing Call of Duty, late nights drinking, dreaming instead of doing, are taking time away from honing your craft.
The best of the best are practicing. They are making sales calls. In the studio.
With 100% focus and persistence, you will eventually make it.

Lesson 6 - The Law of Attraction Visualizing Yourself to Greatness

Conor attributes the use of visualization and the Law of Attraction to manifest his way to becoming a champion.
This all sounds kind of crazy, but the same technique has been cited by Jon Jones and Ronda Rousey, plus dozens of athletes and mega celebrities including, Kobe Bryant, Cristiano Ronaldo, Arnold Schwarzenegger, Lindsey Vonn, Tony Robbins, Beyonce, Katy Perry, Will Smith, Lady Gaga, and Kanye West,.
What is the Law of Attraction?
The Law of Attraction is a belief that a person’s thoughts and focus bring positive or negative experiences into the person’s life.
Conor’s sister Erin, a bodybuilder and fitness model, recommended he read The Secret, a book on the Law of Attraction. He opted for the DVD version.
"Even when I first watched it, I was like, this is bulls--t," McGregor told Bleacher Report in 2015.
But after watching it, something clicked. Conor and Dee started using it to visualize little things, like getting the front parking spots. After seeing it work, he went on to visualize himself as a champion. In fact, his family credits the moment he watched The Secret, as the birth of Conor McGregor, the superstar.
Stop thinking small. Dream big!

Lesson 7 - Fight IQ Get a Deep Understanding of Your Competition

In his first UFC post fight interview, he clearly said that he thought Brimmage was emotional and would overthrow his shots. Conor fully understands there is the game before the game.
McGregor’s fight IQ is off the charts.
All fighters watch films of previous fights. Try to find subtle tells. They begin each fight carefully, trying to figure out distance and timing.
Watching Conor, it almost looks intuitive. It seems that he knows his opponents better than they know themselves.
This is most evident after the Aldo fight. Video is released of McGregor practicing the exact sequence that dispatched the 10-year winning streak of the champion.
After the fight, Conor said he saw a subtle tell before the bell rang. Aldo’s right hand was twitching. He knew Aldo was going to unload a big right hand that would set up his left hand knockout punch. Seriously, watch the video below. Mystic Mac believes in the power of visualization.
Know your competition. You can outsmart them. Be faster. Have better customer service. Be good where they suck.

Lesson 8 - Be an entertainer. Stand for Something. Be Polarizing. People Will Love You or Hate You & That’s Not Bad.

Dana White knew Conor McGregor was going to be a star the very first time they met. Why?
Dana said it was his personality. His laugh.
What else is underneath this?
Conor McGregor had a clear focus to become UFC Champion and become rich and famous. He had an outlandish personality. He was witty. He would entertain the masses.
I’ve never met Conor McGregor in person, but from most reports from fans and casuals alike, McGregor is a completely different person outside of the ring.
A nice and pleasant guy.
Is the UFC Conor McGregor just a persona?
Who else had success in the UFC with an outlandish and polarizing personality?
The WWE has perfected this character. They call them the heel. Conor McGregor may or may not be the heel, but he definitely is polarizing, and he is very much like a WWE character.
Love him or hate him, every MMA and boxing fan knows Conor McGregor.
Like the greatest before him, McGregor knows that almost any attention is good attention.
Step into the MMA forums or a Facebook discussion, and you will see the Conor McGregor haters out in full force.
But guess what, his haters still buy his PPV fights - to see him lose!
If you want to be a public figure, amplify your message. Take who you are, and multiply that by 3X or 10X.
Sure, you want to be authentic. Don’t be someone you’re not. But take it up a notch.
Be exciting. Be an entertainer.

Lesson 9 - Find Your 1000 True Fans Cater to Your Base

In his first UFC fight, Conor is seen with an Irish flag draped over his shoulders as he walks to the ring. Before he was a worldwide superstar, Conor worked to become the ambassador of Irish MMA.
In fact, as his stardom grew, it seemed half of Ireland would travel to his fights.
The UFC, having dominated the American MMA market, was ready to move into Europe, and Conor McGregor would carry the entirety of Ireland.
Kevin Kelly, editor at Wired magazine, wrote an essay called “1,000 True Fans.” The essay, a must read, states that all it takes to earn a living as creator is 1,000 true fans who will buy your work.
For McGregor, his fanbase started with his countrymen. As his stardom grew, so did his base of fans.
In business, you have to find your core supporters. The people who will buy your product. The people who will share your content. The people that love your product or service so much they have to tell their friends about it.
Find your Ireland and grow from there.

Lesson 10 - Fighting is a Mind Game Discover Your Opponent’s Weaknesses

Conor McGregor is a master of getting inside his opponent’s head. Often, his opponents become emotional and abandon their game plan or overextend their shots.f
Many fighters talk trash. Many fighters try to intimidate their opponents. They may even come close to actually fighting during staredowns. But - they don’t completely destroy 8 weeks of game planning the way Conor does.
Before the fight with Dustin Poirier, McGregor said:
Just as he says, he defeats Poirier by KO in the first round. Mystic Mac is born.
Dustin Poirier is an amazing fighter. As a fellow Louisiana boy, he’s one of my favorites.
I don’t believe that Dustin was beat in the ring. He was beaten before the fight.
McGregor baited him. Made him angry. Dustin Poirer didn’t follow his game plan.
Conor’s remarks that this is just a game really sums it all up. After the Dustin Poirier fight, we see McGregor take his head games up a notch. The best example is the fight with Aldo.
Aldo went 10 years without a defeat. Fighters were afraid of him.
After defeating Dennis Siver, McGregor jumps the Octagon fence and goes straight for Aldo, showing he has no fear of the champion.
The pre-fight insults from McGregor are being hurled at unprecedented speed - expletives, racist comments, attacking the entire Brazilian nation. But when McGregor steals Aldo's belt, there is one moment when you see the look of defeat on the Brazilian's face.
McGregor raises his hands as if he already knows he’s the champion. Aldo, unable to do anything in the moment, mentally breaks. Maybe it was just a seed of doubt, but McGregor was in his head.
As a small brand, sometimes going after the big guys can be tough. Study your competitor. Find out what they do well and where they are lacking.
No one is perfect. Focus on your competitor's weaknesses. Fill those gaps. Be nimble. Slowly take market share by doing what they cannot.

Lesson 11 - Differentiation - Discover What Sets You Apart from the Crowd

Conor had big dreams. He was already visualizing himself as a massive star. A rich, popular, double champ at that.
How would the double champ act? What would he look like? How would he speak?
Rumors were going around that McGregor was getting easy fights. Maybe it was true. The UFC was investing in his brand to grow the European market. They didn’t want their golden boy to lose yet.
I cannot confirm this through any research, but I’m sure Conor was aware of the UFC’s plans and his role in them.
Instead of denying the matchmaking, McGregor doubles down and talks about his relationship with Lorenzo (one of the owner’s of the UFC). In fact, they even have a tradition of toasting a shot of whiskey after McGregor’s wins.
McGregor has gone from plumber’s apprentice to UFC star. His Lorenzo comments are positioning him as the employee who is winning and dining with the CEO. Isn’t this the dream of all employees?
Go back to the beginning of Conor’s Instagram. It quickly goes from typical fighter to businessman and luxury everything - clothes, cars, private jets.
He dons his trademark suits.
Conor is no longer just a fighter. He’s the guy from the rough neighborhood that made it.
He’s transcended fighter status. He’s different.
In business, marketing and positioning are the key to market domination.
Your brand, your image, your packaging, your customer service. Are they aligned with your target market?

Lesson 12 - Understand the Machine that Drives Your Industry

McGregor worked hard to build his personal brand. He built his profile, entertaining the masses and winning in spectacular fashion.
Winning fights gets better fights. But have you noticed that some fighters keep winning but aren’t given a main event? Maybe they are passed over for a title shot?
McGregor understood the game. He dove into the machine head on, realizing that putting up big numbers gets you bigger opportunities.
More than anything, the UFC organization is a promotion and hype machine. The UFC’s job is to sell fights, build storylines, and develop fighters.
Conor understands this. He has fully leveraged the UFC’s marketing powers to 10X his brand. He layers his own marketing on top of the UFC’s efforts.
McGregor took chances. He talked smack. He manufactured beef / rivalry. He won his fights in spectacular fashion, and he built his social media empire to engage his fans.
The UFC brass see this. They know his popularity is growing, so they put even more dollars behind him to promote him. He coaches on the Ultimate Fighter Season 22 against Urijah Faber (another very popular fighter). He gets more popular. He pulls bigger numbers. It’s a never ending cycle for now.
With fame and celebrity comes opportunities. Big names pull big money. Bigger purses. Bigger sponsorship deals. And other opportunities outside the ring.
What is the machine behind your industry? Determine how the big boys in your industry are winning.
Is it their sales team? Is it paid ads? Is it media coverage?
Deconstruct the winners and find your way in.

Lesson 13 - When Opportunity Presents Itself, Take Your Shot

When Aldo was injured, Mendes stepped in on 3 week’s notice to fight for the interim title.
Both McGregor and Mendes saw the opportunity, McGregor, an interim belt and Mendes the belt plus a McGregor payday,
While this happens all the time, it is a risk. McGregor was preparing for a different fighter. Mendes didn’t have a full training camp.
In business, opportunities can present themselves at any time. It is up to you to see them and capitalize on them.
“If somebody offers you an amazing opportunity but you are not sure you can do it, say yes - then learn how to do it later.” - Richard Branson

Lesson 14 - Precision Beats Power, Timing Beats Speed

A fighter studies their opponent to understand their movement, any tells, and potential holes in their game. Conor does this exceptionally well.
In my first few sparring sessions, my biggest surprise was how fast the more advanced fighter's were. Not their hand speed. It was how fast their mind worked. They saw my punches coming almost before I threw them. They were able to move out of the way and counter with ease. They saw something I didn't see.
A fighter with a high fight IQ has:
So far, Conor's only hole is his ground game. Standing up, he has the upper hand. After the Aldo fight, he said this:
This quote is a great way to think about business.
Precision beats power. Oftentimes, you are competing with the big boys, the entrenched competitors, or the huge multinational corporation. They have power.
A smaller business can compete with precision. You can serve the customer better. You can offer a more personalized service. You can serve in a profitable capacity, that the big boys are ignoring because it is too small for them. Be precise.
Timing beats speed. Being first to market can help you get first crack at market share, maybe even give you time to build a moat. Yet, timing beats speed. Sometimes it is better to let the first mover establish a market before moving in. You’ll save all the cost of developing the market, and you can learn from their mistakes. Time the market.

Lesson 15 - See the Opportunity & Ask for What You Want

At this point, Conor McGregor basically gets whatever fight he wants. However, Lesson 15 flips the script. This isn’t about McGregor. It is about Nate Diaz.
After Nate Diaz defeated Michael Johnson at UFC Fox 17, he stepped up to the mic and called out Conor McGregor in an expletive filled rant.
This takes us back to another infamous McGregor press conference with reference to “Red Panty Night.”
Conor McGregor brings in huge paydays, and he says a fight with him is cause for celebration. Fighters will make more fighting him than any other fighter on the roster.
Diaz understood this. He saw the opportunity. And he asked for it.
Diaz’s first fight with Conor McGregor earned him 4X what he made for his previous second highest grossing fight.
The second fight went on to earn him more in one night than he made his entire UFC career.
Then, his rise in popularity has earned him a noticeable bump in his post McGregor fights.
What can we learn from this? Too many people can spot the opportunity, but don’t have the balls to go for it.
Ask for the meeting.
Ask for the sale.
“You miss 100% of the shots you don’t take. - Wayne Gretzky

Lesson 16 - Rivalries are Opportunities

Nate Diaz was no match for Conor McGregor’s verbal sparring as seen in several pre-fight interviews. But Nate Diaz has his own Stockton “Gangsta” style of dealing with rivalries that fans love.
After Conor shows up 30 minutes late, Diaz walks out. Diaz’s team throws a water bottle. Things get out of hand.
Rivalries can be great marketing opportunities. This clash no doubt sold more PPV’s.
Take a look at Wendy’s taking a shot at McDonald’s on Twitter.
Look at the number of Retweets. Holy crap.
Have some fun. Maybe a rivalry is just the PR stunt you need.

Lesson 17 - Do Not Succumb to Failure. Learn from Your Mistakes. Pivot.

Mcgregor lost to Diaz in their first matchup by submission. Conor analyzed his mistakes in training and particularly his diet.
He put these learnings to use in their second matchup.
Conor came back and won their second fight by decision, in a grueling 5 round matchup.
In business, we experience failures just like in life. Markets change, regulations change, and unprecedented events such as Covid can derail our plans.
You need to be okay with failure. But don’t let a failure go to waste.
Analyze it. See what when wrong. Find out how you could have changed things. Make a plan not to make that mistake again.
Maybe you need to pivot. Maybe you just need to make some tweaks. Either way, a failure can make your business stronger, if you implement the changes necessary to ensure that it doesn’t happen again.

Lesson 18 - Make History Change the Game

In the lead up to the fight with Alvarez, a promo is released, and we hear Conor Mcgregor say:
There has not been a UFC champion in two weight classes at the same time. McGregor was gunning to go down as the first in the UFC record books.
At the same time, he would make history as headlining the first MMA fight in Madison Square Gardens. It was truly a historic moment in the world of MMA.
Riches, fame. It means nothing in the end.
But, history?
And just like the story of Roger Bannister and the four-minute mile, Conor opened up the door for other champ champs - Daniel Cormier, Amanda Nunes, and Henry Cejudo.
Too many entrepreneurs are doing “me-too” business. Chasing successful businesses in hopes of making some cash.
The true game changers are going big. Trying to change history.
Truly think about what you can do to change the industry, to innovate, to do the impossible.

Lesson 19 - Leverage Other People’s Audiences

Back in 2015, Conor McGregor and Urijah Faber were announced as coaches on the Ultimate Fighter reality show contest.
The same year, video surfaced of a sparring session between Game of Throne’s “The Mountain”
Each of these appearances allowed Conor to utilize other people’s audiences (OPA) to gain additional fans outside of his current fan base.
The UFC’s Ultimate Fighter series brought in the series’ fans plus fans of Urijah that may not have been fans of Conor and gave them a chance to get to know him over multiple exposures (episodes).
The playful sparring session with The Mountain allowed Conor to gain exposure to the Game of Throne’s audience who followed Hafþór Júlíus Björnsson. He’s appeared on the cover of GQ and appeared on the cover of Call of Duty Infinite Warfare.,
McGregor has also had appearances on Conan O’brien’s Late Night and has sung pub songs with Jimmy Fallon.
Speaking of Conan, did you know 23 celebrities own shares in the UFC? Here they are:
Now this is a genius move by the UFC. By allowing celebrities to own a piece of the UFC, the UFC knows that they will promote the business to their following, bringing in additional fans that would not normally be watching.
McGregor’s biggest example of leveraging other people’s audiences is his crossover fight with Mayweather. Mayweather is boxing’s greatest fighter ever. Not only does Mayweather have a huge audience, this fight would introduce Conor McGregor to the entire boxing audience.
No matter your industry, you need to know where your customers are. Who has a similar pool of leads in their audience?
Partner with another complimentary company that shares your audience.
Get a story written about you and your company in your industry’s magazine.
Go where the fish are, but fish with dynamite.

Lesson 20 - Know Your Numbers What is the Most Profitable Thing in Your Business?

At this point, Conor McGregor is the highest paid fighter in UFC history.
Yet, he is making peanuts compared to the big names in boxing.
Conor realizes this and guns for the biggest name in boxing, Floyd Mayweather. If he can make this happen, it will be the biggest payday in his career.
Similarly, you need to understand your own numbers. Where is the money?
What product lines are the most profitable? What are the least?
Make decisions based on numbers.

Lesson 21 - Negotiating Like a Pro Keep it Win-Win, and Give to Get

How do you get the biggest name in boxing, arguably the best boxer to ever step into the ring, to agree to a fight with an MMA fighter who has never professionally boxed?
You need to understand what the other party wants. Not just on the surface. What they truly want.
What would Mayweather possibly want?
  1. Money - Mayweather likes to spend money and is rumored to have financial troubles.
  2. Vanity - Mayweather wants to keep his undefeated record untarnished.
  3. Cash Flow - Mayweather wants big fights. At 43, the window of opportunity is slowly closing.
When Mayweather fought Pacquiao, the purse was split $180 million for Mayweather and $120 million for Pacquiao, according to Kurt Badenhausen.
Big number for sure. What could Conor offer? He has a big name, but he’s not Manny Pacquiao.
Money: Conor offers a better split of revenues. Reportedly, Mayweather took in $500 million with Conor only taking $100 million.
Vanity: On paper, this fight should be the least risk for Mayweather. Sure, Conor has a monster left hand, but he’s not a professional boxer. Mayweather believes he will retain his record.
Cash Flow: McGregor offers to promote the hell out of this fight. With Mayweather believing he has no chance of losing, he also retains his record, assuring he can continue to get big money fights.
Let’s face it. Conor couldn’t lose. Losing to Mayweather in a boxing match doesn’t hurt his brand at all, and he comes away $100 million dollars richer and an even bigger brand.
The secret to negotiating is to have a deep understanding of what the other party wants.
Make the deal win-win. If the other party has massive leverage or if the deal could be a game changer for you or your business, don’t be afraid to give them more.

Lesson 22 - Spend More Time on Promotion

MMA training takes a considerable amount of time.
MMA fighters train in multiple disciplines, lift weights, and do a ton of cardio. They also need time to sleep and recover.
With all this training, how do you even have time to promote the fight?
Still McGregor has taken time to make appearances, go on press tours, television, podcasts, and more.
A lot of fighters hate promoting. It takes time away from the things they need to do to prepare for a fight.
No matter how hard it is, promotion is key to becoming a big name in the sport.
This is great advice, especially for creatives. Creatives spend so much time producing work. It seems productive, but you need to spend equal time promoting.

Lesson 23 - Diversify You Need Multiple Revenue Streams

As in most professional sports, MMA fighters take a brutal toll on their bodies. It is hard to determine the average fighter’s career length, but the 9-year rule, stating that fighter’s start to decline around the 9-year mark, is a good indicator.
This means that most fighters only have 10 years to maximize their career earnings in the sport.
McGregor has done this through sponsorships:
He has a residency deal with the Wynn Las Vegas for his post fight after parties.
He owns digital properties selling workouts (McGregor FAST Program), emojis (MacMoji App), the MacTalk App, and the everything McGregor and MMA website, the Mac Life. All of these generate additional revenue.
Then like a true Irishman, he started his own line of whiskey, Proper 12, just in time before the biggest fight of his MMA career against Khabib Nurmagomedov. In a genius move, McGregor sponsored his own UFC fight to promote his new whiskey. The brand has reportedly brought in $1 billion in sales in its first year.
Changing markets, the economy, or a pandemic can all change everything in an instant. It is important to have multiple revenue streams to both maximize revenue generation opportunities and safeguard you from a change in circumstances such as a lay-off.
Side Hustles are becoming more and more popular!

Lesson 24 - There is No Such Thing as Bad Publicity

Conor McGregor and his team’s bus incident ignited a flurry of bad press. A string of bad publicity follows. Let's take a quick look at the Google trends for Conor Mcgregor searches over time:
There are 12 peaks indicating high searches:
  1. Becomes Cage Warriors Double Champ (& tweeted by Joe Rogan)
  2. McGregor vs Mendes (& interviewed on Conan)
  3. McGregor vs. Aldo
  4. McGregor vs. Diaz I
  5. McGregor vs. Diaz II
  6. McGregor vs. Alvarez
  7. McGregor vs. Mayweather
  8. McGregor Bus Incident
  9. McGregor vs. Khabib
  10. Accusation of Sexual Assault
  11. Mcgregor Bar Fight
  12. Mcgregor vs. Cerrone
Numbers 8, 10, & 11 are all bad press.
But an old saying by P.T. Barnum rang true.
The fight with Khabib went on to become the biggest fight in UFC history.
Now the saying isn’t 100% true, we’ve all seen bad press sink a company, but let’s be real, this is the fight game. The fans secretly loved it. Come on, he’s a fighter. We expect this.
Bad Publicity can actually help smaller brands, as it still gets eyeballs on the product, service, or person. The strategy definitely has some risks, but we’ve seen some major brands built with bad press (think Kim K’s sex tape).
However, larger brands can lose a lot of business with bad press.

Lesson 25 - Forward Momentum Propels You Forward Choose Your Battles Wisely

After a long lay-off between the Khabib defeat, Conor needs to win a big fight to get back in title contention.
Donald Cerrone is a great matchup. It is a fight he is expected to win as he is a -300 favorite according to oddsmakers. Plus, Cerrone is one of the most entertaining fighters to watch with his stand and bang style.
McGregor’s quick win over Donald Cerrone provides him with forward momentum once again and vaults him right back into title contention.
Look for little wins. Forward momentum propels you forward, boosts your confidence, and reinvigorates your motivation.
Set goals. Blast them. Keep moving forward.

Lesson 26 - Be Willing to Walk Away if the Deal Isn’t Right

At this point, McGregor wants a big fight.
A rematch with Khabib, a contender’s fight against Gaethje, or a spectacle with either a Diaz trilogy or the BMF holder, Masvidal.
No other fights really make sense right now.
Maybe Conor will take a rematch with Floyd Mayweather or perhaps the talks about Pacquiao are true. Who knows.
Without the right match on the table, Conor decides to sit on the sideline until the right deal is presented.
Sometimes it is better to walk away and keep your stock high than to take a bad deal.

Bonus Lesson 1 - Take Care of Your Body & Mind

As an elite athlete, surely Conor McGregor is in great shape. Yet, it was a story about Lebron James that changed his entire outlook on training and mindset.
Lebron reportedly has a cadre of trainers, biomechanists, massage therapists, nutritionists, and personal chefs that have all contributed to his longevity in the sport. He does cryotherapy and spends time in the hyperbaric chamber. It was even reported that Lebron took ballet classes to help with his footwork.
He spends roughly $1.5 million a year on his body.
After McGregor read this, he knew he had to invest in his own body.
It seems he also worked with Tony Robbins, the ultimate life coach, to help with his mental state.
Work, Sleep, Family, Fitness, or Friends. Choose three.
The above is a running joke in the startup world. It is hard to juggle everything when you’re busy trying to change the world.
Physical fitness and mental health are extremely important. Keep in shape and you’ll be more productive, have more energy, and be able to think more clearly.

Bonus Lesson 2 - Develop Unbreakable Confidence

Conor McGregor exudes confidence. While all professional athletes share this trait, Conor’s confidence is off the charts even for professional athlete standards.
A lot of people mistake McGregor’s confidence for arrogance. Understandably so.
Yet, Conor believes what he is saying.
I’ve watched countless hours of pre-fight interviews of both Conor and other fighters. Conor McGregor has absolute certainty he is going to win.
Other fighters also believe they are going to win. However, you can see faint tells, twitches, micro expressions, or even vocal uncertainties in their responses. Subconsciously, somewhere deep down, the fighter has doubts. Doubts in themselves and doubts in their abilities.
This is not evident anywhere in Conor McGregor’s UFC career. This does put the Tony Robbins coaching into perspective. DId Conor need help getting his confidence back after he was defeated by Khabib? Tony Robbins would be the guy to get your mojo back!
I believe there are two main drivers to success in business:
  1. Believing in yourself
  2. Having something to prove
Confidence gets you on the road to success. If you believe in yourself, you’ll be willing to take the chance at greatness.
On the flip side of the coin, there is one group of people with low confidence that also have the ability to make it big - someone who is determined to prove their worth. These people are so determined to be successful their lack of confidence does not scare them away. Slowly, they become confident along the way.

Bonus Lesson 3 - Be Grateful

The one thing that surprised me in the research for this article was how grateful he is for everything he has accomplished.
Conor Mcgregor, an international sports legend with $100+ million dollars. A man that could have anything he wants. And he is truly grateful for his success.
No matter your success in life, this one is the key. No amount of money will ever make you happy. But gratitude - for your family, your friends, your lifestyle, for every little positive thing in your life that you take for granted, that is the real key to success and happiness.
If you enjoyed this, the full article can be found here.
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2020.07.06 10:23 GoldandBlue Weekly Community Fix: Max Payne (2008)

By request we are diving back into the world of video game movies. And like most video game films, Max Payne is really based on the game in name only.
Directed by John Moore Written by Beau Thorne and Sam lake Starring: Mark Wahlberg, Mila Kunis, Beau Bridges, Ludacris, Chris O'Donnell, and Donal Logue
After the murders of his family and his partner, maverick cop Max becomes hell-bent on revenge. Teamed with beautiful and deadly Russian mobster Mona Sax, Max journeys into a dark underworld to find the truth, but forces -- both worldly and supernatural -- align against him, determined to silence Max forever.
So how would you fix Max Payne? Share your ideas and help expand on others.
Feel free to submit requests for future fixes and/or challenges.
submitted by GoldandBlue to fixingmovies [link] [comments]

2020.05.24 23:09 finnagains Unexpected Movie Masterpieces to Watch in Quarantine - by David Sims (The Atlantic) 10 April 2020

Some were blasted by critics, some flopped at the box office, and all are ripe to attain cult-classic status.
With new cinema releases grinding to a halt in response to the spread of the coronavirus, I’ve used these weeks of self-quarantine to cast an eye backward over the cinematic canon, to rewatch old favorites, and to fill in viewing gaps. Now I’ve begun evaluating films that, for whatever reason, didn’t get a fair shake when they were released. Some were blasted by critics, and others simply made no impression at the box office; all of them are available to watch online, just waiting to become cult classics. The 30 films I’ve chosen as the most underrated are all from the past 25 years, and many belong to genres (rom-com, sci-fi, thriller) that are overlooked in serious critical circles. Some of my selections might seem obvious and others ludicrous, but all were made in the spirit of enjoyable debate and discovery.
the Box-Office Flops
Kino Lorber Archipelago (2010, directed by Joanna Hogg)
Joanna Hogg broke out in American art houses last year with her wonderful autobiographical work The Souvenir, but she’s been making terrific indie films for years. Archipelago might be her best. A quiet drama, it sees Edward (played by Tom Hiddleston, a year before Thor catapulted him to fame) gathering with his family on the remote British island of Tresco after quitting his job to travel the world. Many long-simmering tensions boil to the surface; Hiddleston (who is in most of Hogg’s movies) gives one of his best screen performances, and Hogg depicts subtle, polite infighting with humor and insight. No filmmaker has a better handle on the ridiculous foibles of the English upper-middle class.
Watch it on: Vudu, Prime Babe: Pig in the City (1998, directed by George Miller)
George Miller is the master of sequels. Each of his installments in the Mad Max series is innovative; his Happy Feet Two is quietly underrated. But he’s never made a follow-up as strange and beguiling as Babe: Pig in the City. Miller wrote and produced the first Babe, a charming, Oscar-winning success. In the director’s chair for part two, though, he turned the sweet fable of a pig who wanted to herd sheep into a grim fairy tale about life in the big city. The movie was a commercial disaster, but it’s a rewarding, beautifully designed work set in a fantasy city that mashes up landmarks from every modern metropolis. The plot, such as it is, follows Babe as he goes on a trip and mixes it up with more streetwise animal brethren (the director Noah Baumbach once said that the film’s closest thematic companion is Stanley Kubrick’s Eyes Wide Shut).
Watch it on: Hulu, HBO Beyond the Lights (2014, directed by Gina Prince-Bythewood)
A gorgeous romantic drama about the pain and pleasure of pop stardom, Gina Prince-Bythewood’s remarkable Beyond the Lights made little impression at the box office on release, despite a star-making turn from Gugu Mbatha-Raw. The actor plays a Rihanna-esque figure named Noni Jean who falls for a police officer (Nate Parker) and tries to escape the limelight. Prince-Bythewood, who also wrote and directed the incredible Love & Basketball, is one of only a few people in Hollywood still trying to film genuine love stories, and she deserves many more chances to do so on the big screen.
Watch it on: Vudu, Prime Cadillac Records (2008, directed by Darnell Martin)
The smartest music biopic from a decade full of them (including 2004’s Ray and 2005’s Walk the Line, to name a couple), Darnell Martin’s portrayal of the rise and fall of Chess Records was woefully underseen in 2008. The film digs into the exploitative dynamics at work in so many early rock-and-roll labels, examining the troubled relationships between Leonard Chess (Adrien Brody) and his biggest stars: Muddy Waters (Jeffrey Wright), Etta James (Beyoncé Knowles), and Howlin’ Wolf (Eamonn Walker). The film has a harder edge than its contemporaries, and the musical performances are particularly sensational.
Watch it on: Crackle
Cloud Atlas (2012, directed by Lana Wachowski, Lilly Wachowski, and Tom Tykwer)
This is the most dizzyingly ambitious project in the Wachowski sisters’ expansive filmography. Adapting David Mitchell’s novel of the same name, Cloud Atlas encompasses six distinct stories, beginning with an 1849 naval adventure and zipping through the 1930s, the ’70s, and the present day before blasting to the clone-filled future of 2144 and ending in a postapocalyptic 2321. Members of the ensemble, including Tom Hanks, Halle Berry, Hugh Grant, and Doona Bae, play different characters in each story line, and the film jumps backward and forward through time to reveal surprising thematic links. As with many a Wachowski project, you have to make a few logical leaps to get on board, but if you can, there’s no movie experience like it.
Watch it on: Vudu, Prime
20th Century Fox Film Corp. Down With Love (2003, directed by Peyton Reed)
This knowing throwback to the “no-sex sex comedies” of the late ’50s and ’60s (like the Doris Day–starring Pillow Talk and Lover Come Back) was too clever for its own good on release. But it’s a fabulous, entertaining, and singular creation, both celebrating and subverting the innuendo-filled rom-coms of yesteryear. An impeccably styled Renée Zellweger and Ewan McGregor star as lifestyle writers who form a friendly rivalry in 1960s New York. Sarah Paulson and David Hyde Pierce round out the cast, and Peyton Reed (who had just directed Bring It On in 2000) plays off the visual language of his source material in stylish, innovative, and cheeky ways. When you watch, be sure to stick around for the fantastic musical number over the closing credits.
Watch it on: Vudu, Prime Dredd (2012, directed by Pete Travis)
Perhaps the best comic-book movie of the past decade was Dredd, a gritty adaptation of the Judge Dredd series that was a financial flop on release. Set in a dictatorial future in which armored policemen are empowered to dispense lethal justice for almost any crime, the film takes place entirely within a colossal tower block, following Dredd (Karl Urban) and a new trainee as they do battle with a sadistic mob boss (Lena Headey). It’s a gruesome but smart movie, at once lionizing and satirizing the ruthless efficiency of its hero. The film was written and produced by Alex Garland (Ex Machina, Annihilation), who has since become one of the most exciting sci-fi directors working today.
Watch it on: Vudu, Prime Killing Them Softly (2012, directed by Andrew Dominik)
Killing Them Softly is Andrew Dominik’s brutal follow-up to his painterly revisionist Western, The Assassination of Jesse James by the Coward Robert Ford. Also starring Brad Pitt, Killing Them Softly takes George V. Higgins’s hard-boiled ’70s crime novel Cogan’s Trade and updates it to the present day, following a mob robbery that goes wrong and the assassin (Pitt) hired to clean everything up. Dominik turns the web of competing criminal interests into a broad metaphor for the quagmire of the Iraq War. Killing Them Softly may have been too weird and slow for general audiences (it’s one of the few movies ever to earn an F on CinemaScore). But it’s bleakly funny and impressively acted by a cast that includes James Gandolfini, Ray Liotta, and Ben Mendelsohn.
Watch it on: Netflix Kiss Kiss Bang Bang (2005, directed by Shane Black)
The film that put Robert Downey Jr. back on the map was critically praised but ignored at the box office in 2005. An extremely metatextual crime comedy, it follows a thief (Downey Jr.) pretending to be an actor who gets mixed up in a murder and goes on the lam with his acting coach, a private investigator (Val Kilmer). The story line is as complicated as it sounds, but the thrill of Shane Black’s film lies in his hilariously punchy dialogue and his skill at making the most convoluted plotting flow with ease. The movie reintroduced Downey Jr. as a leading man after he’d spent years struggling with addiction: He was hired to play Iron Man mostly on the strength of this performance.
Watch it on: Vudu, Prime Premium Rush (2012, directed by David Koepp)
David Koepp’s bike-messenger thriller is far more robust than that description might suggest. Set on New York’s crowded streets, it follows Wilee (Joseph Gordon-Levitt), a deliveryman who picks up a package that’s tied to a criminal conspiracy; soon enough, he’s being chased around town by a crooked cop, Bobby Monday (Michael Shannon), who’s intent on taking him down. The story is told with unrelenting silliness, and Koepp translates Wilee’s brash confidence about weaving in and out of traffic into a visual roller-coaster ride. The highlight, though, is Shannon’s performance—he turns Monday into a living Looney Toon, gnashing his teeth and bulging out his eyes in fury with abandon.
Watch it on: Vudu, Prime Solaris (2002, directed by Steven Soderbergh)
Steven Soderbergh’s sci-fi opus was decried on release for daring to re-adapt a novel (by Stanisław Lem) that had already been turned into a film masterpiece (Andrei Tarkovsky’s sprawling 1972 work of the same name). But Soderbergh’s movie is a very different beast from Tarkovsky’s, stripping the story down to 99 minutes and focusing on the haunting romance at the center of the book. George Clooney plays Chris Kelvin, a psychologist haunted by the suicide of his wife, Rheya (Natascha McElhone). After hearing the mysterious distress signals sent out by a distant space station, he travels there—and finds Rheya, somehow re-created by the planet that the station is orbiting. The film includes stellar supporting performances by Viola Davis and Jeremy Davies, a beautifully understated score from Cliff Martinez, and some of the most compelling world-building in Soderbergh’s career.
Watch it on: Hulu
Sunshine (2007, directed by Danny Boyle)
This stunning space-mission drama from Danny Boyle and the screenwriter Alex Garland might be the Oscar-winning director’s best film. A wildly intense thriller about a last-gasp effort to restart the dying sun, Sunshine pits an outstanding cast (Cillian Murphy, Michelle Yeoh, Chris Evans, Rose Byrne, and more) against a monolithic enemy: the star at the center of our solar system, which Boyle depicts as an immovable, godlike force. As the voyagers’ ship gets closer to the sun, everything on board goes more and more haywire, and Boyle—who can depict the onset of madness better than almost anyone working—dials up the chaos.
Watch it on: Vudu, Prime Talk to Me (2007, directed By Kasi Lemmons)
Kasi Lemmons, whose most recent work is 2019’s Harriet, has long been one of Hollywood’s most criminally unheralded directors, and Talk to Me never got the wide audience it deserved in 2007. It’s a biopic of the controversial Washington, D.C., radio host Petey Greene (Don Cheadle) that’s unafraid to be messy, reflecting its subject’s surprising rise to fame as someone who fearlessly speaks his mind on the social and political issues of the 1970s. The film is grounded by excellent performances from Cheadle, Taraji P. Henson, and Chiwetel Ejiofor, who plays Greene’s put-upon manager, Dewey Hughes.
Watch it on: Hulu, Sling What If (2013, directed by Michael Dowse)
Also known as The F Word (its title was changed in America for obvious reasons), this extremely charming slow-burn rom-com was unfairly overlooked on release. It follows two people (Daniel Radcliffe and Zoe Kazan) who become friends but spend the entire time wondering if they’d be better off as lovers. Many relationship hijinks ensue, but the movie works because of the performances at its center, along with energetic supporting turns from Adam Driver and Mackenzie Davis, who were both on their way to bigger, franchise fame.
Watch it on: Prime The Yards (2000, directed by James Gray)
Back in 2000, James Gray’s operatic crime thriller was dumped unceremoniously into theaters by Harvey Weinstein and ignored by audiences. Like all the director’s films, though, it’s well worth viewing, combining hard-boiled storytelling with graceful visuals. Mark Wahlberg gives one of his best performances as Leo, an ex-con who returns to the fold of his shady New York family and gets tangled up in city corruption surrounding the subway system. A shifty Joaquin Phoenix plays Leo’s ne’er-do-well friend who is embroiled in a dramatic relationship with a young woman (Charlize Theron), while James Caan is suitably menacing as Leo’s morally dubious benefactor. The Yards also showed the first signs of Gray’s considerable talent; he’d go on to make We Own the Night, Two Lovers, The Lost City of Z, and Ad Astra.
Watch it on: Vudu, Prime the critical bombs
Warner Bros. Addicted to Love (1997, directed by Griffin DUnne)
All of Griffin Dunne’s films (including the delightfully bizarre Practical Magic) deserve more appreciation, but Addicted to Love is a personal favorite of mine, a largely forgotten romantic comedy that satirizes gooey Hollywood storytelling tropes. It casts Meg Ryan and Matthew Broderick, two stalwarts of the rom-com genre, as a bitter pair united by a hatred of their respective exes, who are now dating each other. Ryan and Broderick spy on their former partners and, of course, eventually fall for each other, but the film never sacrifices its acidic tone, even as their relationship turns tender.
Watch it on: Vudu, Prime Armageddon (1998, directed by Michael Bay)
If nothing else, Armageddon is a crucial cultural artifact: a portent of American culture’s jingoism in the 2000s, when blockbuster action sequences had the tone and tenor of Budweiser commercials. Where Michael Bay’s prior film, The Rock (which is much better regarded), had tapped into the U.S. military’s dysfunction and despondency post-Vietnam, Armageddon sees the country uniting to obliterate an evil asteroid by turning to … the oil industry. (It also spends a good chunk of time mocking post-Soviet Russia.) Despite the ridiculous plotting and Bay’s frenetic editing of every set piece, Armageddon is the clearest distillation of his macho brand of propaganda, designed to have audiences cheering by the end (against their better judgment). Listen to Ben Affleck’s gleeful commentary to triple the entertainment factor.
Watch it on: Hulu, HBO Blackhat (2015, directed by Michael Mann)
Five years ago, one of the great contemporary directors still working made a globe-trotting cyber thriller starring Thor himself and was completely ignored. Booed by critics and dumped by its studio into the doldrums of January, Blackhat made only a shocking $8 million at the domestic box office. Yet it’s a terrific entry in Michael Mann’s esteemed body of work (which includes other movies, such as Heat, Miami Vice, and Manhunter, that were underrated in their day). Chris Hemsworth plays a hard-bodied hacker who’s released from prison to battle a shadowy online terrorist; like many of Mann’s later films, Blackhat is a story of the analog world’s struggle to confront its digital future, wrapped up in a very masculine action saga. If you can, try to catch the director’s cut, which cleans up some of the film’s dense plotting and airs regularly on FX.
Watch it on: FX The Box (2009, directed by Richard Kelly)
This is the third film directed by Richard Kelly, a onetime wunderkind who burst onto the scene with the 2001 cult hit Donnie Darko. The Box is also his best, though few have recognized it as such. It was a bomb on release, getting poor reviews and the rare dishonor of an F from CinemaScore. But its wild ambition is second to none, spinning Richard Matheson’s mordant short story “Button, Button” into a paranoid 1970s epic—part domestic drama, part psychological horror, part sci-fi fantasy revolving around a NASA expedition to Mars and magic portals. This movie has short, simple scares that I’ve never forgotten, and a plot convoluted enough to obsess over forever. I live in hope of a fourth film from Kelly.
Watch it on: Vudu, Prime Constantine (2005, directed by Francis Lawrence)
Fifteen years after its release, this remains one of the best and cleverest comic-book adaptations ever made, and probably the most underrated entry in Keanu Reeves’s cinematic career. This is a horror thriller that dives into biblical fantasy, casting a varied ensemble (Tilda Swinton, Djimon Hounsou, Gavin Rossdale, and Shia LaBeouf) as various angels and demons doing battle in modern-day Los Angeles. Based on Alan Moore’s Vertigo comic Hellblazer, Constantine junks a lot of the established hallmarks of the character John Constantine (he’s supposed to be a witty Brit who looks like Sting), but that doesn’t matter. Reeves’s laconic style is a perfect fit for the cynical antihero, and Rachel Weisz thrives in twin roles as sisters on either side of an infernal crime that Constantine is called to investigate.
Watch it on: DC Universe The Counselor (2013, directed by Ridley Scott)
Of the seven films made by Ridley Scott in the past decade, none is more critically reviled than The Counselor, a knotty crime drama written by Cormac McCarthy and featuring an all-star ensemble that includes Brad Pitt, Javier Bardem, Michael Fassbender, Penélope Cruz, and Cameron Diaz. Summarizing its noir-ish plot, which revolves around the Juárez, Mexico, drug trade, is impossible, but the film is worth watching simply because there’s nothing like it. McCarthy’s florid dialogue and Scott’s hazy visuals are bewitching, and every actor gives an energetic performance pushed to ridiculous heights (one scene in particular, involving Diaz and a Ferrari, is hypnotically baffling). The Counselor is a dark acquired taste, but a deeply satisfying one.
Watch it on: Vudu, Prime Universal pictures The Fast and the Furious: Tokyo Drift (2006, directed by Justin Lin)
After the success of the first Fast and the Furious movie, in 2001, Vin Diesel’s car-racing franchise struggled to stand out until 2009, when its original cast returned under Justin Lin’s direction for the surprise smash Fast & Furious. But the groundwork for that revitalization had been laid three years earlier with Tokyo Drift, Lin’s debut film in the series. Though Tokyo Drift introduces Sung Kang as the fan-favorite character Han, none of the series’s other beloved characters appears. Yet Lin’s skill with crisp action and quick-paced banter—built up in his fantastic breakthrough, Better Luck Tomorrow, which also starred Kang—makes this one of the best in the franchise.
Watch it on: Vudu, Prime Hulk (2003, directed by Ang Lee)
Coming off the resounding success of Crouching Tiger, Hidden Dragon, Ang Lee could’ve made any film he wanted. He picked an adaptation of Marvel Comics’ most tortured star, the Hulk (Eric Bana). At the time, the movie was seen as odd, mocked for its wobbly CGI, and suffered one of the largest box-office drops in history for a blockbuster after its opening weekend. Viewed now, given the cookie-cutter format of contemporary superhero movies, it’s a startling experience. Lee turns his film into a living comic book, zooming in and out of boxy frames and inventing a visual language that could’ve become an exciting norm for the medium. The story, which sees the Hulk doing Freudian battle with his demonic father (Nick Nolte) and unearthing dark family secrets, is bizarre, and thrillingly so.
Watch it on: Starz In the Cut (2003, directed by Jane Campion)
Every film Jane Campion has directed since her Oscar-winning The Piano (1993) is underrated and underseen, but In the Cut was perhaps her biggest flop on release. That was partly because it subverted Meg Ryan’s usual bubbly onscreen persona, casting her as Frannie Avery, an introverted English teacher who starts dating the detective (Mark Ruffalo) investigating a murder case in her apartment building. It’s a sweaty, grisly, and sexually charged thriller that swerves from strange comedy to gory horror from scene to scene. But that tonal whiplash is one of Campion’s smartest storytelling tools, properly rattling viewers and plunging them into Frannie’s mixed-up headspace.
Watch it on: Crackle Jennifer’s Body (2009, directed by Karyn Kusama)
This is the movie that landed Karyn Kusama in “movie jail” for almost a decade: a gleefully bloody teen-horror comedy that was undone by the high expectations for its script. The writer, Diablo Cody, had won an Oscar the previous year for her Juno screenplay, and though this follow-up had that film’s humor, its intense gore and flippant humor were too much for critics at the time. Fortunately, Jennifer’s Body is already being reevaluated as a trashy classic, a nastier update of movies like Heathers that turns the social competition of high school into a literal bloodbath. Kusama has also reemerged as a filmmaker, with the excellent indie horror The Invitation.
Watch it on: Vudu, Prime Universal pictures Josie and the Pussycats (2001, directed by Harry Elfont and Deborah Kaplan)
This knowing revival of the Archie Comics series was a failure on release, but has deservedly attracted a cult following in the years since. It’s a pitch-perfect parody of the manufactured pop pipeline in the early 2000s, watching as the chipper rock band comprising Josie (Rachael Leigh Cook), Melody (Tara Reid), and Valerie (Rosario Dawson) is run through the major-label mill. Parker Posey and Alan Cumming play perfect corporate villains, and almost every scene is suffused with ostentatious subliminal advertising, with au courant brand names crowding the frame. It’s a bitingly clever work, with a great power-pop soundtrack that includes contributions from the late Adam Schlesinger.
Watch it on: Hulu with Cinemax, Xfinity Jupiter Ascending (2015, directed by Lana Wachowski and Lilly Wachowski)
In the 2010s, blockbuster studio filmmaking made a hard pivot to existing intellectual property for its biggest movies: Star Wars, comic books, anything audiences might have nostalgia for. The Wachowskis, as they often do, went their own route. After giving cinema one of its greatest franchises in 1999 with The Matrix, the duo took a different direction in 2015 with a loopily operatic sci-fi epic rooted in nothing but their own imaginations. They were pilloried by critics. Jupiter Ascending is a wonderfully absurd space fairy tale starring Channing Tatum as a dog-man, Eddie Redmayne as an immortal arch-capitalist villain, and Mila Kunis as a secret princess who unwittingly owns the property deeds to our solar system. If you can get on this movie’s wavelength, you’ll find much to enjoy in its many flights of fancy.
Watch it on: Netflix
Non-Stop (2014, directed by Jaume Collet-Serra)
Since the surprise success of Taken in 2008, Liam Neeson has played a broken-down man forced to take the law into his own hands in countless mid-budget action dramas: Unknown, Cold Pursuit, The Commuter, Run All Night, and many more. Non-Stop is easily the best of them, partly thanks to Jaume Collet-Serra, a Spanish director who is one of the finest purveyors of modern pulp cinema (along with many Neeson movies, his other credits include The Shallows and Orphan). Set entirely on an airplane flying from New York to London, Non-Stop follows an alcoholic air marshal who gets caught in a deadly battle when a terrorist starts texting him. Perfectly befitting its setting, this thriller has the plot of the best kind of airplane paperback, with just the right number of twists and turns.
Watch it on: Sling Ocean’s Twelve (2004, directed by Steven Soderbergh)
Despite coasting to box-office success, Ocean’s Twelve was disliked on release for swerving in the opposite direction from the über-cool Ocean’s Eleven. Critics dismissed it as overindulgent, pretentious, and ultimately pointless: The heist plot is nigh-impossible to understand, most of the crucial exposition is entirely absent, and there’s a subplot in which the character played by Julia Roberts pretends to be the real Julia Roberts. In hindsight, though, the film is a perfect deconstruction of sequel logic, showing the difficulty of finding new directions for a beloved cast of characters. Where Ocean’s Eleven was all smooth style, Ocean’s Twelve is a knowing subversion that lays bare the ridiculous fallacy of movie-star charm. It also happens to be very, very funny.
Watch it on: Vudu, Prime Pain & Gain (2013, directed by Michael Bay)
Practically every Bay film has been dismissed by reviewers on release, and often for good reason. His high-octane storytelling style makes the simplest scenes of dialogue utterly hyperactive, and most of his recent efforts are about talking robot toys. But Pain & Gain was a sly departure for this director, a low-budget (by his standards) crime comedy that feels like a Coen Brothers movie on growth hormones. Based on a true story, Pain & Gain is about three bodybuilders (played by Mark Wahlberg, Dwayne Johnson, and Anthony Mackie) who embark on a harebrained kidnapping scheme for easy money; naturally, things quickly go awry. Bay doesn’t abandon his trademark energy, but instead deploys it as satire—these characters might think they’re in a flashy action movie, but their circumstances are far more mundane and depressing.
Watch it on: Vudu, Prime
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2020.05.16 19:19 breakfastatabis [TOMT][MOVIE][90’s-2000’s] Detective guy who while investigating everything turns red?

I’m pretty sure the movie was released sometime in the 90’s or early 2000’s. It stars one of those famous male actors that everyone knows (like Decaprio, Tom cruise, Matt Damon, Mark Wahlberg, Bruce Willis, etc) where they star in so many movies together and such similar movies that they all just kind of blend into one white man. I don’t remember who it was specifically and it may not be one of the names I listed
I’m pretty sure the movie was about a detective and he had some mental issues. There is this one scene where he is walking into a house and everything turns red and there is this loud erie noise. It starts happening more and more highlighting what ever psychological issues the guy has.
I watched it when I was a kid so I might have completely missed the message of the film but I’ll never forget the changing of everything to red. I’m pretty sure he had some issues with his wife (or just a woman) and he also had a partner helping him or something like that. I think it was a psychological thriller and gave off similar vibes to Shutter Island where it was 2 guys and set in ‘older times’. I might be really wrong about all of that but I think the changing to red alone will help identify the movie
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2020.05.03 12:40 soafra Boogie Nights (1997) Review

Eddie Addams/Dirk Diggler: When I close my eyes, I see this thing, a sign, I see this name in bright blue neon lights with a purple outline. And this name is so bright and so sharp that the sign – it just blows up because the name is so powerful… It says, “Dirk Diggler.”
Paul Thomas Anderson has been one of the most acclaimed directors of the 21st century. There Will Be Blood (2007) marked its arrival on the mainstream market and was his highest-grossing film to date. The performance of Daniel Day-Lewis as a ruthless oil prospector garnered the British native his second victory as Best Actor at the 80th Academy Awards.
It was in the 90s, though, that PTA established himself as a masterful story-teller. His first feature film was Hard Eight (1996) a crime drama that went through an odyssey of cuts and delays. The movie was originally titled Sidney, but the company that financed it ( Rysher Entertainment) changed its original title and threatened the director to take its movie away from him several times.
This were the times were independent film-making was blossoming thanks to the incredible success of a movie like Pulp Fiction (1994). Every movie with a small budget and with the capabilities of making a lot of money was greenlit. That’s how a cable company like Rysher Entertainment, that came from a tradition of Baywatch-like television, decided to finance the movie after having read the screenplay. After various cuts, the movie got last financing and Anderson finished it. With the money he made from the tumultuous adventure with Hard Eight, he embarked on the journey for his second movie.
In 1988 Anderson directed a mockumentary on the life of Dirk Diggler, a porn-star loosely based on the real-life actor from Golden Age Porn era John Holmes. This mockumentary was later expanded years later and became Boogie Nights. The story begins in the 70s when in the San Fernando Valley, Los Angeles. Porn is a flourishing business and movies are screened in theaters, almost equaling regular cinema.
The idea for the script came to Anderson from his real-life experience. Being a Valley native, he remembered very clearly those years when porn was in constant expansion. In an interview with Marc Maron on his podcast, Anderson recalls that when he was a teenager near his grandmother’s house there was a huge villa with amazing cars parked outside. The house was obviously used for shooting porn movies and had a huge bay window. Anderson reveals how he used to look for that bay window in every porn movie without any luck.
Eddie Addams, soon to be renamed Dirk Diggler (Mark Wahlberg), is a high school dropout who works as a dishwasher in a Valley nightclub when gets recruited by director Jack Horner (Burt Reynolds) to star in a porn movie. Horner’s partner is renowned porn actress Amber Weaves interpreted by an incredible Julianne Moore, nominated for Best Supporting Actress at the 69th Academy Awards.
Dirk quickly becomes the best actor in the game, winning every possible award, but its success will have to face highs and lows, as the porn industry goes through dramatic changes that will shake the entire game.Even though the movie contains comedic aspects, necessary when you have to tell a story about porn, the tone of the entire story maintains a dramatic intensity. Dirk is recruited and has success thanks to his incredible “qualities” that in many occasions are used as comedic device, for example when his being asked to take off his pants by the producer of Horner’s movies ( Robert Ridgely) so he can check his natural gifts.
Leonardo Di Caprio was the first choice for Anderson to interpret Dirk Diggler but the actor went on to make Titanic (1997) and so Wahlberg was cast. The role helped establishing him as an actor, and was the perfect match for the character written by Anderson due to his naivety and boldness as a performer in his first roles. Burt Reynolds was an American icon from the 60s and 70s but had to face a career decline in the 80s and early 90s. Anderson recalled that working with Reynolds was very hard because the actor did not trust a young director like him. Sharing a trailer with then-unknown actors was very frustrating for an actor that, 20 years before, was the go-to man in Hollywood. In the end, the movie helped Reynolds in reviving his career.
The movie is a majestic effort of representing the porn industry subculture of the 70s and 80s. Anderson creates a plausible and human portrait of people that were rejected by the post-war puritan American society. The actors, directors, cameraman had no contact with the outside, “normal”, world. Anderson create a microcosm that is insulated by society but that represents its same contradictions and dynamics.
Ironically, one of the underlying themes of the picture is family. Before Dirk starts its new path into the movie industry, he is rejected by his real mom and dad and finds a surrogate family in the figures of Jack and Amber. This aspect is constantly highlighted by Amber’s behavior towards Dirk. Julianne Moore confers incredible humanity to a character that is, at the same time, a famous porn-star and a loving mother that has lost his real child to a legal battle finding a surrogate son in Dirk.
The greatness of Boogie Nights is the ability to create a collective work that depicts primary and secondary storylines with the same power. John C. Reilly, frequent collaborator of Anderson,is Dirk’s wing-man, a porn actor that secretly longs to become a magician. The most touching character is Buck Swope, interpreted by Don Cheadle, the Iron Patriot of the Marvel Universe. Buck is a porn actor that on the side works as salesman for a hi-fi store. Buck’s dream is to open his own store but his hope is broken when the bank decides not to finance his business because of his job in the porn industry.His storyline gives us a glimpse of how hard must have been at the time for people in the porn business, or misfits in general, to integrate in a society that despised them. In one of the scenes that didn’t find space in the final cut of the picture, Buck and his girlfriend (Melora Walters), both porn-actors, try to have sex “like normal people” instead of enacting the usual performance as characters in a porn movie.
This scene would have been a great addition to an already strong material because it contributes to the powerful narrative of the outsider, a struggle towards a sort of redemption that may never be achieved.
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2020.05.02 20:35 soafra IJW: Boogie Nights (1997)

source :
Eddie Addams/Dirk Diggler: When I close my eyes, I see this thing, a sign, I see this name in bright blue neon lights with a purple outline. And this name is so bright and so sharp that the sign – it just blows up because the name is so powerful… It says, “Dirk Diggler.”
Paul Thomas Anderson has been one of the most acclaimed directors of the 21st century. There Will Be Blood (2007) marked its arrival on the mainstream market and was his highest-grossing film to date. The performance of Daniel Day-Lewis as a ruthless oil prospector garnered the British native his second victory as Best Actor at the 80th Academy Awards.
It was in the 90s, though, that PTA established himself as a masterful story-teller. His first feature film was Hard Eight (1996) a crime drama that went through an odyssey of cuts and delays. The movie was originally titled Sidney, but the company that financed it ( Rysher Entertainment) changed its original title and threatened the director to take its movie away from him several times.
This were the times were independent film-making was blossoming thanks to the incredible success of a movie like Pulp Fiction (1994). Every movie with a small budget and with the capabilities of making a lot of money was greenlit. That’s how a cable company like Rysher Entertainment, that came from a tradition of Baywatch-like television, decided to finance the movie after having read the screenplay. After various cuts, the movie got last financing and Anderson finished it. With the money he made from the tumultuous adventure with Hard Eight, he embarked on the journey for his second movie.
In 1988 Anderson directed a mockumentary on the life of Dirk Diggler, a porn-star loosely based on the real-life actor from Golden Age Porn era John Holmes. This mockumentary was later expanded years later and became Boogie Nights. The story begins in the 70s when in the San Fernando Valley, Los Angeles. Porn is a flourishing business and movies are screened in theaters, almost equaling regular cinema.
The idea for the script came to Anderson from his real-life experience. Being a Valley native, he remembered very clearly those years when porn was in constant expansion. In an interview with Marc Maron on his podcast, Anderson recalls that when he was a teenager near his grandmother’s house there was a huge villa with amazing cars parked outside. The house was obviously used for shooting porn movies and had a huge bay window. Anderson reveals how he used to look for that bay window in every porn movie without any luck.
Eddie Addams, soon to be renamed Dirk Diggler (Mark Wahlberg), is a high school dropout who works as a dishwasher in a Valley nightclub when gets recruited by director Jack Horner (Burt Reynolds) to star in a porn movie. Horner’s partner is renowned porn actress Amber Weaves interpreted by an incredible Julianne Moore, nominated for Best Supporting Actress at the 69th Academy Awards.
Dirk quickly becomes the best actor in the game, winning every possible award, but its success will have to face highs and lows, as the porn industry goes through dramatic changes that will shake the entire game.Even though the movie contains comedic aspects, necessary when you have to tell a story about porn, the tone of the entire story maintains a dramatic intensity. Dirk is recruited and has success thanks to his incredible “qualities” that in many occasions are used as comedic device, for example when his being asked to take off his pants by the producer of Horner’s movies ( Robert Ridgely) so he can check his natural gifts.
Leonardo Di Caprio was the first choice for Anderson to interpret Dirk Diggler but the actor went on to make Titanic (1997) and so Wahlberg was cast. The role helped establishing him as an actor, and was the perfect match for the character written by Anderson due to his naivety and boldness as a performer in his first roles. Burt Reynolds was an American icon from the 60s and 70s but had to face a career decline in the 80s and early 90s. Anderson recalled that working with Reynolds was very hard because the actor did not trust a young director like him. Sharing a trailer with then-unknown actors was very frustrating for an actor that, 20 years before, was the go-to man in Hollywood. In the end, the movie helped Reynolds in reviving his career.
The movie is a majestic effort of representing the porn industry subculture of the 70s and 80s. Anderson creates a plausible and human portrait of people that were rejected by the post-war puritan American society. The actors, directors, cameraman had no contact with the outside, “normal”, world. Anderson create a microcosm that is insulated by society but that represents its same contradictions and dynamics.
Ironically, one of the underlying themes of the picture is family. Before Dirk starts its new path into the movie industry, he is rejected by his real mom and dad and finds a surrogate family in the figures of Jack and Amber. This aspect is constantly highlighted by Amber’s behavior towards Dirk. Julianne Moore confers incredible humanity to a character that is, at the same time, a famous porn-star and a loving mother that has lost his real child to a legal battle finding a surrogate son in Dirk.
The greatness of Boogie Nights is the ability to create a collective work that depicts primary and secondary storylines with the same power. John C. Reilly, frequent collaborator of Anderson,is Dirk’s wing-man, a porn actor that secretly longs to become a magician. The most touching character is Buck Swope, interpreted by Don Cheadle, the Iron Patriot of the Marvel Universe. Buck is a porn actor that on the side works as salesman for a hi-fi store. Buck’s dream is to open his own store but his hope is broken when the bank decides not to finance his business because of his job in the porn industry.His storyline gives us a glimpse of how hard must have been at the time for people in the porn business, or misfits in general, to integrate in a society that despised them. In one of the scenes that didn’t find space in the final cut of the picture, Buck and his girlfriend (Melora Walters), both porn-actors, try to have sex “like normal people” instead of enacting the usual performance as characters in a porn movie.
This scene would have been a great addition to an already strong material because it contributes to the powerful narrative of the outsider, a struggle towards a sort of redemption that may never be achieved.
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2020.03.03 05:01 kentucky210 Post Raw Discussion Thread 3/2/20

Source: f4w
The announcers ran down tonight’s card. The announcement of Aleister Black vs. AJ Styles seemed to get the biggest reaction.
Brock Lesnar and Paul Heyman came out to start the show. Heyman said it was their job to hype the fans on WrestleMania but he couldn’t do it. Even though top-to-bottom, this was the most stacked card in decades, the main event of Mania was a shame. The crowd booed.
Heyman said “they” want to sell us on Drew McIntyre but he was a hyped-up fraud. Heyman said Lesnar massacred 15 of the top stars in the company in the Royal Rumble before he was hit in the balls from behind by Ricochet and kicked out of the ring by McIntyre. He called the crowd Pavlovian dogs for cheering this.
He offered no excuse for Lesnar getting eliminated but that was no reason to believe that McIntyre can pin or submit Lesnar at Mania. Heyman called McIntyre a “stupid big bitch” that’s going to get squashed.
McIntyre interrupted. McIntyre stepped in the ring and right up to Lesnar’s face. McIntyre was slightly taller. Lesnar lifted up his shoulders a bit to appear taller before laughing and nodding at McIntyre. Lesnar was about to leave, then turned around to attack, but McIntyre wiped him out with a Claymore Kick.
After McIntyre left, Lesnar continued to sell and began crawling toward his title belt as the crowd chanted “you deserve it.” Byron Saxton said Lesnar has been embarrassed. Lesnar finally got to his feet and the crowd chanted the goodbye song.
Lesnar struggled to the stage when McIntyre appeared and nailed him with another Claymore. The crowd chanted “one more time,” then McIntyre gave him another one. The crowd cheered big for Drew. This was good.
(At the beginning of the segment, the announcers said Lesnar dominated in his successful title defense on Thursday, but didn’t say who he beat. Heyman mentioned Ricochet in his promo in the context of the Rumble match, but didn’t specifically bring up Thursday, either.)
The Street Profits defeated Seth Rollins & Murphy to win the Raw Tag Team Championships
They’re calling this the “last chance” at the titles for the Street Profits. They hyped up the crowd before the match. They wore their purple and red gear which they first wore in Toronto as a nod to the Raptors.
Rollins and Murphy wore black and silver tights. They attacked the Street Profits before the match. The Street Profits initially fought them off, but Montez Ford went for a dive and was caught and driven into the barricade. Angelo Dawkins checked on him as they went to break. Jerry Lawler was so happy to see someone get caught on a dive and thrown into the barricade.
The match began during the break. Ford managed to pull off the dive on both opponents before also hitting a high cross. He gave Rollins a spike DDT and standing moonsault for two. Rollins came back with a slingblade, then he and Murphy did a combo powerbomb/kick spot.
They tried the spot again but Ford slipped out with a leg scissors takedown and Murphy kicked Rollins by accident. Ford went to the top again but Rollins shoved him to the outside, then called for AOP who watched from the stage. The referee immediately tossed them from ringside.
As they argued with the referee, Kevin Owens appeared and gave Rollins a stunner. AOP chased after Owens in the crowd and Dawkins knocked Murphy into the timekeeper area. Ford then gave Rollins a frog splash for the pinfall win. Street Profits are the tag champs.
The crowd went nuts for the finish. The Street Profits celebrated in the crowd and there were red cups everywhere. This was pretty fun. (The match was short, probably about 6 minutes.)
Charly Caruso approached Rollins and Murphy backstage. Rollins was annoyed to see her, as usual. Rollins demanded a rematch against the Street Profits at Elimination Chamber. Rollins also said Owens can name the time, place and stipulation, because when he gets his hands on Owens, he will be crucified.
Riddick Moss defeated Ricochet to retain the 24/7 Championship (8:27)
Ricochet wore trunks instead of long tights. The announcers said Ricochet was looking to get back on track after Thursday’s loss. Moss, the champion, didn’t get an entrance. Some fans chanted “who are you” at him.
Ricochet tried a springboard crossbody but Moss caught him and sent him over the top to the outside with a fallaway slam. Ricochet took a bit of a nasty bump on his way out. He was also bleeding from the mouth from an earlier spot.
After a break, Ricochet fought out of a rest hold and hit a running forearm, kick to the head, enziguri, hurricanrana, and standing shooting star press for two. Ricochet urged the crowd to get into it but they didn’t really react. Moss blocked a superkick, slammed him down, then gave him a neckbreaker variant for the pinfall win. Moss retains.
[Second hour]
There will be a new episode of the Firefly Fun House on Smackdown after The Fiend pointed at the sign last week.
Kairi Sane was shown warming up backstage with Asuka.
AJ Styles promo
Styles said he was not in a good mood. I wished he had his beautiful trophy but didn’t because of a certain someone. The crowd chanted for Undertaker. Styles said he was the talk of the town, but not in a good way. He didn’t understand how anyone could say anything negative about him because he’s phenomenal.
Styles was also annoyed with Mark Wahlberg. They aired a clip of Wahlberg who advised Styles to walk away and not go after Undertaker. (Wahlberg was doing one of those sit-down interviews plugging a movie when he taped this.) The crowd chanted “walk away.” Styles couldn’t believe he was getting advice from Marky Mark.
Styles wasn’t going to take his advice because he knew he was on a collision course with Taker. Styles wanted Taker to watch his match against Black tonight. Taker was a legend, but he was trying to hold on to a spotlight that wasn’t his anymore. The spotlight belonged to Styles.
Aleister Black entered for their match. Before it could begin, Styles said Black must not have read the contract because in order to get to him, Black has to fight the toughest man in the building, Karl Anderson. Anderson jumped in the ring and yelled, “that’s me!”
Aleister Black defeated Karl Anderson (w/AJ Styles & Luke Gallows) (5:47)
Anderson was in control after a break but Black made a comeback and hit Black Mass for the pinfall win.
The ring announcer said Black just earned a match against Styles, but you knew what was coming next. Styles said Black also had to beat Gallows. Gallows attacked Black and tossed him around ringside as the crowd called Styles an assh*le.
Aleister Black defeated Luke Gallows (w/AJ Styles & Karl Anderson) via DQ (5:30)
The referee called for the match to start as soon as Gallows rolled Black into the ring, which hardly seems fair. After a break, Gallows pounded away at Black as Tom Phillips said this is basically a gauntlet match. Lawler wondered how Black would have missed that in the contract.
Suddenly, because Gallows wouldn’t stop attacking Black in the corner, the referee called for the bell, presumably a DQ. The crowd booed and chanted for Undertaker. The OC gave Black a Magic Killer.
AJ Styles (w/Luke Gallows & Karl Anderson) defeated Aleister Black (2:26)
Despite watching Black get attacked, the referee still called for the match to start with Black down and Styles on his feet (Black did nod at the ref to go ahead and start). Styles blocked a comeback attempt and hit a brainbuster. Styles then hit a Phenomenal forearm and pinned Black the way Undertaker pins his opponents for the pinfall win. Aleister Black loses.
Caruso asked Ruby Riott if she anticipated the Riott Squad breaking up the way they did. Riott said the only person she was responsible for was herself and she was free to strike when she damn well pleased. She said there would be no friends inside the Chamber.
Jeff Hardy will be on WWE Backstage tomorrow. Becky Lynch was shown talking to some guy backstage.
Liv Morgan defeated Ruby Riott (Special Referee: Sarah Logan) (4:27)
Riott was in control until Logan backed her out of the corner. Riott got in her face but Logan said she was just trying to be the referee. Riott gave Morgan a flatliner then bonked heads with Logan by accident after Morgan kicked out. Logan and Riott argued, then Morgan applied a schoolgirl. Logan had seen enough and did a fast count to award Morgan the winner.
After the match, Morgan gave Riott an enziguri, then Logan hit Morgan with a running knee.
Randy Orton was shown standing in the dark.
The two steel cage matches were plugged for Wednesday’s NXT.
A graphic informed us that a picture of Goldberg after winning the Universal title was the most-liked photo ever on WWE’s Instagram.
There was a recap of the Orton-Edge angle.
No Way Jose danced through the back with his conga line. They stopped upon seeing Erick Rowan. Jose asked him politely if they could see what was in the cage. Rowan said he’s been waiting weeks for someone to ask respectfully and agreed to show them. They cheered. Rowan pulled an animatronic tarantula out of the cage and they all ran away. He put it back in the cage. Yes, this was as dumb as it sounds.
[Third hour]
Shayna Baszler defeated Tag Team Champion Kairi Sane (w/Tag Champion Asuka) (12:42)
Phillips explained that Asuka suffered a wrist injury, so Sane replaced her. Before the match, Asuka said Baszler was lucky that she got injured. Sane said, “I got this!” In Japanese, Asuka said she would win the Chamber and face Lynch at WrestleMania.
There were light chants of “Shayna’s gonna kill you” so Sane covered her ears. Phillips said these two had a history but didn’t explain what that history was. He did put over Baszler’s MMA background.
Baszler was in full control for a while until a distraction from Asuka allowed Sane to apply a schoolgirl for just a one count. Phillips said, “Sane nearly got her!” Baszler knocked down Sane, then Lynch entered to her music and joined commentary after a break.
Lynch said she could fight them all and her heart rate wouldn’t go over 60, plus there would be lifts and wigs flying everywhere. I think the crowd began chanting “this is boring” as Sane attempted a comeback. She came off the top for an Insane Elbow, but Baszler got her feet up and applied the Kirifuda Clutch for the submission win.
Lynch called Baszler the only catch wrestler who didn’t want to be caught because she’s been avoiding her for weeks.
Rey Mysterio and Humberto Carrillo did a quick interview with Sarah Schreiber. Mysterio said this thing between them and Andrade and Angel Garza would end when they decide it will end. (Mysterio wore a cool Eddie Guerrero t-shirt.)
Rey Mysterio & Humberto Carrillo defeated U.S. Champion Andrade & Angel Garza (w/Zelina Vega) (19:11)
Garza and Andrade both wore blue tights. Garza received a kiss from an elderly lady in the front row before the match. There were chants for Eddie early in the match.
After a second break, Mysterio tagged in and tried a 619 but Garza blocked. Mysterio followed soon later with a Canadian Destroyer but Andrade broke up the cover. Andrade tagged in and gave Mysterio a back elbow. Andrade did Eddie Guerrero’s pose and tried the three amigos but Mysterio slipped out of the last one. Carrillo tagged in and hit a standing moonsault for two.
Mysterio gave both opponents a 619 and sent Garza to the outside. Carrillo then gave Andrade a moonsault for the pinfall win. Very good match.
Rollins and Murphy will get their title rematch against the Street Profits on Sunday. Aleister Black faces AJ Styles in a no disqualification match.
Beth Phoenix segment
Phoenix said she was here to give an update on Edge when Orton quickly interrupted. Orton entered the ring and went to hug Phoenix but she didn’t budge. He offered a handshake. Phoenix said, “You think I would hug you or shake your hand after what you did to my husband, you son-of-a-bitch?”
Phoenix figured Orton would show his face and was glad he did, because he needed to hear this. Phoenix said she was here as a mother, because their kids deserved their father.
Orton said that Edge would never wrestle again after what he did to him. Orton said he owed her an explanation. Orton told a story about being taken to a live event by his dad, Bob Orton, to meet with some agents in St. Louis back in 1999. He was just a fan at the time and it was a thrill to see guys like Steve Austin, Triple H, Mick Foley, and Davey Boy Smith.
However, Edge was the one guy who went up to his dad to tell him how much he respected him and how he was one of the best bad guys in the business. Edge told them that Bob Orton was one of the reasons he got into the business. Edge then told Randy that maybe they would get in the ring one day.
Orton said he used to be insecure about being a wrestler but Edge’s words gave him confidence. Not long after that, they were tearing the house down together before becoming partners. Orton then made some bad life choices that should have buried him, but it was Edge who pulled him out of that hole. Orton was able to be a great father because Edge saved his life.
Orton was returning the favour for Edge. He got goosebumps when Edge returned in the Rumble and he knew that Edge thought that he was returning for good. But Orton was worried that Edge would end up in a wheelchair and wouldn’t be able to be there for his daughters. Orton did what he did to save Edge because he loved him, Beth and their daughters.
Orton said the truth was, this wasn’t his fault, it was Beth’s fault. He called Phoenix an enabler. He called Edge a junkie for the roar of the crowd and she did nothing to stop him. (Some people were actually cheering Orton at this point. A few others chanted “bullsh*t.”) Orton realized at this moment that he loved their daughters more than she did.
Phoenix slapped him. They stared each other down as the crowd waited in anticipation. Orton called her a bitch (off the mic) so Phoenix kicked him in the gut. Orton gave her an RKO.
They initially played this up differently than usual. The camera cut to the crowd instead of showing Phoenix down in the ring. They then cut to the announcers and you could see officials running down to attend to her. Of course, they did show two replays, then eventually showed the ring.
Natalya, Zack Ryder, Curt Hawkins, R-Truth, and Rey Mysterio (plus D-Von Dudley and Shane Helms as agents) were among those checking on her. Phoenix managed to sit up as the show ended.
submitted by kentucky210 to SquaredCircle [link] [comments]

2020.02.09 05:06 PowerCrazedMod 25 [M4F] La Crosse - Seeking partner for Wild Crime Spree. I Want to be a Wanted Man

I have met a number of people seeking a "partner in crime", but so few actual criminals. Nobody actually wants to rob banks with me, or wear socks and sandals in public.
I am looking for someone to go streaking through the Davos World Economic Forum with me. Someone to jaywalk through all the streets of New York. Someone to say 'Fuck you' to the man with me. I want someone who will help me break the very foundation of society by downloading massive amounts of pirated media.
I am looking for the Robin Hood to my Little John, the Butch Cassidy to my Sundance Kid, the Bonnie to my Clyde, the Helen Slater to my Judge Reinhold, the Robert Redford to my Paul Newman, the Jason Statham to my Marky Mark Wahlberg, the Jessica Biel to my Edward Norton.
I am looking for someone who will help me look my best for mugshot photos, someone who will look at cute "Wanted" posters with me on Pinterest.
I am looking to steal someone's heart, and have mine stolen in return.
This is my mug shot. This is also me. And also me.
Lastly, here's my criminally good playlist for robbing banks.
Tom Petty and the Heartbreakers - the Criminal Kind
Tyler Bryant and the Shakedown - Criminal Imagination
David Bowie - Criminal World
Fiona Apple - Criminal
ZZ Ward ft. Freddie Gibbs - Criminal
submitted by PowerCrazedMod to r4rwi [link] [comments]

2019.04.04 23:05 johnlucas-selfimage PROBLEM: The Word "Average" & Defining The Sizes

You have heard my introduction... My name is John Lucas & I'm here to discuss the Small Penis Self-Image Crisis
You have heard my history... My history of studying Self-Image Issues & how I stumbled upon the Small Penis Complex
And you have heard my original self-image rehabilitation workshop called The Five Steps... DISCOVERY: The Five Step Journey To Solve The Self-Image Complex
But now I want to bring to you another set of insights I discovered early on studying this Small Penis Crisis. The Problem with the word "Average" & Defining the Penis Sizes ________________________________________________________________________
When I first studied this Small Penis Self-Image Crisis at at the beginning of this century, I kept noticing a familiar word pop up in the discussion.
In all the confusion trying to make sense of this social/sexual/psychological madness caused by the Small Penis Stigma, the men would pour over every scientific study put out there to find the "Average" Penis Size.
5 inches. 5.5 inches. 6 inches. 5.25 inches. 4.75 inches. 5.75 jnches. 5.33 inches. 5.66 inches. 5.375 inches. 5.875 inches.
And with whatever number the study published, the men would measure themselves against that standard. And either they would feel better about themselves, worse about themselves, or cautiously anxious about themselves depending on wherever their size lined up with the stated figure.
It was like guys looking up the latest Sports Scores! It might as well have been RBI vs. ERA or TD vs. PAT vs. FG or 3FG% vs. FT% or OutOfBox vs. SixYardBox. It was like Fantasy Football except turned inwardly on the men's bodies. Another analogy would be The Stock Market & checking Futures. NASDAQ meet PENASDAQ. Buy! Sell! Short! Long! __________________________________________________________________________________________________________________

I said to myself there's something maddening about all of this. The guys are rating themselves against a moving target. Averages are merely computations that are dependent on the numbers input into the equation. Dependent on the sample & you don't know WHO is being sampled to come up with that average. Besides this nebulous "Average" can NEVER tell you how to MAKE USE of your size in the sex act. The best it can tell you in its own roundabout way is that there are more built like you than there are not. That's all.
If 5.5 inches is stated as "The Average" but the Women of the World look down on 5.5 inches, this didn't solve anything. You "made the cut" on some half-baked scientific study but the Stigma against your kind still exists in the world. Your 2 most prominent problems would still exist: [1] You would not know any better how to MAKE OPTIMUM USE of your penis size in Sexual Penetration (PIV) to be Sexually Competitive. [2] You would not remove the Cultural Stigma that denigrates small-penised men which damages Social Belonging & Available/Reliable Sexual Partners (for short-term flings OR long-term relationships that could turn into families).

The key problem with using the word "AVERAGE" to quantify penis size is that the term is inherently SUBJECTIVE. It's a moving computation depending on the data input. That's why you have to keep checking updates from newly-produced scientific studies. It's never static & solid. It's always based on a POV or a newly-minted professional consensus. Averages are SUBJECTIVE because no one HAS EVER or WILL EVER compute the penis sizes of EVERY SINGLE MAN and FUTURE MAN on Planet Earth to reach a DEFINITIVE conclusion.
So what word can quantify Penis Size & do it in a rock-solid unmistakable OBJECTIVE way?
The word "MEDIUM" is inherently OBJECTIVE. It is not dependent on outside study or POV. It is fixed & self-defining. By definition, MEDIUM means MIDDLE. The CENTER Point between Two Opposite Points. Both MEDIUM & its plural MEDIA literally means BETWEEN when you trace the roots of Latin's MEDIUS. From the air two people speak across to the wires & wireless frequencies that telephone/television/internetworks are built upon, all of it GOES BETWEEN Speaker & Receiver. The Go-Betweens in the MIDDLE, in the CENTER of Two Points, Two People, Two Sets of Peoples. The MEDIA, The MEDIUM that Goes Between transmits the MESSAGE.
And the MESSAGE I want you to receive from using the word "MEDIUM" is not just the fact that "if there's a SMALL & a LARGE, there must be a MEDIUM" (like in T-Shirts, Pizzas, & Slushees from the convenience store)... ...but also I want you to understand the inherent properties of the sizes so that you view your size as a SEXUAL TOOL. A mechanic or handyman never sees his 3/16 wrench as inferior to his 7/16 wrench. He knows that each tool serves its own purpose & role. There are times when he needs his Phillips & times he needs his Flathead. All of his tools are important & none are disposable. That's why he carries his tool belt & drags along his tool box.
Once we leave behind the word AVERAGE & start looking at things in terms of SMALL MEDIUM LARGE, we can figure out how to make SMALL work more effectively in PIV to enhance your Sexual Competition & reduce the Cultural Stigma.

Wait a minute. There's a problem here.
We now know that it's not SMALL AVERAGE LARGE but instead SMALL MEDIUM LARGE but...but... WE DON'T REALLY KNOW WHAT THOSE TERMS EVEN MEAN!! What IS SMALL?! What IS MEDIUM?! What IS LARGE?! Putting the cart before the horse here. How in the hell did we overlook this basic crucial step?

See, that's the OTHER thing I figured out studying this. How in the hell are you gonna talk about Penis Size when you haven't even defined Which Size Is Which FIRST?? I mean, NOBODY has done this! EVER! How do you miss THAT?! All of these scientists & statisticians plugging in data to these "AVERAGE" Penis Size studies but nobody ever thought to define OBJECTIVE Penis Sizes yet. Building a house with no foundation. No wonder it keeps toppling!
My belief about these AVERAGE Penis Size studies is that they're not about helping men deal with Penis Size Complexes but REALLY to deliver data to condom-making companies so they can figure out how to target & optimize sales. CAPITALISM fucking up everything else yet again. It's always about PROFIT & nothing else.
Well, screw these profiteers & their bullshit studies. Let's do it ourselves. Right here. Right now.

Defining The Sizes

If there's a MEDIUM, then there has to be a SMALL & a LARGE.
OK, that's a start. We got 3 basic categories to cover the range of sizes. But we need numbers to go along with these letters. We gotta think about what figures go into these categories. Since I'm American, I'm gonna use that old outdated English system with all of its Yards, Feet, & Inches. Yeah, I know. Even the English don't use the English system anymore. They use Metric. But just humor me, OK?
We know that Micropenises of 1 inch or even less exist so we will use that as the Pole for the SMALL end. We also know that Jonah Falcon exists & he's supposed to be 13 inches so we'll use that as the Pole for the LARGE end. And the honest truth is that actually that human growth can go into the Ripley's Believe It Or Not files so there's probably some undiscovered person in the world even beyond HIM. But we'll keep it reasonable by keeping out Blue Moon types & focusing on a more tangible Common to Rare range that covers virtually everybody.
So with effectively 0 inches as the end point for SMALL to 13 inches as the end point for LARGE, we have our size range. All we have to do now is place this range into the size categories evenly.
13 ÷ 3 = ???
This is off. There are too many entries into the LARGE category for perfect even representation. And even if I capped off the LARGE range to 12 inches so it could be perfectly dividable by 3, somehow I don't think those sizes all belong in that type of grouping. There's a functional difference between 1 inch & 4 inches. There's a functional difference between 5 inches & 8 inches. There's a functional difference between 9 inches & 12 inches.
If I went the OTHER way & included a little of that Ripley's category to make the range 0 inches to 15 inches to be perfectly dividable by 3, the groupings would get EVEN MORE RIDICULOUS! SMALL would range from 0 to 5 inches. MEDIUM would range from 6 to 10 inches. LARGE would range 11 to 15 inches.
This is simply not gonna work with 3 Categories. And we need a Middle category to cover the MEDIUM. So let's try the next odd number up & use 5 as the divider.
OK, much better. The groupings should make more sense now with 5 Categories. And with the addition of the XTRA label, we corral off the rarer sizes into their own categories so that the more common sizes are more accurately grouped. The most EXTREME of Extremes so we jazz it up & call it X-tra. So now it doesn't matter so much about the Ripley's factor. We can divide the range of 15 by 5 easily.
15 ÷ 5 = 3
OK, solid grouping & perfectly even representation. But......something ain't quite right about this layout. I mean, the rare EXTREMES of Micropenises & Jonah Falcons alike are neatly nestled into their specially designed XTRA categories but the common sizes just don't sit right with me. The categories are STILL too broad.
I mean, I COULD take the dividing line down to 10 to make 5 categories of 2 for tighter groupings. XTRA SMALL would cover 1 to 2 inches. SMALL would cover 3 to 4 inches. MEDIUM would cover 5 to 6 inches. LARGE would cover 7 to 8 inches. XTRA LARGE would cover 9 to 10 inches. This seems almost right until you recognize that XTRA is supposed to cover the rarest of sizes and 9 & 10 inches ain't THAT rare. You're not gonna get into Ripley's with one of those sizes.
These 5 Categories aren't TOO bad but we can do better than this for accurate groupings. So let's go to the next odd number & use 7 as the divider.

Now this looks A LOT better! A good combination of complexity & simplicity. The XTRA categories would still corral the rarest of sizes off from the more common ones but the new MEDIUM categories of MEDIUM-SMALL & MEDIUM LARGE will better group those borderline sizes that seem to straddle 2 categories at once. NO WONDER they call it Magic 7! I'll pulled a rabbit out of my hat with this one, Houdini style!
Whoops, wait a minute. Should I use Jonah's 13 or that Ripley's 15 for the Max Range? It's sort of tricky dividing ANYTHING by such an odd number like 7. Damn near ALWAYS will end up with fractions. OH! I got it! 14! PERFECT! 7 Categories go into 14 perfectly!
14 ÷ 7 = 2
Tight groupings. Perfectly even representation. The title of the category now gives a shorthand reference to figuring out how each categorical size works in PIV. NOW we have a fixed OBJECTIVE Penis Size chart to figure out how to use each size as a SEXUAL TOOL. While I have only detailed penis sizes in terms of Length, we now have the framework to determine the range of sizes based in Girth. And with that we can get an OBJECTIVE 3-dimensional sense of penis size to give advice on usage in sex.

What. You don't like those groupings from MEDIUM to XTRA LARGE? Well remember, my whole point was to determine OBJECTIVE Penis Size not SUBJECTIVE Penis Size. The whole point was to remove POV & outside consensus so that the sizes were self-determining. To get away from intangible moving AVERAGES & to set a tangible fixed MEDIUM to determine the rest of the sizes. Something that is inherent in itself not dependent on opinion or sample inputs. To some women 6 inches is LARGE. To other women 6 inches is SMALL. To some women 5 inches is XTRA SMALL. To other women 5 inches is MEDIUM. To Emmanuel Lewis AKA Webster a six-pack will get him shit-faced drunk. To André the Giant that same six-pack is just a thirst quencher. An Anthill is a Mountain to an Ant but just a mere Pile of Dirt to a Human. It's all about scale & perspective.

When you look at the range of sizes OBJECTIVELY, it makes you rethink what LARGE really is. And would you believe it, it was this very OBJECTIVE chart that gave me the DISCOVERY that the Large-Penised Men weren't really that different than the Small-Penised Men! BOTH are anxious about their penis size. It's true. The only difference is that the Large-Penised Men had their anxieties consistently soothed while the Small-Penised Men did not. The Halo Effect consistently given to the bigger guys is the only thing that really shapes the differing lifeviews from the smaller guys. They get applauded while you get degraded. That's the difference. The one who got used to believing he was the biggest on the block has a hard time reconciling that view when someone bigger comes along. Big Fish in Small Pond effect.
"The Rock" Rocky Maivia better known to you as Dwayne Johnson is 6' 4" tall weighing around 260-275 pounds. That's a big man by any estimation, right? He took a picture with Charles Barkley & Shaquille O'Neal during the time when his movie Pain & Gain was coming out. Charles Barkley is supposed to be 6' 6" & Shaq is 7' 1". Take a look.
As big as The Rock is, he looks like a little kid when grouped up with Charles Barkley & Shaq! Against his Pain & Gain co-star 5' 8" "Marky Mark" Mark Wahlberg, The Rock looks humongous! And it's known how much of a gym rat & bodybuilder Mark Walhberg is like The Rock & these other athletes. It's all about scale & perspective. What is Large REALLY? ___________________________________________________________
But you know, even with all this spelled out & detailed, there are still problems with this system. I designed it to make sense in the English measuring system. In the Metric measuring system, you would end up with a bunch of decimals preventing round whole numbers & throwing off the grouping. If we designed these groupings with the Metric system in mind, we would get a bunch of fractions when converting it back to the English system. Nobody deals with decimals & fractions. They always round up or down.
So if the English measuring system & the Metric measuring system has these limitations, if neither inches nor centimeters fully work, what measuring system should we use to determine OBJECTIVE Penis Size?
We're gonna need a BRAND NEW Unit of Measurement based on FUNCTION & SENSATION.
What is the smallest degree that a difference in size can be felt? Maybe we can call this new unit of measurement "Penile Units" or something like that. PU's? And if there are "Penile Units" there HAVE to be "Vaginal Units" or VU's, right? Maybe after that's determined, these results can be translated back into English & Metric systems definitively.

Sounds a little insane? Maybe. But all of it is for determining just exactly what Penis Size is & how it works in PIV. It's all about figuring out the Science of Sex so that people can better explore the Art of Sex. Whether formally or informally, a musician must learn how those tones work in chords, key signatures, & such before that musician starts creating music. The musician must know the basics of rhythm & tempo before exploring the feel. Before exploring those subtle nuances in musical performance, the musician has to have a foundation in the basics.
Sexology is seriously in the Dark Ages right now (we're scant on Step Two of my Five Steps: EDUCATION). I mean, outside of the ancient Kama Sutra with its Hare, Bull, Horse for Penises & Deer, Mare, Elephant for Vaginas, no one has really taken the steps to FIRST identify the size ranges & SECOND figure out how to make them work effectively with one another. Mapping out the Penis Sizes clears up the confusion & allows both men & women to enjoy PIV as well as Sexual Play. And just how do we measure the range of sizes in Vaginas? Where will THOSE 7 Categories go?
With the obliteration of the word AVERAGE to determine Penis Size, we now have an entryway on getting CONCRETE Knowledge on how to better use each size of penis as a SEXUAL TOOL. That very notion decouples the description of Penis Size as a Biased Quality as in "Bad vs. Good" to more of a Neutral Quantity like "3/16 wrench vs. 7/16 wrench". Separating the SUBJECTIVE Cultural Baggage from the OBJECTIVE Sexual Function of the Penis. SMALL doesn't HAVE to be slur. SMALL doesn't HAVE to be bedroom doom. SMALL has unique physics with unique powers that the other sizes do not have. And if we go further in the direction I showed in this post, we can eradicate that Small Penis Stigma from the culture. We can disintegrate that prejudice socially, sexually, & psychologically. Then the small-sized guys can FINALLY find their audience of admirers. And maybe create some converts along the way.

John Lucas
submitted by johnlucas-selfimage to smalldickproblems [link] [comments]

2019.02.23 15:22 AGrandQuiet Instant Family Review

Dammit I was not expecting to cry during this movie. Wahlberg reuniting with the director of Daddy's Home 2 does not sound like the setup for a emotional rollercoaster. The bland, gauzy cinematography with which these people's airy, open plan homes are shot should deaden one's senses. Everything about it seems like it packs the punch of a half tablet of asprin, but god damn if by the ending I ain't welling up at the ability of this unlikely family to make it work.
Like, the fact that the our leads are the co-owners of a successful house flipping business should be insufferable enough. So many movies where the down-to-earth, relatable faces of the American middle class are actually fake nonsense people. This isn't reality. These folks come out and complain that their lives are too comfortable, who is that? It seems to be a fundamental impossibility that any of these sorts of films could grapple with what the reality of many of our lives are.
Their privilege is never quite challenged, but they do at least acknowledge it. The fact that they approach becoming foster parents with at first somewhat inappropriate frivolity is cause for discussion, especially as these are actual human lives they're taking responsibility over. Their ability to house and provide for three children without materially changing their expenses is remarked upon I guess. But did we have to point out that the kids' previous neglectful foster parents were economically disadvantaged? Like, that's the only exposure we get to any poor people at all?
Whatever, it's a small complaint and not really what the movie is about. Marky Mark and his wife Rose Byrne find themselves inexplicably drawn to becoming foster parents to three rambunctious kids of fifteen, ten and six years old. Oh my God are the kids amazing. While Wahlberg still feels like he half became a movie star by accident, leaving Rose Byrne (expectedly amazing ofc) to do most of the heavy lifting on the parent side; they could not be matched against more able batting partners.
Isabela Moner, the oldest, who was great in last year's godawful Sicario sequel is probably on her way to becoming a legit star. She's centre stage in this broad family comedy and is asked to play a child abuse survivor, somehow she carries it off without the film being entirely upset. You'd expect either the comedy or the drama to feel fraudulent, be out of place, and yet she packs it all into this proud, wounded, irrepressible character. I'm thinking of a scene that is carried out in near silence, in a single wide shot, that manages to be profoundly affecting in a way that I had no idea was coming.
The younger two, Gustavo Quiroz as Juan and Julianna Gamiz as Lita, are spared the more emotional beats. We're told they're too young to remember the time spent with their mother, so their challenges settling into a new dynamic express themselves more comedically. Quiroz plays a nervous type wonderfully, with this tremulous physicality and some real choice crying faces. Gamiz is an explosion of unrestrained energy, and the way that's used to joke about the inconstancy of youth is fantastic.
It's telling enough that from the outset, you just get who these kids are. I think the film doesn't trust itself though because it wants to make it explicit. Time and again. You think the metaphor of them building a family while actually fixing up a house is trite — wait until they actually say it out loud. The parents attend a support group every so often where all the subtext is said aloud.
I'd hate it, but the support group is led by Octavia Spencer and Tig Notaro. Maybe I'm at fault, I never once saw a single trailer for this, it crept up relatively quietly — but how the hell did I not know that this was a Octavia Spencer, Tig Notaro double act joint? They're fantastic. There's some tiny subplots that occur here, most frustratingly the hints of this fundamentalist Christian couple slowly warming to a pair of gay foster parents. Like straight filmmakers thinking that a hug is adequate reparations for a history of abuse.
Maybe I'm being too mean. This is a movie which genuinely, wholeheartedly believes that even if a hug can't fix things, it's a good first step. I'd usually want to slap anything that came at me with that outlook. Not this though. It actually feels like it wants to do good, it's actually putting in the work to understand what it's dealing with.
The film begins with the credit that it is based on a true story, which felt kinda unspecific. Only reading about it later did I find out that writedirector Sean Anders based it upon his own experience with fostering. I guess this was something that he was desperately aching to make. Walking out of the theatre I got thinking about the insincerity of something like the Adam Sandler vehicle Blended. About how they kept saying they wanted to reflect the experience of a lot of contemporary families, and how they didn't.
Anders has largely spent his career feeling like a hired gun. It's nice to see him really giving a shit.
If you enjoyed this review, you can read more here.
submitted by AGrandQuiet to u/AGrandQuiet [link] [comments]

2019.01.01 04:17 kaunis [Monday, December 31 2018] Finally declassified: Swedish pilots awarded US Air Medals for saving SR-71 spy plane; Legal age to purchase tobacco products joins alcohol and Cannabis at the age of 21 in Massachusetts; science Your brain rewards you twice when you eat, finds new research




  • MavGore
    Brexit ferry contract worth £13.8 million ‘awarded to company with no ships’
    Comments Link


  • mvea
    [Title Post] Your brain rewards you twice when you eat, finds new research: first when the food is ingested and again when the food reaches the stomach. The study highlights interactions between the brain and digestive system, and might provide a clue as to why we sometimes overeat the food we crave most.
    Comments Link
  • mvea
    Up to 93% of green turtle hatchlings could be female by 2100, as climate change causes “feminisation” of the species, new research published on 19 December 2018 suggests.
    Comments Link



  • mvea
    As China option fades, Bill Gates urges U.S. to take the lead in nuclear power, for the good of the planet
    Comments Link




  • aswan89
    The Rise of Anti-Centralization/Hate for US Federal Government in the late 80s - as depicted in Die Hard


  • legzisdead
    Reddit, what are some fun things to do on New Year’s Eve if you’re not a big party goeunder 21?
  • gonegirlss
    People whose families have been destroyed by 23andme and other DNA sequencing services, what went down?
  • AxelMontiello
    What is the funniest thing you overheard from another players mic while playing a game online?


  • SacredSacrifice
    TIL of "Banner blindness". It is when you subconsciously ignore ads and anything that resembles ads.
    Comments Link
  • flyting1881
    TIL about the Grafton castaways, a real-life Gilligan's Island. Shipwrecked for 18 months in the Auckland islands in 1864, the 5 men lived in a thatched hut complete with glass windows and bookshelves. They built a forge to work metal, tanned leather, made soap from seashells, and even brewed beer.
    Comments Link)






  • BunyipPouch
    Mark Wahlberg Originally Rejected His Oscar-Nominated 'The Departed' Role Several Times Before Martin Scorses Convinced Him To Do It
    Comments Link
  • RokuKyoshiAang
    Ryan Reynolds shares behind the scenes image of him doing motion capture for 'Detective Pìkachu'
    Comments Link
  • Egyptianpharoah
    'Black Panther' was king of the American box office in 2018, while 'Infinity War' took over the world 👑🌎
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  • KitchenTable99
    [WP] To solve the problems of overpopulation, all the governments in the world agree to only allow some of their citizens to reproduce—these people are chosen by lottery. After eight or nine generations, an unintended consequence begins to show up: humans have evolved to be unbelievably lucky.






  • Mingsonto
    Found out that this "one time use" iPhone charger has replacable AAA bateries inside.
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Something New

Everyday we’ll feature a selected small subreddit and its top content. It's a fun way to include and celebrate smaller subreddits.

Today's subreddit is...


Its top 3 all time posts
  • forcedByBoy
    The family trying to take wine away from my aunt for a Christmas photo.
    Comments Link
  • gromfe
    "Marianne" facing riot police in Paris protest
    Comments Link
  • palacecosy
    The horsemen of the apocalypse (Les cavaliers de l'apocalypse) by Mathias Zwick. Yellow vests demonstration. Rue Roy, Paris, France, December 1, 2018.
    Comments Link
submitted by kaunis to tldr [link] [comments]

2018.11.11 18:10 DrHARDCOREy Free Instant Family movie passes tonight 6pm-9pm.

Hey guys. I’m the owner of Wreck Room and I want to invite you to our free event tonight. We are partnering with Paramount Pictures to promote their new movie Instant Family!
In the movie, Lizzy (Isabela Moner) is fostered by Pete (Mark Wahlberg) and Ellie (Rose Byrne). Pete helps Lizzy take out her anger by smashing things in a house he is renovating with Ellie. In honor of the movie, we want to see which groups can create the biggest mess!
We will be handing out Instant Family swag and free movie passes between 6pm-9pm tonight. You can also enter to win a free destruction experience for 4. I hope to see you there.
submitted by DrHARDCOREy to vegaslocals [link] [comments]

2018.09.08 04:32 AdamConIey Late addition movie idea - love the pod

Plot: Police Violence & Corruption in NYC
Mark Wahlberg and John C Reilly are 2 street smart, gritty cops in 1980’s NYC. They are dealing with violence, drug wars, and the mafia. Julianne Moore is the wife of NYC’s most violent drug lord and mafioso, played by Oscar Issac. Jon Voight plays The Cheif Of Police (and also Mark Wahlbergs Uncle) who is dealing with corruption in the NYPD. Julianne Moore’s character supports her husbands endeavors as a violent mob boss but is growing tired of his lack of attention, and meets Mark Wahlberg at a bar and starts a secret affair. She knows he’s a cop, but he is none the wiser. When John C Reilly sees the two together, he recognizes her from the police station photos, but Wahlberg has yet to put her face to a name as she hasn’t told him who she really is. As his partner he knows he should tell him, but doesn’t. Throughout the film there are action packed drug busts and violent murders taking place all the while, Mark Wahlbergs Head is elsewhere, with his star crossed lover. The 2 cops are constantly being tempted with taking bribes and payoffs from criminals and mafia. After making a big mistake, Wahlberg takes a very lucrative bribe, John C Reilly is forced to tell Jon Voight (commissioner) of the affair, and the bribes. Mark finds out his partner has turnned on him and confronts him in a dramatic and violent scene about loyalty. Mark shoots John and fatally wounds him, but before he dies he tells Mark who is lover really is. He places the blame of the murder on a young mafia member in Oscar Issacs crew, who turned out is Julianne and Oscar’s son, aged 17 played by Timothy Chalamet. He also confronts Julianne Moore about her true identity and he breaks things off. Oscar Issac then learns of the affair when Julianne confesses to him, and he has her secretly killed by his crew. Losing his son and his wife quickly turns him into an Angry and vengeful mob boss, who will not stop until Mark Wahlberg is dead. All the while Jon Voight knows the truth, But is covering for his nephew. The film ends in wild cat and and mouse chase and ultimately a dramatic scene between Wahlberg and Oscar Issac, resulting in Wahlbergs death. The angry mob boss then shot and killed by Commisiner Jon Voight who arrives one minute too late. Jon Voight closes the film standing over the two dead men, and says “All this senseless violence, NYC needs and overhaul, and I just don’t have it in me”... he throws his badge on his nephews corpse and walks away, fade to black.
submitted by AdamConIey to LightsCameraPodcast [link] [comments]

2018.08.18 18:58 BlackAndRedBot Mark Wahlberg on SaveTheCrew: "Just yesterday, the guy who’s leading the investment group contacted my partner, Jay Feldman, and I got a text from Jay that they spoke last night. I haven’t spoken to him yet today but I’ll be following up with him today."

Mark Wahlberg on SaveTheCrew: submitted by BlackAndRedBot to axelmlsplayground [link] [comments]

2018.08.18 18:33 fantasyMLShelper Mark Wahlberg on SaveTheCrew: "Just yesterday, the guy who’s leading the investment group contacted my partner, Jay Feldman, and I got a text from Jay that they spoke last night. I haven’t spoken to him yet today but I’ll be following up with him today."

submitted by fantasyMLShelper to soccer [link] [comments]

2018.08.18 18:30 fantasyMLShelper Mark Wahlberg on SaveTheCrew: "Just yesterday, the guy who’s leading the investment group contacted my partner, Jay Feldman, and I got a text from Jay that they spoke last night. I haven’t spoken to him yet today but I’ll be following up with him today."

Mark Wahlberg on SaveTheCrew: submitted by fantasyMLShelper to MLS [link] [comments]

2018.07.27 08:41 ruvideos_porn “I Never Gave Up on Love”: Michelle Williams on Her Very Private Wedding and Very Public Fight for Equal Pay

“I Never Gave Up on Love”: Michelle Williams on Her Very Private Wedding and Very Public Fight for Equal Pay
Photo: Kevin WinteGetty Images
t the end of November, as Ridley Scott and the cast of All the Money in the World were in the midst of nine days of re-shoots in Rome and London, The Washington Post ran an article about pay disparities among the cast, specifically between Mark Wahlberg, the male lead, and Michelle Williams, his female co-star. Exactly how egregious the gap we would not learn until early January, when USA Today reported that Wahlberg, who in August 2017 was named the highest-paid actor of the year by Forbes, with annual earnings of $68 million, was being paid $1.5 million. Williams, on the other hand, who has been nominated for four Oscars, five Golden Globes (she won for My Week with Marilyn in 2012), and a Tony, was paid an $80 per diem, which amounted to less than $1,000 total. The additional filming was to re-create Kevin Spacey’s scenes after the actor was accused of sexual misconduct and replaced with Christopher Plummer. “It wouldn’t have occurred to me to ask for money for the re-shoots. I just wanted to do the right thing on his behalf,” says Williams, referring to Anthony Rapp, the actor who accused Spacey of sexually assaulting him when he was 14 years old.
Photograph by Collier Schorr.
NATURAL WOMANBodysuit by Louis Vuitton, necklace by Tiffany & Co.
Try Vanity Fair and receive a free tote.Join Now
It’s a muggy afternoon in June when Williams and I meet at a Williamsburg hotel that’s all concrete floors and hip austerity, and sits at what might be the most hectic, throbbing corner in Brooklyn. The actress, one of the borough’s better-known residents, has lived in the Boerum Hill and Red Hook neighborhoods since 2005. On the day we meet she is about to move to a new part of Brooklyn, a location she has not yet disclosed, with a partner she has not yet made public. If you know anything about Williams, it’s that she is the Thomas Pynchon of the film world—almost immaculately private.
Michelle Williams V.F.’s September 2018 Style Issue Cover
Photograph by Collier Schorr.
Initially, there was talk of arranging an “activity” for us to do together. We’d look at art or visit the Cloisters, and I’d later extrapolate meaning from this or that comment, in the usual profile style. But a few days before the interview, I’m told that Williams would like to talk about income disparity in Hollywood, specifically her own. She was, after all, paid less than one-tenth of 1 percent of her male co-star’s fee—a discrepancy so glaring that it caused a massive outcry online. In the end, Wahlberg donated his entire re-shoot fee to the Time’s Up Legal Defense Fund, which had been established a few weeks prior, and William Morris Endeavor, the agency representing both actors, threw in an additional $500,000. It was difficult to imagine Williams discussing any of this among museum patrons and prying iPhones, so we are here, on a boat-size leather sectional sofa, in an upper-floor suite that overlooks the warehouses and luxury apartment buildings lining the East River, with a blasting air conditioner that Williams immediately turns off.
“I read somewhere that things are kept cold for men, because men prefer to be cooler while women prefer to be warmer,” she says, and then moves herself, with the tensile grace of a cat, into one corner of the giant iceberg of a sofa. “Office buildings are kept colder for men.” It’s an apt metaphor for the many inequities, small and large—from irritatingly arctic air-conditioning to life-altering wage gaps—women contend with.
“You feel totally de-valued,” she says, when I ask whether she was enraged to learn of the money Wahlberg received. Like everyone else, she read it in the paper. “But that also chimes in with pretty much every other experience you’ve had in your workplace, so you just learn to swallow it.” She speaks deliberately, often closing her eyes as she enunciates, in what I will come to recognize as her meticulous, clear, and thoughtful manner, as though each word is put through a process of inspection. She tells me that the ultimate outcome pleased her, in that it sparked a cultural conversation and will eventually, she hopes, bring tangible change. “A private humiliation,” she says, “became a public turning point.”
The night before we meet, Williams worked until three a.m. She is filming Bart Freundlich’s remake of the Danish film After the Wedding, in which she and Julianne Moore play the two formerly male lead roles, before she will fly to L.A. to do re-shoots for Venom, Sony’s upcoming Marvel movie, in which she stars as Anne Weying, the ex-wife of Eddie Brock (Tom Hardy). She’s dressed in the unadorned, vaguely vintage style specific to artsy-intellectual Brooklyn—flared jeans, a white linen shirt tied at the waist, ballet flats, straw bag, no makeup. That morning, she tells me, she awoke bone-tired and, like most women, fretful about her skin; she’s been in full, pore-clogging stage makeup for two weeks running. “And I’m like, Oh well, it’s O.K. It’s a new world,” she says. “I’m not going to walk into an interview where somebody’s like, ‘Her smell is blah, blah,’ or ‘Her skin is
submitted by ruvideos_porn to cnnnews [link] [comments]

2018.05.30 06:22 Paulsaysthought Survivor Maryland All-Stars Episode 6 Blog "Black Eyed Pleas"

Like a great Shakespearean play, this episode of Survivor Maryland had laughter, tears, kings, queens, princes, jesters, foils and a beleaguered RA just trying to wrangle a bunch of drunk college students at 2am on a Saturday. But, to go from Shakespeare to Machiavelli, this episode could be summed up by saying "Never do an enemy a small injury". And to go from Machiavelli to Chris LeCompte... "You done muffed up A-A-ron"
We open after the Urukhai Tribal Council and Schuble is feeeeeeling himself. I'm not sure that his response to what happened in the last episode would be to find it "hilarious" and "perfect", but he's right to say he's got relationships with everyone, so I'll let Sneaky Schuble ive.
Also, I mean, the real highlight of this opener is Evan and Foluke, who is straight up robbing me of jokes by remarking that "Harry's back!" after seeing Evan's twin mole. And my Lord, if there ever was a reason to revive my idea for The Amazing Race: Maryland, it would be to see Foluke and Evan traveling together and learning all about each other's lives. Evan says of Foluke that she's "Rambunctious", "Has a big vocabulary", "She's scary, but I like her" and I have to ask the first big question of the episode: Does Evan love Foluke? I'm pre-shipping it, just in case, because, that would be the most fun double date of all time. Micah and Sierra are having a meeting in some sort of empty stadium, which is a fun backdrop, and Micah is starting to plant seeds. Micah's done very little so far strategically, but in a season of all-stars, I think he's doing exactly what he needs to so far.
Holli and Foluke are back together and Foluke is already establishing her queendom by being so dang on the ball even though she's been playing for like 15 minutes. She's got the pulse of her tribe, she's got the pulse of the other tribe, she's got an Ashley impression to die for, she's at work. But, no one in this episode, and I mean no one, is putting in more work than Chris Thomas. Seriously, I wanna see Chris Thomas's Fitbit stats for this episode, that dude was ALL OVER CAMPUS! Did he even go to class this week? Let's see if we can hit the highlights, because frankly Chris's meetings with Ashley, Holli and Centi are the greatest trilogy of all time, bar none.
Chris/Ashley: Comedy of the purest form. Ashley tells Chris he's on the bottom and he has no influence. Chris Thomas gets all the props because he just sits there and takes it until he's in confessional and he explodes. It's not just an episode highlight, it's a season highlight. (12:20, I hate people, a big mood)
Quotable Moment
Ashley: "Am I concerned that you're on the chopping block? No, not really"
Chris/Holli: The plot thickens, Holli wants to make a big move! And she wants to vote out... Eric. In the preseason, I compared Chris Thomas to Spencer in the Charlie Brown sense and I have never been more right than this episode, where all Chris wants to do is dethrone the king and he keeps getting the football pulled away from him.
Quotable Moment
Chris: "Right now, you're like, probably my closest alliance"
Holli: (laughing) "That's so sad"
Chris/Centi: Chris Thomas's dad told him to make an alliance with Nicole Centi, which officially makes him a better player than most of the Maryland Outback pre-merge boots (Sorry Berkow, you know you're my boy). Centi also wants to vote out Eric, which, in a Ralph Wiggum style close up, allows us to pinpoint the exact moment Chris Thomas's heart breaks
Quotable Moment
Nicole: "Obviously, I don't like him as a person, but I wouldn't mind using him to my advantage"
But enough about Chris Thomas (for now), it's time for another legendary Survivor Maryland challenge, Hot Pursuit! Alex is really excited, presumably because he's noticed Sabrina is not on his tribe. Both teams begin to strategize, but it's Micah who comes through with the incredible mastermind revelation that "A lot of us are different heights". It's absolutely amazing the degree to which Furiosa botches this challenge, given that they have the more obviously athletic team, but it's no match for the teamwork of Urukhai and they win immunity.
Sabrina is back to work in this episode and she's telling people Chris Thomas is her secret partner and letting that go through the grapevine, which is legitimately incredible gaming of the system. If you'll remember, she's not allowed to tell Chris Thomas that she's his partner, and when he confronts her with the question, she brilliantly sidesteps it and lets Chris believe she is, while staying within the rules of the game. Six episodes in, Sabrina is the Most Improved Player from her season until now and it's not close. (Couldn't call that award the MIP, because then I'd have to give it to Chris Thomas, probably)
For the first time this season, LeCompte spends the episode being the other Chris, and it's not a great look on him. Popular thought on Chris LeCompte this season is that he's playing too hard, but this week we saw what happens when he pulls back on the reins. After this episode, I'm convinced LeCompte needs to go even harder than he was before, perhaps even as hard as the people partying behind Ashley Roach's confessional. (Sidenote, is Ashley really into Bayern Munich? Is she recording a confessional with a soccer game in the background? So many questions.)
Centi and Chris Thomas trick Sabrina into our first "Mean Girls"-esque secret three way call and I'm absolutely here for the throwback vibes I'm getting. (BTW, I need a GIF of that Chris Thomas jaw drop like yesterday). It seems like everywhere we go, we're getting different plans thrown around and a combination of LeCompte, Eric, Sierra and Ashley seem to all be on the chopping block. My head is spinning until 40:30 when Sabrina says the greatest sentence in Survivor Maryland history: "Are you, like, excited or nervous for Drunk Tribal?"
Excuse me?
Did she just say... Drunk Tribal?
It's at this point that all hell breaks loose.
-Chris Thomas is giving a selfie confessional in accent that's halfway between Mark Wahlberg and Mac Miller
-LeCompte, Eric and Sierra are having a meeting that seems to serve no purpose at all besides everyone poorly lying to each other
-We find out that Tribal Council is at 2 AM ON A SATURDAY NIGHT
-People are out at the bar, Chris LeCompte is pensively smoking a cigarette, Chris Thomas has a flask, and before you know it, Drunk Tribal has liftoff
Drunk Tribal starts with a background voice shouting "Am I the only sober person here right now?", to which we never get an answer, but honestly, probably. Holli claims she is not the person to ask questions to, presumable because Chris Thomas spends the entire Drunk Tribal in her ear, in quite possibly the least subtle attempt to sway a vote in Survivor history. Sabrina is clearly in the running for drunkest at Drunk Tribal which causes Austin to go FULL RA and tell her that "He's not buying the bullshit" like a freshman on his floor is denying how he put that burn in the carpet! Get her, Trupp!
Holli, in an attempt to steal the most intoxicated crown from Sabrina, is going against her gut tonight, and even after watching the whole episode, I genuinely have no idea what Holli is talking about. LeCompte gives a genuinely great speech (unless you're Eric) about how his biggest flaw in Outback was being too loyal to Sleasman, and Ashley has a geniunely tearful moment about her mom and aunt having health problems and I really believe this marks a spot in all-stars where every single person is deeply and profoundly invested in the game. It's tough to see Ashley cry, of course, but all things considered, this is actually one of Ashley's best episodes as a player and as a character.
The votes come in and Centi accurately calls this the "shambliest vote ever". To recap, Sierra, Thomas and Sabrina vote for LeCompte; Ashley, LeCompte and Eric vote for Sierra and Holli and Centi vote for Eric. The whole thing is an absolute drunken disaster and on the revote, both Centi and Holli refuse to vote for LeCompte and Sierra is the unfortunate victim. She also cries in her last words and I'm sympathetic for Sierra, who twice gets knocked out pre-merge and leaves a lot of game left on the table.
The real story of Drunk Tribal is Nicole Centi, who in an Outback dejavu, finds herself in the swing position. I believe she's right not to go to rocks this early in the game, and as much as I'm not thrilled about her vote for Eric, I don't believe this is a particularly terrible night for her. However, I hope she realizes that the definition of insanity is doing the same thing in your first season and in your all-star season and expecting to win. It's a recipe for heartbreak.
And now, a non-traditional game of Buy, Sell, Hold
Buy- Chris Thomas's Dad: If we're being honest, Chris T making an alliance with Centi is what sends the insanity of this episode into motion and, if he can keep it going, might be Chris Thomas's saving grace
Hold- The loud guys in the background of Ashley's confessional- Ashley deserves some happiness in her life and if the loud rowdy soccer fans in her living quarters can make her smile, I'll hold onto them for another week
Sell- Evan's mole Harry: Evan's one of my favorite characters in Survivor Maryland history, but Harry is not doing it for me. Keeping him under wraps is gonna be key to Evan making a deep post-merge run
submitted by Paulsaysthought to survivor [link] [comments]

2018.04.04 18:02 omfgataco757 TIFU by throwing a pretzel at a cop car in a foreign country

Obligatory, this occurred about 6 years back now. I was visiting my exchange partner in Southwest Germany for my 17th birthday. I spent three weeks with his family to visit prior to the exchange that would take place during the upcoming school year. This actually happened while Ted was in theaters if that can provide a timeline. We had wanted to get together with a few of his friends and had decided to go see the movie Ted (the Mark Wahlberg movie with the talking teddy bear). I remember this so distinctly because we chose a German dubbed with English subtitles for whatever reason. And the voice over for Mark Wahlberg was just hilarious sounding.
After the movie we decided to go and drink at some of the local bars, movie ended around 10pm or so and we were at the bars until close. I had felt guilty that my friend bought my movie ticket so I decided to buy the beers for the night. We decided on one of the local Freiburger 5L mini kegs and went to work on it. Once the bar closed we didn't want to call it a night and decided to walk to the nearest gas station to buy more beer. This is where the fuckup begins. By this point, being a young American with some minor alcohol experience at this point in my life I was quite drunk. We stumbled our way to the gas station, and when we got there my friend (we'll call him J) was insistent upon buying some pringles and gold fish. I figured if we're getting food I have to get myself a soft pretzel, so I did. On our way back into the city, we stopped for a brief moment so our friend could call his parents and let them know that we were still in the city and he would be back in a few hours. At this point something in my brain decided it would be an excellent idea to climb the tree that was right next to me. So, in all my brilliance... I did just that. Halfway up the tree I drop my pretzel, and in the struggle to grab it as it's slipping out of my hands, I fall out of the tree. Now my drunk self decided that me falling out of the tree was clearly not my own fault, but the work of the tree. So I got mad and decided I couldn't eat my dirty pretzel anymore. I then decided that throwing the pretzel at the next car that drove by would be an excellent idea, so without even double checking I hid behind the tree and gave my best fastball I could with that pretzel at the first headlights I saw.
As soon as the pretzel left my hand, I looked up and saw "Polizei" big across the side of the car. The pretzel made contact with the passenger door, and my friends (minus the one on the phone) scattered. Now if that fuck up wasn't enough, I then decided that I couldn't follow my friends, you know the ones that know the city, and I had to split up from the group. So I ran the opposite direction under a bridge. I hid under that bridge for about 10 minutes sitting in a bush watching the stairs on both sides. If the police were to come down one side I would run to the other, if they came down both... I was prepared to swim across whatever little river it was. Over these 10 minutes I'm getting repeated phone calls from my friend who I'm staying with while over there, but I assume he's been caught and trying to get me to turn myself in so I didn't answer. But after a few calls, I decided maybe I should check out how it looks above the bridge. So I walk back up the way I came, and immediately am surrounded by cop cars. The closest car even had the kid who was on the phone handcuffed in the back seat. They proceed to take us back to the station, had no clue what to do with my American drivers license when they asked for id, and poured out all of our beer in front of us. That of course was met with groans and whines by my friends and I. And those whines were met with being placed in separate cells while they called what I assume was the DA and informed him of what we did and awaited a response for what to do with us. In the end, we had to be picked up by each parent. A few of the kids were punished by their parents for my actions, which I felt so bad for. Fortunately for us, the DA or whatever is the equivalent was extremely reasonable and dropped all charges that night, but I had still already made an ass of myself to all his friends and family.
TL;DR I went to Germany before an exchange program with my school to meet my exchange partner's parents and make a good impression. Instead I ended up getting way too drunk, throwing a pretzel at what just happened to be a cop car, getting a few of my friends arrested with me, and making an ass of myself to his family.
Sorry for long post
submitted by omfgataco757 to tifu [link] [comments]

Mark Wahlberg on Parenting - YouTube Mark Wahlberg Mark Wahlberg to star in buddy cop comedy Partners - Collider Girls Mark Wahlberg Has Dated. - YouTube The Departed - Mark Wahlberg - Like a Boss! - YouTube Mark Wahlberg - Till the End of Time Mark Wahlberg Dating History - YouTube Mark Wahlberg inside family life  Wife son daughter

Mark Wahlberg Chevrolet of Worthington is a Worthington ...

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  4. Girls Mark Wahlberg Has Dated. - YouTube
  5. The Departed - Mark Wahlberg - Like a Boss! - YouTube
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  7. Mark Wahlberg Dating History - YouTube
  8. Mark Wahlberg inside family life Wife son daughter

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