Role Models - A Review

Role Models

I am a huge fan of both Sean William Scott and Paul Rudd, so I sought-out Role Models without knowing it was a movie about roleplaying (LARPing, actually). Being a huge fan of RPG, I was basically destined to enjoy the shit out of Role Models... and then they went and dropped KISS all over it. Yes, Role Models was literally made for me. If you think about it, that's a pretty recession-proof model - after all, they knew there was a built-in audience; if nothing else, they were certain to sell one ticket... and I'd need a ride - and so the math begins.

An uneven film, a lot of Role Models' charm comes from the fact that it doesn't even try to find its rhythm. It remains true to the improvisation of RPG, bouncing from one theme to another. However, it succeeds as a whole because it actually hits its mark almost every time; while haphazard, each element completes the thought behind it. When Role Models veers into snappy banter, the dialogue is jaunty and crisp; when it wobbles into the urbane, it goes deep blue; and when it strikes an emotional chord, it's unflinchingly genuine.

Uneven pacing, too many stories, dramatic moments in the midst of slapstick comedy - all easily handled by a rote formula. Overall, it leans on nostalgia to drive it and there just isn't enough, even for a superfan like myself, to keep it going, but it makes a valiant effort. A good watch to which you are unlikely to return.

© C Harris Lynn, 2010

Lockdown, Pt. 4 - TV, Moving Pictures, and Streaming Services

Day 24234092740974:  I keep staring at the dog.  The dog keeps staring at me.  He looks hot; he's a hot dog.  He runs again.  I chase him.


TV and Movies (and Services/Apps)

I have Roku, so those of you with inferior set-top services might not be able to access all of these.  What's so great is that streaming offers newer and original programming as well as a wide array of older TV and classic films, which makes it easy to arrange online viewing "parties" and also participate in discussions the rest of us abandoned decades earlier.

Again, our world is becoming smaller in a cultural sense -- and that's a good thing!  At least, it can be, if we agree to make it so and keep it that way.  Let's do that -- for the children; let's do it for those fat, fucking children.

• COMET and DUST(x) are pretty great for sci-fi fans, especially if you dig Stargate (which seems to be on every time I turn on COMET, although I've also caught Sliders in the afternoon).  I have no idea what the "x" means or stands for in DUST, nor why they dropped it recently.
• Pluto's Sci-Fi is lacking (so far) but you can find Merlin, the original Being Human, Young Dracula, Robin Hood, and a lot of anime across the spectrum.  You can also set your favorites on Pluto so you don't have to scroll through the entire 250+ channels to find the ones you enjoy.  You can also catch a few of those shows on Vudu, Hulu, and Prime.
• STIRR looks cool but refuses to load on my older Roku for some reason.  I have a newer device but my modem doesn't see it and I'm afraid to troubleshoot too hard and wind-up without Internet -- I don't think they'll be sending out any techs for a while.  I hope to check out STIRR when I can.
• I have absolutely never enjoyed any Star Trek TV show and I'm sorry I haven't because there are a lot of them.  I liked a couple of those movies, though.
• The Big Short (Pluto TV) -- All you really need to know about the current, and past, financial issues facing the US and the larger world.
• Impossible Peace: The Time Between World Wars (Pluto History, Prime)
• Republic of Doyle (Prime, Tubi, Vudu) -- Simply one of the best shows there is, in the vein of the early seasons of Burn Notice and Moonlighting.
• Bosch (Prime) -- Since it premiered, Bosch has gotten progressively better with each season.  In fact, the first season is hardly representative of the series; it's a straight, by-the-numbers procedural that plays kind of dry.  But, stick with it!  Bosch returns in spades, becoming one of the best original shows on any streaming service.
• Letterkenny (Hulu) -- Unapologetically Canadian, and that's what I appreciates about it.

All of this has probably changed, since I wrote it three years prior and never got the chance to publish it.  In fact, Hulu no longer even works on Roku I, so I was forced to upgrade my bedroom setup (which was also affected by unwanted visitors...).  But, I'm strapped for content and have been afk for a minute, so take it for whatever it's worth and I'll try to find stuff to talk about soon.

I've taken to eating sugary breakfast cereals by the fistful, right out of the goddamn box.  I hang out in front of small town grocery stores, smoking and mocking your fat-ass children.  I just jam it right into the front of the mask because fuck it; breakin' teeth in this motherfucker.  Everything tastes like cotton.

© The Weirding, 2023

 

Pretty Deadly: The Rat #1

Pretty Deadly: The Rat #1

© The Weirding, 2019

The Cyberpunk Nexus: Exploring the Blade Runner Universe

The Cyberpunk Nexus: Exploring the Blade Runner Universe

© The Weirding, 2018

Rose McGowan - Planet 9

Rose McGowan - Planet 9

© The Weirding, 2018

You Boys Like Mexico?

The Unband - Geez Louise

From the Super Troopers soundtrack.  Super Troopers 2 opens tomorrow!

© The Weirding, 2018

Molly Ringwald and the Moral Majority

Typical Hollywood Actress Reaction

If you're under 45, you're probably asking yourself, "Who the fuck is Molly Ringwald?"  

That's a fair question.  

She was an actress who appeared in almost every John Hughes movie there ever was in the far away land called "The 1980s."  A pretty redhead, she portrayed the emblematic "Princess" of those flicks -- a role she had no problem playing for a decade, and even reprised for a cameo in a terrible 2001 film -- but now (that all the checks have cleared) she finds them highly offensive.

Now you're probably asking yourself, "Who the fuck is John Hughes?"  Again, fair question:

John Hughes had a stranglehold on the teen, "coming of age" films of the 1980s; from Sixteen Candles to Ferris Bueller's Day Off to what many consider to be his magnum opus, The Breakfast Club, and well beyond, Hughes managed, more often than not, to nail teenaged archetypes of the period --

That's... that's not what I mean, #MeFirstToo-ers.

But, in a scathing screed of hate speech, Ringwald lobbed every bigoted, pop-culture label her pretty little head could muster at The Breakfast Club -- the film which made her a bonafide movie star, and part of what was known as "The Brat Pack."  Not unusual for a Hollywood actress, she had no idea what she was saying, and was unlikely to have ever read the entire script (just her lines and queues) or seen the finished product before watching it with her daughter.  That her reactionary finger-wagging typified the character for which she became famous is a level of irony that can be missed only by people in Carson City and NYC.

Yes, Way Back When, there were jocks, and gearheads, and princesses, and outcasts, and nerds -- in every classroom in every public school across the nation -- and John Hughes' movies accurately captured those archetypes.  That those stereotypes still exist today is no surprise -- that's why stereotypes exist.

The overprivileged whitefolk (got to point that out, since it's problematic) of the 1980s indulged their self-inflicted ennui by wearing all black, smoking clove cigarettes, reading Interview with a Vampire, and listening to whiny, "Alternative" music like Morrissey.  They became Goths in the 1990s - 2000s, and pierced everything because they weren't old enough to become strippers.  And listened to Morrissey.  Now, they vape and dye their hair blue (if they're girls) and pink (if they're boys -- no one's sure), because it's politically incorrect to teach gradeschool-level Biology. *

Through these stereotypes, elevated to archetype in John Hughes' talking heads The Breakfast Club, teenagers of the time were forced to confront some very ugly truths about ourselves, while also seeing other stereotypes face their own.  The characters said things that we didn't have the opportunity to, much less the nerve.  And while their situations were not ours, and their behavior over the top (it's a fucking movie -- a moving picture, or motion of picture), they and their situations were relatable to our own.

That's what made John Hughes' movies so popular: They presented human teenagers and young adults as we were -- as ridiculous and politically incorrect as that is -- whereas most movies sidelined us as minor characters with overblown adolescent issues, or made us react to the situation (Back to the Future, Weird Science).  While highly stylized, John Hughes' movies presented a more realistic, in-depth character study of the teenage stereotypes to which most of us relate at that age.

Popular culture relies heavily on stereotypes, especially for shorthand, and this is never more obvious than in movies, due to the limited playing time.

John Bender -- your stereotypical, longhaired stoner -- absolutely did not "sexually harass" Claire, the hapless lass Molly Ringwald portrayed onscreen.  Nor did his onscreen antics negatively influence an entire generation of men -- or women, or transgendered people people of transgenderism the gender-impaired, or anyone else.  We were more capable of telling fact from fantasy in those days, largely due to tighter regulation on propaganda.

Not to laud my intellectual privilege, but we were just plain smarter.

Bender was wrong -- pretty much all the way around -- and he was also On Dope.  Throughout the course of the movie, we learn that he is a victim of abuse, which is why he is defiant and acts out irrationally: He craves negative attention, as it is the only attention he is accustomed to receiving.  Estevez' jock is also the victim of abuse who represses his feelings and channels his anger into athletics and bullying others.  Brian, the nerd, suffers from self-abuse (he's probably a cutter person of cutting).

Typical of abuse victims, these characters abuse themselves and others, whether they mean to or not.  They wouldn't be diagnosed as "bi-polar" until Prozac was invented -- the way Millennials weren't diagnosed as ADHD with "learning disabilities" until methamphetamine was available by prescription!

The only character who isn't completely fucked-up is Sheedy's "The Basketcase," who has isolated herself from all these self-important drama queens.  She would later be diagnosed as Off Her Meds.  That's known as "irony," and makes a point in and of itself.

But Molly Ringwald's character is an abuser, not the victim: She remains oblivious to a fault, traumatizing everyone around her through her callous behavior.  People just aren't worthy of Claire's abuse, as that would be a waste of her precious time; they are forced to prove they are worth any attention, should she so deign.  

She typifies this stereotype in Sixteen Candles, as well -- overlooking the well-meaning but goofy Ducky for the handsome hunk.  If this sounds familiar, it's because this sort of thing happens everyday -- especially to teenagers (relax, it happened to #MeToo).  Johnny Bender's character calls her out on this Holier-Than-Thou attitude and, in stereotypical fashion for girls with Daddy Issues, she falls for The Bad Boy.

Had he written a sequel starring Claire, it would have been Showgirls.

These things are not actually said aloud, so it's understandable that a Hollywood actress would miss these very relevant points -- especially if "her" character doesn't say them.  Because screenwriters are only there to clean-up actors' improvisational genius -- that's what screenwriters do.  That's the job.

I suppose, at this point, I should say that Caitlin Jenner is strong and beautiful.

It's all pretty ugly -- like life... especially adolescence.  Like teenagers and teenagers' rooms and teenagers' cars...  And an overwhelming number of people Ringwald's age identified heavily with The Breakfast Club because of this.

It's far from pleasant, but it's politically incorrect, and too often awkward (and also problematic), to discuss these very real life situations and human personalities in mixed company -- which is what makes it so refreshing to see it onscreen, or read it in a book not written by a pompous Hollywood blowhard... or an AI writing program one slaps his name on as a lazy attempt at anti-art.  

John Hughes understood that regular, everyday people can be retarded awkward and gay problematic -- and also selfish and wrong and obtuse and sometimes ugly even if they're physically very attractive.  And all of that's okay because regular people -- unlike The Hollywood People -- are far from perfect.

Especially awkward, problematic people of teen age.

She claims Bender's unwarranted sexual assault in the movie is worthy of some kind of heavy-handed police action.  Maybe.  But Claire responds by vice-locking his longhaired head with her knees -- practiced as they are at locking -- then brutally assaults him in a fit of hysterical rage before sleeping with him.  Lesson learned.  

The bigger issue is that today, had Bender been problematic gay and accosted a man same-sex non-gender-fluid sentient being in whom he was interested in a similar fashion, audiences are likely to laugh at it the way we did back then.  But then feel bad because the same-sex non-gender-fluid love interest was not consenting -- the way we felt awkward because we knew it was wrong to do things Bender, and people like him, does in the film.  That discomfort is part of what makes it funny.

That doesn't make his behavior any less acceptable in real life but -- in a fucking movie -- it's funny.  Also, in the movie, he didn't actually accost the actress.  Hollywood, like the US government it represents -- The Moral Majority, as they are known -- has never been able to tell fact from fiction, so much so that they made a law allowing them to circumvent reality, and are now working to criminalize anyone who dares question what they tell you to believe.

In fact, they have suspended our Twitter accounts, and have now locked us out of our YouTube accounts without explanation!

Movies, TV, and radio were the social media of our age -- that's how the term, "Watercooler Episode" originated.  We watched them in theaters with dozens of other people (hundreds, by the Multiplex '90s) , so they were seen in a communal environment, and had a larger impact than the four or five stump speeches Hollywood churns out today.  Movies like The Breakfast Club and St. Elmo's Fire started discussions that never would have occurred otherwise -- discussions Millennials aren't allowed to have today, under penalty of Law. 

They were actually important films, not pretenders to the throne, and the insights they presented helped close the divide between groups and people who had little, if anything, in common.  These movies were what we had in common -- in many cases, just as in The Breakfast Club itself -- they were the only experiences we had in common.

They were not marketed as The Most Important Movies of Their Time, or The Most Important Shows You're Not Watching.  You weren't a racistsexistmisogynistantisemitewhitenationalist for not purchasing 100,000 tickets for schoolchildren to manipulate the Box Office results.  That they didn't have token Latinos, Blacks, and disabled persons of interest color is because that would have weakened verisimilitude, or suspension of disbelief -- something actors create all by themselves (that's why they get paid $1.3 trillion to make movies).

They had also just started busing the token kids in at that time -- yet another uncomfortable truth troublemakers choose to "overlook" -- so most of us didn't have those token friends The Hollywood People and Republican Party love to cart-out at certain events like the child survivors of Syrian bombings.  I went to a predominantly black elementary school, so I rarely hung-out with the black kids who thought I worshipped the Devil because I listened to Slayer -- I just bought Mexican dirt weed from them.

Yes, that is racist: I know they were holding them Dank Buds.

In those days, the Moral Majority -- those who knew best for all, because They had The Master Plan handed down from On High (ahem) -- pulled the very same shit they do today.  And guess who presided over the PMRC, and the hearings on what was Right and what was wrong, and who was allowed to say what?

Manbearpig and his Goddamn wife.  I swear to Christ.

Do John Hughes' movies hold-up today?  Absolutely.  Are they politically correct?  Of course not -- neither are teenagers, and neither is real life.

Well, I'm sure Molly Ringwald's teenager is, of course -- all actors' and celebrities' children are perfect.  You can tell from their mugshots.

Life, history, politics, reality -- and yes, people (especially people of teen age) -- can be ugly, and too often are.  These subjects are often separatist, racist, sexist, hateful, and demoralizing to people who deserve much better.  We should be emotionally and intellectually fit enough to observe these things as they are, and deal with them in that fashion.  But Hollywood, and its denizens, are neither -- and are far from innocent.

So, since everyone else has a soapbox for their cause celebre, and we're certainly moments away from having our little plug pulled (assuming this ever sees the light of day to begin with), I figure #MeToo:

The Truth is that every state in the US has unisex bathrooms anyone can use, and no one stands outside to monitor who is doing so... yet.

The Truth is that the KKK has every right to their little rallies, which are always attended by more Federal officers than Klansmen, and the way to end them is to not attend them -- or promote them, or glorify them, or glorify those who protest them.  Like you do Jehovah's Witnesses at the front door.

The Truth is that, if Nationalists really hated "Socialism," they'd refund all the government benefits they receive (nay, demand!) for military/defense contracts, and refuse assistance provided by programs like Medicare, SNAP, and those provided by Veterans' Affairs.

The Truth is that none of the men accused by the hostile #MeToo terrorist movement have been convicted, or even stood trial for a civil matter, yet a mere sketchy accusation is all it takes to end their careers and lives.  And -- just like the worst of the accused did -- these "activists" and "social justice warriors" use force, intimidation, and a myriad of terrorist tactics to silence all dissent, and suppress any evidence contrary to their unfounded accusations ("Their Ends Justify Their Means").

The Truth is that criminalizing every word, deed, and thought has lead to mass incarceration and the demonization of innocent people who are forced to become hardened criminals just to survive the environments in which pristine celebrities like Ringwald can't wait to place them.

The Truth is that the AIPAC/CFI-sponsored "Mainstream Media" is Guilty of innumerable War Crimes, Human Rights Abuses, and Crimes Against Humanity -- including Incitement, Defamation, Assassination of Character, Mass Murder, Sedition, and High Treason -- and no mere, fabricated "Law" (NDAA) should shield them from prosecution to the fullest extent of International Law.  This includes giant tech companies that dip in and out of the Media environment as it suits their purposes.

The Truth is that most of these people support harboring undocumented citizens as a form of indentured servitude, and those who have lived the majority of their lives in this country without criminal incident should be considered citizens.

The Truth is that, if celebrities and banksters want to disarm the citizenry, they should lead the way by disarming themselves, disarming their security, and employing only unarmed security at their too-posh benefit events for the Syrian children they campaign tirelessly to bomb endlessly.

The Truth is that you won't hear a single celebrity -- Sarah Silverman, Susan Sarandon, Rosario Dawson, and a handful of others aside -- say any of this.  And you aren't likely to hear us saying it much longer, either...

Hearing these horrible excuses for human beings preach on nothing more than the safest bets, hopping on every speeding bandwagon that passes their way, has become sickening to the point of criminality: 

I woke up the other morning to hear Gayle King say, "We can teach Hate --" and I turned off the fucking TV.

Molly Ringwald, like the (literally) drugged, (actually) brainwashed, Millennial Generation Hollywood is so desperate to get to the voter booths (but only if they vote Democrat!), should get over herself and step out of the echo chamber for a breath of fresh, L.A. smog -- and hope she doesn't get hit by one of them drive-bys!  (Relax, racists, it would be an acid attack or machete strike from atop a moped, were she in London.)  I doubt she sees a brown face six days of any week unless it's cleaning her house, and I doubt that fact occurs to her more than once every 40 years.

Maybe one day, these talented players of the Moral Majority will reunite and make a movie about Hollywood actors who hate the movies audiences love that made them rich and famous.  Co-starring John Cusack.

---
* There are over 50 sexes in the insect kingdom.  Shamanism teaches you not to follow the insects, as they exist only to eat, breed, and die, and have no Higher Purpose.  Bees have a hivemind and live only to serve their queen.  Meditate on that shit: That's what your esteemed cult leaders think of you -- you are a means to an end, and nothing more.  They are Defense Contractors, by the way.

© The Weirding, 2018

Nobody Knows Anything #MeToo

Grand Larceny

"I was a spy..."

© The Weirding, 2017

Reviews 24 Hour Comic (Documentary)

24 Hour Comic

I was lucky enough to receive an advance screener of the new Dark Horse -backed documentary, 24 Hour Comic. I was hesitant to request it because, had it been underwhelming, I would have had some difficult decisions to make... Luckily, I needn't have worried. 24 Hour Comic is excellent -- both as a document, and a film.

Documentarian Milan Erceg explores the annual 24 Hour Comic Challenge, and not only educates and entertains, but dutifully captures the spirit of both the 24 Hour Comic Challenge and the industry and pasttime of comic books as a whole. Comic books' creative heyday was arguably the late 1980s, with the release of highwater marks like Watchmen and The Dark Knight Returns. These successes lead to the industry's financial heyday in the 1990s, when Scott McCloud and Steve Bissette founded 24 Hour Comic Day as a simple challenge between friends.

It can be difficult to remain cheery and hopeful working in comics, as there is little money, little fanfare, and few rewards. Ridiculously attractive, well-groomed movie stars do not make comic books, and Comic-Con is now little more than a Hollywood press junket. Many view comics as a dying form, and it's easy to feel overlooked as a creative working in an industry whose best days may well be behind it. Yet we persevere out of love... and probably just wrong-headedness.

Far from the slick, big-budget, Hollywood rock-em-sock-ems lay our insular world of impassioned misfits, locked in the all too often overcast drudgery of underpaid in-fighting. It's a masochistic struggle few can define, but will defend to our dying breath. Milan appears very aware of this -- I don't think a single ray of sunshine appears in the entire film -- but his obvious admiration for the event, the participants, and the wider industry borders on the fanboyism that drives us all. It's that love for the form, stories, and characters that compelled us to work in the medium in the first place, and inspiring that in others is our vindication.

I guess that's what comics creators want more than anything else: Revenge.

Don't expect anything groundbreaking insofar as filmmaking goes, but in the best possible way: Erceg stays clear of his subject, employing techniques best suited for the job. The style lends energy to the static activity of comics creation, conveying the frenetic sensibility of a 24-hour "all-nighter" with a subtle tinge of '90s nostalgia. Playing with the focus, the interstitial shots of doughnuts in various stages of consumption, jump-cuts galore -- we've seen these techniques before, but they perfectly fit the subject without calling undue attention to the filmmaker.

My only gripe is the number of establishing and transitional shots -- time I feel could have better been spent on interviews, entrants' discussion during the marathon, or a look at how creators throughout the world celebrate the event in their homes and local comics shops (though I'm sure that would have required more time and money). One participant completes early but is drawn back into the challenge when another points out that he is actually one page shy, for instance. I would have loved to have seen that exchange! Milan does an excellent job of showing the passage of time, but that is largely lost along the way as you become more concerned with the entrants than the event itself.

Comparisons to the biographical Crumb are inevitable, and merited (due to the personalities involved), but 24 Hour Comic remains tonally consistent with its subject -- not going too deep, while still providing a replete and entertaining document of the challenge which exists apart from the participants. Neither founder participates anymore, though McCloud is interviewed extensively throughout the movie. There are tales you will wish had been followed after the marathon, and creators you will want to know more about, but Erceg remains focused on the 24 Hour Comic Challenge itself, and skillfully captures it.

24 Hour Comic is available for pre-order on iTunes, and hits VOD platforms July 11^th. I highly recommend it to fans, and non-fans alike.

© The Weirding, 2017

Rob Cohen's Razor Adaptation Gets Greenlight

Razor

Rob Cohen's adaptation of the Razor comic series has been given the greenlight by Number 11 films in partnership with Lotus Entertainment.  Cohen is best known for the Fast and the Furious franchise, as well as xXx.  Cohen claims to have loved the series since its release.  Razor has sold some 6mn copies worldwide.


© The Weirding, 2017

Biff to the Future #1

Biff to the Future #1

© The Weirding, 2017

10 BEST ADVICE FOR HOLLYWOOD SCREENWRITERS

Many people looking to break into Hollywood seek advice, and most advicers out there are very serious. By coupling my limited experience with my extensive knowledge of stereotypes and sweeping generalities, I have written 10 VERY GREATEST ADVICES FOR HOLLYWOOD SCREENWRITERS* that you can take to heart. I included expressive emoji for actor "hyphenates" so they can follow along.
* This advice might not help you get a job or sell a script.

1. CASTING
Ask yourself two questions:

"Do I want to do The Sex with this actor?" and, "Do I have ANY CHANCE of doing The Sex with this actor?"

If the answer to either is "No," that actor is not right for the part because they are not serious about their craft. 💆

2. DRUGS 
You hear a lot of tragic stories about hopeful, young creatives moving to Hollywood to pursue their dreams only to become hooked on The Dope. They lose their way, their money, and their careers. The key to avoiding this is buying a lot of drugs at once so you get a discount price, then sell them to the aforementioned people. 😎

3. SUCCESSFUL PITCHES
Bring a gun to your meeting. Lay it on the desk, conference table, or your lap BEFORE pitching. 🙌

4. NETWORKING
Find a way to draw attention to yourself. If you do not live in LA, consider repeatedly disrobing in, or near, high-traffic areas. If you are already in LA, you will need to find another way to set yourself apart from the crowd. See #2. 👯

5. FALLING IN WITH THE WRONG CROWD
Also known as musicians and actors. HIGHLY RECOMMENDED +++++ 🎸

6. MAINTAIN A PROFESSIONAL ATTITUDE
The truth is that everyone talks shit, especially in showbusiness. The key to a successful career is learning how to do so PROFESSIONALLY:

If you only talk trash about others' work, you can call it "CONSTRUCTIVE CRITICISM" and hook a job as a D-person; if your trash-talk is political in nature, you are a shoo-in for cable "news" networks, talk radio, and awards shows; if your shit-talking is petty, facile, humorless, and personally-motivated, you can submit it to SNL for immediate Consideration. 💩

7. OWN A CAR
Nobody walks in LA, yet no one owns a car. Request ridiculous amounts of "gas money" from "friends" you drive to auditions and meetings. Use that money to buy drugs you can then sell to said "friends" following their rejection. Be sure to leave these people at their destinations so they are forced to call and ask you to pick them up - that way you can charge them for gas money TWICE. Also, you have a place to sleep. 🚙

8. ALWAYS CARRY AN UMBRELLA
The weather never changes in Southern California, but you should always be prepared! People will think of you as, "That asshole with the umbrella" - until it rains!

Then you will become known as, "That asshole RENTING the umbrella." 💦

9. KNOW YOUR DEADLINES
You will need time to rehearse your excuses when you miss them. ⏰

10. DEALING WITH ACTORS
Don't. 💀

I hope you find these advice helpful. Some may say these are "bad advices" from a "bitter cynic" who is "procrastinating" instead of "working." Those people are not the boss of you - and, if they are, they should be avoided. Should this post disappear or be reported, it is because THEY do not want you to know the keys to Hollywood success. Enjoy being creative and work harder at being happier.

If you need help with that, hit me up - I'm the guy by the car with the umbrella. 👍

© The Weirding, 2017

The Euro Theatre - Tribute

© The Weirding, 2017

A.D. - After Death Licensed for Feature by Sony

A.D. - After Death

A.D.: AFTER DEATH, a three-part epic series published by Image Comics, has been acquired by Sony to be developed into a feature film. Writer Snyder and illustrator Lemire will serve as Executive Producers on the project. Josh Bratman of Immersive Pictures will work alongside Eric Fineman at Columbia to produce the film.

A.D. is set in a future where a genetic cure for death has been found. One man, years after the discovery of the cure, starts to question everything, leading him on a mind-bending journey that will bring him face-to-face with his past and his own mortality.

A.D. is the first project Snyder and Lemire, longtime friends and both acclaimed and bestselling comic creators in their own right, have worked on together. This is the first project Lemire has illustrated that he has not also written. Book 1 was published November 2016, with Book 2 available December 21, 2016.

© The Weirding, 2016

Lion King, Roger Rabbit Added to National Film Registry

Walt Disney's The Lion King and Who Framed Roger Rabbit? have been added to the National Film Registry as of 2016. The NFR selects films that are at least 10 years old and bear some cultural significance for inclusion into its base of currently 700 classic films. Some other notable 2016 additions include Alfred Hitchcock's The Birds, The Decline of Western Civilization, The Breakfast Club, and Thelma and Louise.

The National Film Registry selects 25 titles annually for inclusion, many of which are taken from nominations by the public. Recent years have seen the addition of 1984's Ghostbusters, Ferris Bueller's Day Off, and other, modern classics, as well as time-honored films from throughout the age of cinema.

© The Weirding, 2016

Watch Aeon Flux (2005) Streaming Free on TubiTV

Aeon Flux

You can watch Aeon Flux (2005 movie) for free on Tubi.TV. You have to disable your adblocker to do so, but you do not have to signup or sign in, and it is free. Unfortunately, I cannot embed the film here, but the link above takes you directly to the movie.

© The Weirding, 2016

Time to Rock n Roll!

This particular scene is from 1987's Slumber Party Massacre II. The B-Raters watched it some time back so, if it intrigues you, be sure to check out our commentary on the movie.

© The Weirding, 2016

The B-Rater vs. Snowbeast

The B-Rater vs. Snowbeast

Pour yourself a nice cup of hot chocolate, pull-up a copy of Snowbeast on ye olde YouTubes, then throw your whole computer in a fire because this movie sucks! 

Filmed in the late 1970s on what can only be termed a "filthy hippie commune," numerous unshaven actors amble through their lines before a guy in a monkey outfit breaks a window.

Produced during the height of the Yetisploitation madness, Snowbeast is so awful, it single-handedly drove the Bigfoot population back into hiding.

They say time flies when you're having fun, so extend your holiday vacation by watching The B-Rater vs. Snowbeast.

© The Weirding, 2015

The B-Raters vs. Silent Night, Bloody Night (2015)

The B-Raters vs. Silent Night, Bloody Night

Tonight is the end of The B-Raters' third season, and The War on Christmas suffers a fatal blow with The B-Rater vs. Silent Night, Bloody Night! Black Peter (I swear to God) is going house to house, slashing-up chicks or people or bad children or something. A good, old-fashioned, '80s slasher, Silent Night, Bloody Night gets going around 9:30pm Central on The Weirding @ YouTube.

The B-Raters returns January 5^th, 2016, with New Years' Evil.

© The Weirding, 2015

The B-Raters vs. Cathy's Curse

The B-Raters vs. Cathy's Curse

The B-Raters vs. Cathy's Curse will be the first riff the group has done on their new night and time!  The B-Raters has moved to Tuesday nights at 9:30pm CT.  It will be seen at this time from now on.

You can find The B-Raters on The Weirding YouTube.

© The Weirding, 2015