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Stokes's Bristol Nightclub incident in detail (From: The Comeback Summer by Geoff Lemon)

IF YOU’RE LOOKING for a place where misadventure could begin, you can’t go past Mbargo. The nightclub’s streetfront is painted a purple so bright you’ll see it in your dreams. Strings of giant sequins shimmer in the breeze. Its phonically inventive name is spelt in silver letters that climb its three-storey terrace facade. Inside are strips of burning neon, a few booths, floorboards so marinated in drink that they have an ingredients list. Bristol is a student city on England’s south coast crowded with music and nightlife and street art. This is Banksy’s home town, and the tourism board suggests in rather strong terms that ‘you would be a fool not to see his amazing work firsthand’. The same organisation describes Mbargo as ‘intimate’, which is fair for a place where you can catch an STI standing up. Students cram into its modest dimensions while people with names like DJ Klaud battle for billing with £1.50 drink deals over seven sloppy nights a week. To get a sense of the story about to come, consider that it’s the kind of place open until two o’clock on a Monday morning, and that at two o’clock on a Monday morning, Ben Stokes still thought it had closed too early.
The Ashes of 2017–18 had disciplinary bookends. It was after that series that Australia’s two leaders went off the rails in South Africa. It was a few weeks before that Ashes tour that England’s biggest star windmilled his way into his own disaster.
In the early hours of 25 September 2017, Stokes and teammate Alex Hales were barred from re-entering Mbargo after a night out on the piss. A Sunday thrashing of an abject West Indies in an ignored series at the fag-end of the season apparently required ample celebration. After arguing with the bouncer and hanging about at the door for a while, they wandered off to find a casino in the hope of more drinking. They’d barely made it around the corner before getting in the middle of a conflict between four locals. As is said on the internet, it escalated quickly.
The 26 September reporting was bloodless. Withholding names, police stated that a man ‘was arrested on suspicion of causing actual bodily harm’ while another went to hospital with facial injuries. England’s director of cricket Andrew Strauss separately confirmed that Stokes was the arrestee, adding that he had been released without charge and that Hales had gamely offered to ‘help police with their enquiries’. Administrators had a good chance of hiding behind that investigation, and the next day Stokes was named in the upcoming Ashes squad as expected. But that night the video emerged.
Bristol student Max Wilson had shot it on his phone, then offered it to The Sun. What he thought was playing hardball was actually lowball: his opening price of £3000 was snapped up by a tabloid that would have paid ten times that. The Sun went on to make a mint by syndicating the rights worldwide. From a window above the fray, the vision showed six men on the street below performing the muddled choreography of a melee. One was right at the centre of it. One was waving a bottle, one dipped in and out, one tried to calm it. Two others floated around the edges. The central figure was unmistakable: red hair burning even in the streetlight as he launched into a series of blows against two of the men, falling to grapple with them on the ground, then following both across the street, swinging punches the whole way. Hales trailed behind, repeatedly and impotently shouting ‘Stokes! Stop! Stokes! Enough!’ The ECB could fudge issues that existed only in thickets of legalese, but not those captured in moving colour. Stokes was stood down from the next West Indies match, then suspended indefinitely. It emerged that he had broken his hand during the fight, something he’d done twice before while punching objects in dressing rooms.
The response in Australia was fierce: Stokes was a thug, a lowlife, a selection that would disgrace England. It was not entirely coincidental that a ban for England’s best player would be handy for the Aussie team, but there was also a cultural split. In England, plenty of people still minimise pub fights as lads letting off steam. In Australia, heavy media coverage as a succession of young men were killed had inverted that tolerance. The discourse now saw any punch as potentially deadly and accordingly reckless. This was more poignant in a cricket context given that David Hookes, the dashing Test batsman and state coach, was killed in 2004 by a pub bouncer’s fist.
The PR situation was bad for Stokes as details emerged of the injuries to the men he’d hit, and that one was a young war veteran and father. Stokes wasn’t officially removed from the Ashes squad through October but stayed behind when his teammates left, hoping for police to dismiss the matter in time for a late dash to Australia. His annual contract was renewed on the due date in case that came to pass. Then 29 October brought a twist in the tale.
‘Ben Stokes praised by gay couple after defending them from homophobic thugs,’ ran the headline. Kai Barry and Billy O’Connell had emerged. Not entirely out of nowhere: while Stokes had made no public comment, this story in his defence had initially been leaked to TV host Piers Morgan after the fight, as soon as the video appeared. Police body-camera footage played in court would later show that Stokes had given the same story to the arresting officer on the night. But no-one knew the identities of the fifth and sixth men in the video, and police appeals had turned up nothing.
It was The Sun again with the breakthrough. Kai and Billy were perfect for a readership not keen on nuance. ‘We couldn’t believe it when we found out they were famous cricketers. I just thought Ben and Alex were quite hot, fit guys,’ said Kai, who was memorably described as a ‘former House of Fraser sales assistant’. The paper had the pair do a full photo shoot: layering the fake tan, showing off chest waxes, mixing Ralph Lauren and Louis Vuitton into a range of outfits. Their best shot had them standing back to back, heads turned to the camera, in a mirror-image Zoolander moment.
Suddenly The Sun was the England team’s best friend. ‘Their claims could lead to the all-rounder being cleared over the punch-up and freed to play in the First Test in Australia next month,’ it gushed, then gave a tasting platter of quotes: ‘We were so grateful to Ben for stepping in to help. He was a real hero.’ ‘If Ben hadn’t intervened it could have been a lot worse for us.’ ‘We could’ve been in real trouble. Ben was a real gentleman.’ Would it be known forever as Kai and Billy’s Ashes? No. While the Bristol boys provided spin for Stokes’ reputation they didn’t influence the police. With charges still pending there was little choice – not given Strauss had previously sacked Kevin Pietersen for being annoying. Stokes remained suspended through the Ashes and a one-day series in Australia, and lost the vice-captaincy. It was January 2018 before the Crown Prosecution Service laid a charge.
That charge surprisingly came in as affray, a crime that can carry prison time but is classified as ‘a breach of the peace as a result of disorderly conduct’. The men he had punched, Ryan Ali and Ryan Hale, faced the same count, charged as equal participants in a fight rather than Stokes being charged with assaulting them. Alex Hales was not charged, despite being seen in the video to aim several kicks when Ryan Ali was lying on the ground. Given the underwhelming standing of the offence, Stokes was cleared by the ECB to tour New Zealand, and kept playing until his trial in August 2018, which he missed a Test to attend. None of the three defendants would be convicted.
The reasoning behind the charges was never released and was attributed vaguely to ‘CPS lawyers’. The service gave the case to Alison Morgan, a prosecutor of a class known as Treasury Counsel who usually handle serious criminal matters. Morgan had a scheduling clash and never ended up court for the case, but in 2018 and 2019 she would go on to win damages and admissions of libel from The Daily Mail, The Times and The Daily Telegraph variously for incorrectly reporting that she had been responsible for the inadequate and inconsistent charging decisions.
Morgan’s successor on the case was Nicholas Corsellis QC, who on the first day of trial was permitted by the CPS to request two assault charges be added against Stokes. ‘Upon further review,’ claimed a CPS statement, ‘we considered that additional assault charges would also be appropriate.’ This was patent nonsense from the service that eight months earlier had chosen the lesser charge. Any lawyer knows that no judge will allow new charges once a trial has begun, because the defence hasn’t had time to prepare. But such a request could deflect criticism of the prosecution service by technically making the judge the one who disallows the charge.
Working through the story from the trial and the tape is complicated. You had a Ryan and a Ryan, a Hale and a Hales, a Billy and a Barry and a Ben. You had several versions of events as to who knew whom, who was drinking with whom, who had insulted whom and who had merely engaged in ‘banter’, a word that in modern Britain has to do an unconscionable amount of lifting. The reporting had constantly mixed up the Ryans as to who had which injury, who was in hospital, who had played which part in the fight, and whose mum had which stern words to say about it.
Let’s agree that from now Ryan Ali is Ryan One, the firefighter who ended up with a fractured eye socket and a cracked tooth. Ryan Two can be Ryan Hale, the soldier who scored concussion and facial lacerations. Mr Barry and Mr O’Connell are best known per The Sun as Kai and Billy. In scorecard parlance we’ll leave the cricketers as Stokes and Hales.
Amid the confusion, Stokes and his lawyers built his case in a straightforward way. The UK legal definition of affray is ‘if a person threatens or uses unlawful violence or force towards another person, which causes another person of reasonable firmness present at the scene to fear for their safety’. That means it doesn’t account for violence that harms a target, but violence that might frighten a theoretical bystander. The wiggle room for Stokes was with ‘unlawful’, because the charge excuses violence in defending oneself or others.
This interpretation hinged on the beginning of the video, where Ryan One waves a beer bottle about and takes a swing at Kai. The version from Stokes was that he was minding his own business walking down the street when he heard homophobic abuse. He intervened verbally and was threatened verbally by Ryan One – something that Ryan One denied but that couldn’t be proved or disproved. In fear for his safety Stokes had to nullify that threat by bashing Ryan One before it went the other way. He registered Ryan Two in his peripheral vision as another possible threat, and again had only one recourse.
Stokes also had to convince the jury to disregard testimony from Mbargo’s bouncer that he had been looking for a fight. A solid lump of a man, Andrew Cunningham had not enjoyed his patron’s attempts to get back into the club after the bouncer declined an offer of a bribe. ‘He got a bit verbally abusive towards myself. He mentioned my gold teeth and he said I looked like a cunt and I replied, “Thank you very much.” He just looked at me and told me my tattoos were shit and to look at my job.’ Cunningham described these words as coming in ‘a spiteful tone, quite an angry tone’, and said that Stokes still seemed angry as he walked away.
These were details the doorman had nothing to gain by inventing, but each of them Stokes denied. By his own accounting he had drunk a beer at the game and three pints at his hotel, then ‘potentially had some Jägerbombs’ along with half a dozen vodkas at the club. He insisted that after all of this he was not drunk.
If I may take a moment here to call upon the wisdom of experience – a person who cannot definitively say whether they have had any Jägerbombs has definitely had some Jägerbombs. A Jägerbomb is an experience that does not pass one by. Further to that, a person who says they have ‘potentially’ done something has definitely done that thing and doesn’t want to admit it. A person who has had between 15 and 24 standard drinks in one evening is shitfaced. A person who tries to bribe a bouncer £300 – three hundred quid! – to get into Mbargo – Mbargo! – is beyond shitfaced.
If Stokes admitted that he was drunk then the prosecution could say he was out of control. He claimed clear recall of assessing a threat, feeling fear and deciding to protect himself with force. He confidently denied details from the bouncer’s testimony, like using the word ‘cunt’ or mentioning gold teeth. Yet on other details he claimed a ‘significant memory blackout’. He didn’t remember the punch that saw Ryan One taken away by ambulance. He didn’t remember what the Ryans had said to Kai and Billy, only that those words were homophobic. With no head injury, as one of the few people who hadn’t been hit, he had supposedly suffered this memory loss despite being sober.
The version from Kai and Billy was compatible but vague: they had been walking along, they ‘heard … shouts’ of abuse from an unspecified source, then Stokes ‘stepped in’ and thus they avoided possible harm. They claimed to have been bought a drink by Stokes at Mbargo, although CCTV showed them meeting outside. The overall implication from both accounts was that the cricketers had been pals with Kai and Billy, while the Ryans as per The Sun’s headline were a roving band of thugs.
The reality though is that the Ryans were the ones hanging out with Kai and Billy at Mbargo. Police discussed CCTV from inside the club in questioning and at trial. On that footage the four Bristolians bought drinks for one another, danced together, and Kai was noted to have variously touched Ryan Two’s crotch and Ryan One’s buttock. Ryan One told police that all of this was taken lightheartedly and wasn’t a problem. Indeed, when the Ryans called it a night the other two left with them.
This much is clear from footage out the front of Mbargo, which shows Kai and Billy exit the club and start talking with a subdued Hales and a demonstrative Stokes, who are stuck outside. The vision was played in court to determine whether Stokes was antagonistic towards Kai and Billy, as he appears to impersonate them and to throw a lit cigarette their way. More interesting is that after a few minutes the Ryans emerge, and all six actors in the fight video briefly form a prequel in the one frame.
Ryan Two pats Billy on the chest in friendly fashion with his right hand before clapping him on the back with his left. He moves past and does the same to Kai before leaving the shot. Ryan One stops to speak to Kai. They lean in for a moment, talking, then Kai turns and they walk out of frame together. Billy hangs around for a few seconds at the door and then looks after them and races to catch up. Stokes and Hales remain outside the club to remonstrate further with the bouncers. Whatever discord develops around the corner is between four men who left amicably together minutes earlier.
There’s no way to know what caused that friction. If Ryan One did use homophobic slurs, he might have been drunkenly obnoxious for no reason. He might have had an insecure macho response to some extra flirtation. He might have thought unkindness was funny – ‘banter’ once again. Or he might have said something that was misunderstood, as both Ryans insisted in court that they had not used nor had the impulse to use any abusive language.
What clearly didn’t happen was an attack by bigots on random passers-by. This kind of crime is regular enough that an audience understands the horror of it, and this is what was evoked by the public accounts of Stokes, Billy and Kai. All we know is that there was some verbal dispute among the Bristol locals, and that Stokes came along behind them and put himself in the middle of it. Ryan One responded to the interference aggressively and away they went. There are plenty of reasons to look sideways at the idea that Stokes was a saviour. Foremost, neither Kai nor Billy was called upon as witnesses in court. You’d think it would be ideal to have Stokes’ story backed up by those who benefited from his selflessness. But his defence team had developed the impression that the pair had shown a changeable recall of events amid a hard-partying lifestyle, and would be dismantled by the prosecution on the stand.
That raises the question of whether The Sun coached their quotes for the 2017 interview. Despite missing court, Kai and Billy clearly enjoyed the attention. In 2018 after the trial they did a follow-up spread in the same paper about how poor Ben had been mistreated. They got a television spot on Good Morning Britain and glowed about his heroism. In 2019 The Sun wheeled them out once more to say that Stokes should get a knighthood. In 2017 they had ‘never watched cricket’ but by 2019 were supposedly volunteering sentences like, ‘He saved us, now he’s saved the Ashes.’ Whether they were paid for these appearances is not known, but the chance to be famous for a day can be lure enough.
If you find this cynical, consider that on the night in question, the Bristol boys were so deeply moved and thankful for Ben’s intervention that they left him to be arrested and never attempted to find out who he was. Seconds after the video ended, an off-duty policeman reached the scene. You might think that someone grateful to a saviour would speak on his behalf. Instead, said Kai, ‘it all got a bit scary so we walked off. It was too much for me and we went to Quigley’s takeaway for chicken burgers and cheesy chips.’ They didn’t give their hero a thought for over a month while police issued multiple appeals for witnesses.
As for Stokes, he told his arresting officer that ‘his friends’ had been attacked. After three minutes of chat outside a nightclub, these friends were so dear to him that he has never contacted them again: not after the newspaper piece, not after the verdict. He didn’t want to see how they were or thank them for their support. He didn’t mention them by name in his solicitor’s statement after the trial.
The Stokes defence rested on Ryan One’s bottle, which he had carried out of Mbargo to finish a beer, not to use in a Sharks versus Jets amateur production. But once he turned it over to hold it by the neck it became a weapon. Intent and interpretation can change the material nature of things. Part of Stokes’ justification in court was that the bottle implied that the two Ryans might have ‘other weapons’ hidden away. You can understand how a jury could decide that created doubt.
Not being convicted, though, doesn’t give the contents of the video a big green tick. It does not, as his lawyer claimed, vindicate Stokes. Looking in detail, Ryan One is belligerent but his movements telegraph a bluff. Hales is the person he’s gesturing at, but they’re several metres apart when Ryan One cocks his arm ostentatiously, showing off the bottle rather than bracing to swing. He skips forward but Hales skips back and Ryan One doesn’t follow. Kai stretches out an arm to impede Ryan One, who has a drunken stumble, nearly eats pavement, then staggers towards Kai and hits him in the back. That hand is still holding the bottle, but his strike is a side-arm cuff on a soft part of the body. It’s all pretty tame.
This is where Stokes gets involved. Having moved across to protect Hales, he now takes three large steps to run around Kai and booms his first punch at Ryan One. They fall to the ground and the bottle clinks away. Stokes gets to his feet to punch down at the fallen man, while Hales arrives to kick him ineffectively then runs off across the street for some unknown reason. Ice-cream van? Stokes is soon back in the grapple having his shirt pulled up to show off his Durham tan. Ryan Two steps in for the first time to pull Stokes away, prompting a couple more random punches at this new target, then Stokes trips backwards over Ryan One and sprawls in the street. Hales chooses this moment to return and aim some solid kicks at the head of the man on the ground. Nothing so far is a triumph of moral philosophy or the pugilistic arts. But if it all stopped here, perhaps you could say it was somewhere approaching fair. Ryan One has behaved like a turnip and it’s not an entirely unjust world that would give him a whack across the chops. The antagonists have disentangled, Stokes has some distance, it’s time to dust off and go home. Ryan Two steps forward for this purpose with his palm raised in conciliatory style and says, ‘Settle down, stop.’
So Stokes punches him.
It’s roughly his fifth punch overall, and he really winds up into this one. He misses so hard that he stumbles away into the shadows of the shop awnings along the road.
Hales starts shouting for him to stop. Ryan Two backs into the street, still holding his palm up. Stokes closes on him from about five metres away, six large steps, to where Ryan Two is standing on his own. Stokes pushes him a couple of times, as Ryan Two keeps trying to placate him and saying ‘Stop.’ Stokes throws his sixth punch, largely missing as his target ducks.
Ryan Two keeps pulling away and reversing, into the middle of the street now. Stokes follows him, grabbing his sleeve to drag him back. By this point Ryan One has found his feet and walked around behind his friend. Both of them are in the same line of sight for Stokes, and both are backing away. Stokes aims his seventh and his eighth punches, which Ryan Two tries to deflect, as Hales walks up behind Stokes to grab him.
Stokes yanks away from his friend and switches to Ryan One instead, taking seven paces to grab him before throwing his ninth punch of the night. He grabs again; Ryan One blocks that arm and pushes himself back away from Stokes. Ryan Two again intercedes, putting himself between the two with his palms up and his arm extended.
Stokes throws his tenth punch, a right-hander at the face of Ryan Two, then shoves him backwards. Ryan Two backs away once more, four paces. Stokes follows, steadies, lines up, then launches his strongest punch yet, his eleventh, a proper right hook from a solid base, one that cracks across the man’s head and gives him concussion. Ryan Two ends up flat on his back in the middle of the street, his hands still outstretched for a moment in useless protest until they twitch and drop to the blacktop.
Stokes isn’t done. He once more shoves away the restraining Hales and follows Ryan One, who keeps backing away saying, ‘Alright, alright, alright.’ Five more paces from Stokes before another blow at the man’s head. Kai and Billy are now standing over the poleaxed Ryan Two. The video ends, but seconds later Stokes will punch Ryan One hard enough to knock him out too, before off-duty cop Andrew Spure arrives on the scene to bring down the curtain. When the body-camera footage kicks in some minutes later, Stokes is in handcuffs but Ryan One is still laid out in the street. Ryan Two has regained consciousness, folded his shirt under his friend’s head and is asking police for an ambulance.
‘At this point, I felt vulnerable and frightened. I was concerned for myself and others.’ This was how Stokes described that sequence to the court. An elite athlete with years of gym work and training to snap a bat through the line of a ball with astounding power and precision, swinging fists as hard as he can at men with none of those advantages. Punching so hard that he breaks his hand, and repeatedly shoving away a friend so he can punch some more. Frightened and threatened by two targets shouting ‘Get back!’ and ‘Stop!’
The off-duty officer testified that Stokes ‘seemed to be the main aggressor or was progressing forward trying to get to’ Ryan One, who was ‘trying to back away or get away from the situation’. The student who filmed the video can be heard on the tape at one stage exclaiming ‘Fuck!’ and testified that it was because ‘I felt a little bit sorry about the lad that had been punched and it looked like he had his hands up’. That tallied with the prosecutor’s depiction of ‘a sustained episode of significant violence that left onlookers shocked at what was taking place’.
The defendant stuck to his strategy. ‘No, my sole focus was to protect myself.’ All up, in the 33 seconds of footage after he falls over, Stokes takes 35 steps forward to keep hitting two men who keep trying to get away. Not once is he hit back.
After the verdict, Stokes’ solicitor positioned him as the victim. It had been ‘an eleven-month ordeal for Ben … The jury’s decision fairly reflects the truth of what happened that night … He was minding his own business … It was only when others came under threat that Ben became physically engaged. The steps that he took were solely aimed at ensuring the safety of himself and the others present …’ The statement was impossibly self-righteous and self-absorbed.
If there was anyone to feel sorry for it was Ryan Hale, the second of our two Ryans. He’s the one who emerged from the club with a friendly arm around the shoulder for Kai and Billy. He’s the one who interposed himself to end the fight, then kept putting himself back in the firing line, trying to calm an intimidating stranger while dodging blows. For his show of restraint he got laid out regardless, concussed in the street, then was issued a criminal charge equal to that of the man who hit him, and described in national media as a violent bigot in an untested story to support that man’s defence.
Lawyers for Ryan Two made a more convincing post-trial statement, noting that Kai and Billy, ‘neither of whom were relied upon by the prosecution or the defence team for Mr Stokes, have taken the opportunity to speak with various media outlets about the alleged homophobic abuse that they received in the early hours of September 25. Mr Hale has passionately denied this allegation throughout the course of this case,’ it continued.
‘It is upsetting to Mr Hale that although he was acquitted, the accusation that he was the author of such abuse remains. Both Mr Hale and Mr Ali were knocked unconscious by Mr Stokes, and although Mr Stokes has been acquitted of an affray, Mr Hale struggles with the reasons why the Crown Prosecution Service did not treat him as a victim of an unlawful assault.’Good question. Avon and Somerset police were the investigating force, and they were frustrated by the decision. Ryan Two was filmed clearly not hurting anyone, but police were instructed by the CPS to proceed with a charge. Hales (the cricketer) was filmed fighting but ‘a decision was made at a senior level of the CPS’ not to proceed. Police expected Stokes to be charged with assault but the CPS declined. It doesn’t take a wild cynic to think that placing the same lukewarm charge on three men for vastly divergent behaviour might ensure that none would be convicted, even as the trial would maintain the pretence that a defendant of influential standing had not been given a free pass.
A couple of years down the line, the original interview with Kai and Billy has disappeared. All traces have been scrubbed from The Sun website, its social media history, and even from the Wayback Machine internet archive. Given its headline of ‘homophobic thugs’ and text that names Ryan Two but not Ryan One, the libel liability isn’t hard to spot. Later interviews with Kai and Billy take the passive voice – they ‘suffered homophobic slurs outside a Bristol nightclub’.
The article that was once claimed to exonerate brave Ben Stokes now links only to a missing content page, with a picture of a dropped ice-cream cone and the phrase ‘legal removal’ inserted into the web URL. In terms of consequences, Stokes missed one tour. When he resumed his career in January 2018, the Australians hadn’t yet ruined theirs. Their year-long bans looked much more stringent. But the Stokes case dragged on in other ways. With no criminal liability, the Australians confessed promptly enough for the sporting world to give them the full length of the lash. Their situation was ugly but there was closure. Stokes got stuck in legal stasis, unable to be fully backed or condemned. Instead his issue was always present, a browser full of open tabs that the ECB swore they would read any day now.
Through 2018 Stokes was back but he wasn’t back, in the sunglasses and finger-guns sense. In his return one-day series he nearly cost England a match with 39 from 73 balls in Wellington. His first Test hit was a duck as England got rolled in Auckland for 58. At Trent Bridge while Stokes was injured, England posted a world record 481 against Australia. With Stokes three weeks later at the same ground they made 268. He crawled to 50 from 103, the second-slowest any Englishman had reached that milestone in 20 years. That span covered Alastair Cook’s whole career. It was apologetic batting, acting out responsibility via the scorecard. Stokes was creeping back into the team like he’d been kicked out in a blazing row and was hoping to tip-toe to the sofa.
It was December 2018 before the ECB disciplinary committee ruled on him and Hales. In a ‘remarkable coincidence’, wrote Simon Heffer in The Telegraph, ‘the punishment both players faced in terms of bans from playing at international level was covered by the amount of games they had already missed when dropped by England’s selectors, in the furore that followed the incident’. The verdict compounded the omissions around the case by not addressing the violence at its heart. Nor did Stokes, apologising only ‘to my team-mates, coaches and support staff’, and then ‘to England supporters and to the public for bringing the game into disrepute’.
The implicit next step was to rebuild that reputation. It might have been easier had his court defence not meant that he wasn’t game to admit any fault at all. It might have been easier if he or his advisers had been willing to change tack once the trial was done. Imagine a world where Stokes had stood outside court and apologised for overreacting, for the injuries he’d caused, and for the time and energy he had sucked out of other people’s lives. That would have been a show of responsibility beyond a scorecard. When the time came around to assess forgiveness, it might have meant forgiveness was deserved.
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The USA PATRIOT Act: The Story of an Impulsive Bill that Eviscerated America's Civil Liberties

The USA PATRIOT Act provides a textbook example of how the United States federal government expands its power. An emergency happens, legitimate or otherwise. The media, playing its dutiful role as goad for greater government oversight, demands "something must be done." Government power is massively expanded, with little regard for whether or not what is being done is efficacious, to say nothing of the overall impact on our nation's civil liberties.
No goals are posted, because if targets are hit, this would necessitate the ending or scaling back of the program. Instead, the program becomes normalized. There are no questions asked about whether the program is accomplishing what it set out to do. It is now simply a part of American life and there is no going back.
The American public largely accepts the USA PATRIOT Act as a part of civic life as immutable, perhaps even more so than the Bill of Rights. However, this act – passed in the dead of night, with little to no oversight, in a panic after the biggest attack on American soil since Pearl Harbor – is not only novel, it is also fundamentally opposed to virtually every principle on which the United States of America was founded. It might not be going anywhere anytime soon, but patriots, liberty lovers and defenders of Constitutional government should nonetheless familiarize themselves with the onerous provisions of this law, which is nothing short of a full-throttle attack on the American republic.

What’s Even in the USA PATRIOT Act?

What is in the USA PATRIOT Act? In the Michael Moore film Fahrenheit 9/11, then Rep. John Conyers cracked wise about how no one had actually read the Act and how this was in fact par for the course with America's laws. Thus, before delving into the deeper issues surrounding the PATRIOT Act, it is worth discussing what the Act actually says. Here’s a brief look at the 10 Titles in the PATRIOT Act:
Most of the provisions of the USA PATRIOT Act were set to sunset four years after the bill was passed into law. However, the law was extended first by President George W. Bush and then by President Barack H. Obama. The latter is particularly scandalous given that, at least in part, a rejection of the surveillance culture that permeated the Bush Administration was responsible for the election of Obama in 2008.

Passing the USA PATRIOT Act

Next, it’s important to remember the environment in which the USA PATRIOT Act was passed: Post-9/11. It is not the slightest bit of exaggeration to label the environment in which the PATRIOT Act was passed as “hysterical,” nor is “compliant” a misnomer for the Congress of the time. Opposition to the Act was slim and intensive review of one of the most sweeping Acts of Congress in American history was nonexistent.
All told, Congress took a whopping six weeks drafting, revising, reviewing and passing the PATRIOT Act. That’s less time than Congress typically spends on totally uncontroversial and routine bills that don’t gut the Fourth Amendment. The final vote found only 66 opponents in the House and one (Wisconsin Democrat Russ Feingold) in the Senate. The entire passage of the PATRIOT Act, from start to finish, took place behind closed doors. There were no committee reports or hearings for opponents to testify, nor did anyone bother to read the bill.
“Uniting and Strengthening America by Providing Appropriate Tools Required to Intercept and Obstruct Terrorism” is the bloated and overwrought full name of the bill, crafted by a 23-year-old Congressional staffer named Chris Cylke. This ridiculous name puts the focus not on the surveillance aspects or the erosion of basic civil liberties enshrined in Western society since the Magna Carta, but on patriotism. At the time of its creation, the messaging was very clear: Real patriots support massive intrusions on civil rights. As President George W. Bush said at the time, “Either you are with us, or you are with the terrorists.” This sentiment very much seemed to apply to American citizens.
While the argument that if you have nothing to hide you shouldn’t fear investigation is anathema in a Constitutional republic with regard to citizens, it should be standard operating procedure when it comes to our organs of government. If we cannot expect transparency from the United States Congress – elected officials charged with representing the will of the people and protecting the Constitution – then we certainly can’t expect it anywhere else.

The Unfortunate Growth of the USA PATRIOT Act

It’s no surprise to those in the liberty movement that given an inch, the government (in particular the military-intelligence community) took a mile. Even the nebulous definition of “terrorism,” largely centered around a long litany of acts rather than the motivation behind them, has expanded to include receiving military training from a proscribed organization (without actually committing any terrorist acts or even acts of violence of any stripe) as well as “narcoterrorism” – the latter particularly convenient, as the United States government continues its losing “War on Drugs.”
Indeed, in many ways, the War on (Some) Drugs was the template for the War on Terror. Both wars have no defined enemy, no defined terms of victory. Instead, they are waged against a nebulous concept, while enjoying bipartisan support for their ever-expanding budgets. What’s more, it didn’t take long for the Feds to start using the USA PATRIOT Act for things it was never intended for, including prosecuting the War on Drugs.
Perhaps the silliest application of the USA PATRIOT Act is the prosecution of Adam McGaughey. McGaughey maintained a fansite for the television series Stargate SG-1. The Feds charged him with copyright infringement and computer fraud. In the course of their investigation, the FBI leveraged the PATRIOT Act to get financial records from his website’s ISP. This was made possible by the USA PATRIOT Act amending the Computer Fraud and Abuse Act, allowing for search and seizure of ISP records.
The New York Times discovered in September 2003, that the USA PATRIOT Act was being used to investigate alleged drug traffickers without what would otherwise be sufficient probable cause. These were investigations into non-terrorist acts using a law ostensibly designed to investigate terrorism. There was some suspicion that the Act was being used to investigate crimes occurring before the Act was passed, violating the ex post facto clause of the United States Constitution.
In one of the biggest power grabs (excluding virtually everything we know from Edward Snowden – more on that below), the FBI sent tens of thousands of “national security letters” and procured over one million financial records from targeted businesses in Las Vegas. These businesses were primarily casinos, car rental bureaus and storage spaces. The data obtained included financial records, credit histories, employment records and even people’s personal health records.
The FBI maintains and databases this – and, indeed, all information collected through the USA PATRIOT Act – indefinitely. In the good old days before the PATRIOT Act, the Feds were compelled to destroy any evidence they collected on someone later found not guilty of a crime. Note that the aforementioned data collection brought to public attention by Edward Snowden (which, again – we’re getting to that) falls under this provision. Not only is the government collecting obscene amounts of private and personal information about you, they’re also storing it indefinitely with no plans to stop.
What’s more, the FBI has approached public libraries to turn over the records for specific terminals, collecting information not about specific users who might be under investigation, but about anyone who has ever used the computer at the public library. Libraries, to their credit, have been very much at the forefront of resistance against the PATRIOT Act, with some litigating compliance despite operating on small budgets and others posting “canary letters,” which effectively say “The FBI Hasn’t Been Here Yet.” The removal of such a letter would warn patrons that the FBI has been sniffing around in their records.
Indeed, the greatest criticism of the PATRIOT Act is the simplest and perhaps most obvious: Why does an Act ostensibly passed to fight terrorism so drastically expand the government’s power to investigate virtually everyone else? The PATRIOT Act is not merely unconstitutional, it is an unprecedented expansion of state power in the Anglosphere, a culture based on restricted government and the primacy of individual rights.
An excellent example of this is the Foreign Intelligence Surveillance Act (FISA) expansion. Most people are familiar with the term “FISA court,” but very few people actually know what it is – a special federal court created under the Carter Administration that grants approval of electronic surveillance of both citizens and resident aliens in the event that they are accused of acting in the service of a foreign power. The last part of this sentence is very important: The FISA courts are not simply for allowing surveillance of anyone that it might be expedient to collect information about. The scope of their powers is very, very limited.
Or was.
The PATRIOT Act lowered the burden of evidence required to obtain a FISA warrant for electronic surveillance and expanded the overall scope of the FISA courts. Any savvy federal agent can now drape his charges in the garb of (what else?) “national security” and obtain electronic surveillance privileges hitherto only dreamed of by investigators. FISA courts have become pliant tools in the hands of the Feds, gladly approving their requests to monitor phone and internet surveillance, as well as access to medical, financial and educational records.

The Future of the USA PATRIOT Act

Do we still need the PATRIOT Act? Did we ever? All laws are certainly a product of their times. But this seems much more acutely true of the USA PATRIOT Act, which was passed in a rush and under duress without due consideration.
Particularly in light of the revelations from Edward Snowden – that the government is spying on everything they possibly can – it’s worth asking if there’s any walking back. He points out that the police state apparatus was originally for drug dealers, then for terrorists, but ultimately ended up being applied to anyone and everyone.
What’s more, Bob Bullard notes another frightful aspect of the USA PATRIOT Act: Terrorism-related cases are not subject to the Freedom of Information Act. This means that there is little or no oversight. There is no surer hallmark of a police state than an all-powerful domestic surveillance agency with no transparency or oversight. While the USA PATRIOT Act might not create an American Stasi as such, it certainly paves the way for one.
Continue reading The USA PATRIOT Act: The Story of an Impulsive Bill that Eviscerated America's Civil Liberties at Ammo.com.
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Notes from WOR - Tony Khan Interview

Dave Meltzer and Bryan Alvarez interviewing with Tony Khan No need to make 20+ threads of quotes from an interview I've got you covered
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Boke and Hitch (redux)

Hitchcock is Bokenkamp’s greatest inspiration as a creator. No question.
We’ve covered a list of nods to Hitchcock we’ve seen in TBL. From time to time I like to drop in some quotes tying JB and Hitch together. That’s all this post is.
I’ve seen a number of references to films JB has been influenced by—Se7en, Silence of the Lambs, Oceans 11, Three Days of the Codor, Marathon Man, etc—but I’m aware of him referring to only two books: one that contains an interview with Hitchcock, and one about Hitchcock, and one he used as a basis for a screenplay. I think this sheds light on what kind of storyteller he is and what his priorities are.
Here are some relevant remarks JB made in a 2017 interview, which I have posted at least once previously, followed by some Hitchcock references (comments by and about) I pulled together recently. The Hitchcock references might strike a familiar note.
BOKENKAMP
“I’m not good at, ‘Ok, so these are the thematics. It’s a story about love and it’s about X’ .... I read in a book where Hitchcock was talking about movies. He said, ‘We develop a hardy plot and themes emerge as we go along.’ And I thought, Oh thank God. Somebody murdered somebody, they’re burying the body. Later you can go back and figure out, Oh, the body is a metaphor for his mother. I can’t think like that. I’m not smart enough to think that way. For me it’s the big moves. For me it’s about 4 big moves. Or 6. Or 2. Whether it’s an episode or a pitch or a script or movie, I find those moves and then fill in the details.”

Q: With Reddington and why he’s in Agent Keen’s life, what are the mythological archetypes?
A: When you say mythology, I really just mean backstory. I mean, who is —
Q: I thought you meant Joseph Campbell sort of —
A: No, I wish. Oh my God. Nah!
Q: — This is the messenger, and here are the different fairy tales that came from ...
Q: No, that feels very English 101. I’m not, I don’t know that stuff. I feel it: Ok, this is a man versus himself story, man versus nature ... I’m sure we tell those kinds of stories. What I mean when I say we go to the mythology, I just mean we dip into the larger backstory of, What’s really going on? In the X-Files: is the truth really out there? Every third of fourth episode they’d go ... Monster show, monster show, and then they’d have an episode: Here’s a story about these two people, and who are they really, what’s going on with them? So that’s kind of what we do. We flip back and forth. No, I wish we were doing full-on Joseph Campbell stuff. That’d be great.

“You’re borrowing pieces [from films you’ve seen] ... you find little touchstones, little signposts that get you excited. That you want to reference - not reference, rip off. Something like, I want to do something like that! ... look, if it’s a heist movie, I don’t know how I don’t think about Oceans 11. If we’re making a heist episode, what were some of the fun moves there? A sequence with all the people coming together and they all have a different role ... and then you try to make it as different and unique as you can.”
HITCHCOCK
Hitchcock: “I’m not concerned with plausibility. Must film be logical when life is not?”
Hitchcock: “Logic is dull.”
Hitchcock: “Plausibility for the sake of plausibility doesn’t help.”
Hitchcock: "To be quite honest, I am not interested in content at all. I don't give a damn what the film is about. I am more interested in how to handle the material to create an emotion in an audience."
Hitchcock: “Then, of course, the cleverness of the device of transvestism. I am aware that I am equipped with what other people have called a fiendish sense of humor.”
Hitchcock: “I could have made up three scenes just to give that woman a reason for being there, but they would have been completely uninteresting ... Let's be logical. If you're going to analyze everything in terms of plausibility and credibility, then no fiction film can stand up to that approach, and you wind up with a documentary ... To insist that a storyteller stick to the facts is just as ridiculous as to demand of a representative painter that he show objects accurately ... we should have total freedom to do as we like, so long as it’s not dull.”
Hitchcock: “If Pyscho had been in tended as a serious picture, it would have been shown as a clinical case with no mystery or suspense. The material would have been used as a documentation of a case history. We have already mentioned that total plausibility and authenticity merley add up to a documentary. In the mystery-and-suspense genre, a tongue-in-cheek approach is indespensible ... you have to go along with the idea that truth is stranger than fiction.”
Francois Truffaut: "In Hitchcock's personal form of cinematic storytelling, suspense ... plays an important role. [It is] the dilation of a span of time, the exaggeration of a pause, the emphasis on all that makes our hearts beat a little harder, a little faster."
New York Times: “Spinning his sophisticated yarns to create maximum tension, Mr. Hitchcock was not concerned with plausibility, which he regarded as no more important than the MacGuffin, the term he used for the device about which his suspense revolved, whether it be the secret or documents or whatever the villains were seeking or trying to protect.”
New York Times: "Detractors accused Mr. Hitchcock of relying on slick tricks, illogical story lines and wild coincidences, but he usually did not allow viewers time to ponder implausibilities because of the whiplike speed of his films."
New York Times: "Detractors acknowledged his technical expertise in entertaining, but faulted his films for lacking substance and significance, for moral opportunism and for being cynical, superficial and glib in their views of human nature."
New York Times: "Hitchcock was one of the cinema's great psychologists, not so much in his handling of character within his films, but in his handling of his audiences' responses: he seemed, in effect, to direct his audiences far more than he directed his films."
New York Times: "He was the great master of shock effects, of lulling audiences into a sense of security before hitting them hardest."
Vanity Fair:
Another myth about Hitchcock is that he was a perfectionist whose films are models of meticulous pre-production, surface plausibility, and narrative coherence. Using his celebrated storyboards (many of which are reprinted in Hitchcock’s Notebooks), he would map out the movie like an extended comic strip. The actual filming would be a faithful transference of his sketchbook to celluloid.
Hitchcock undeniably did his homework, but his homework often had a lot of holes. Reviewing Secret Agent (1936) in the London Spectator, Graham Greene noted such laughable absurdities as “the secret agent who loudly discusses his instructions in front of the hall porter of a Swiss hotel and who brandishes his only clue to a murder in a crowded casino,” and lamented, “How unfortunate it is that Mr. Hitchcock, a clever director, is allowed to produce and even to write his own films, though as a producer he has no sense of continuity and as a writer he has no sense of life.”
Hitchcock’s work was always glitchy. The critic Manny Farber cited “a speeding car in which the only thing moving is Ingrid Bergman’s overteased coiffure” in Notorious (1946); Rope has a scene in which Farley Granger, giving one of the worst performances of anyone’s career as a member of a Leopold-Loeb pair, smashes a glass he’s holding in a moment of fright and soon after sits down at the piano to play, both hands unbandaged (he would have been bleeding all over the keys); and Camille Paglia considered the New England accent of the shopkeeper in The Birds (1963), which is set in Bodega Bay, California, “a major gaffe.” In Hitchcock’s later work—papier-mâché puppetry of Cold War intrigue such as Torn Curtain (1966) and Topaz (1969)—the fakery (rear projections, tacky sets) showed Hitchcock unable to keep up a good front.
Recording such flubs is not to engage in revisionism at Hitchcock’s expense but to place his strengths and flaws in perspective. As Manny Farber wrote, “To put Hitchcock either up or down isn’t the point; the point is sticking to the material as it is, rather than drooling over behind-the-camera feats of engineering.” Hitchcock’s greatness is as a pictorial showman—a creator of billboards—not as a conscientious realist.
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An entire wiki page

Peacock Patricia "Peacock" Watson Gallery | Quotes | Move List Peacock action portrait by oh8-d2qigab.jpg Murder-Go-Round Information Peacock (JP: ピーコック) was originally a human girl by the name of Patricia Watson who was turned into an Anti-skullgirl biomechanical weapon by Dr. Avian. Her arsenal consists of the Argus System, a synthetic Parasite, and her "gang", which includes the Avery Unit, Andy Anvil, Tommy Ten-Tons, George Bomb, and Lonesome Lenny.
General Information Peacock is one of the original eight playable characters in Skullgirls, standing out as having the most (unique) assist characters, and was among the first characters ever conceived by Alex Ahad. Her backstory was revealed in detail in the "Meaner. Better. Faster. Stronger" Origin Story in Skullgirls Mobile. Her homestage is Lab 8.
Peacock is capable of aging. Some of her parts may need to be re-fitted because of this.
Peacock took up smoking after her transformation. They are imaginary cigars that are created in a similar manner to her other summons.
Alex Ahad has stated that Peacock will never stop believing in imaginary friends.
Peacock's favorite television program is "Annie: Girl of the Stars". She is shown to own merchandise from the show as she is seen wearing Sagan slippers while in her sleeping attire.
Personality Nothing sates Peacock's boredom more than a good cartoon and laying waste to anyone or anything in her sight. Brash, combative, and impatient, Peacock is easily the most outspoken and infamous member of the Anti-Skullgirl Labs, as well as the most prominent. Peacock is also, for the most part, optimistic and light-hearted, and considers imminent threats more of invitations to brawl. Her tendency toward violence is a reflection of both her tragic past and near-death experience as well as the cartoons she cherishes.
Despite having a damaged psyche, Peacock does not attack people out of sheer randomness or without provocation. Although rude and impersonal to fellow ASG Lab 8 members (and most people in general) superficially, Peacock still very much considers them family, and will go to certain lengths to protect them from harm (or in the case of her and Big Band's story mode, further harm). Dr. Avian was particularly close to Peacock, and his death sent her into an outrage to search for his murderer.
None, however, are closer to Peacock than Marie Korbel, her one true friend from her past and the Skullgirl she was tasked to destroy. In the end, she disposes of Marie as she was instructed, but personally sees to it that Marie's wish to end the Medici Mafia is carried out.
Character Basis Origin Peacock's dialogue and animations reference multiple cartoon eras, but chiefly feature 40's-50's era cartoon violence and slapstick.
Name Her true name is Patricia Watson, while she herself came up with Peacock. The word "peacock" is the more commonly known name of the peafowl, but is actually the term for the male bird.
The name Patricia is derived from the Latin word "patrician" and means "noble". Watson is a patronymic surname meaning "son of Walter". It should be noted that Walter means "ruler of the army", which accurately describes her relationship with her gang.
Being once close friends, Marie continues to address her as Patricia. Her gang typically refer to her as "boss".
Design Her natural eye color used to be green before they were gouged out by slave traders. The Argus System is Peacock's only means of sight, as the ones on her face are actually empty eye-sockets. The holes left are also a visual pun: Due to her design being based on American cartoons, her eye-sockets could easily be interpreted as though they are natural eyes; drawn in the style of a 1930's cartoon character. The joke is how similar styles of drawing can offer different perceptions on how something looks. Her references are similar to the 30's such as Mickey Mouse.
Her cartoon revolver bears resemblance to the Smith & Wesson Model 29, a .44 Magnum revolver made famous by Clint Eastwood's Dirty Harry.
In older design concepts, Peacock was intended to be a more "demented type" character, originally being envisioned as a scarred, sociopathic individual due to her experience as a slave. At one point, she was considered to be a boss alongside Marie. Her design was changed to be more 'cartoony' and lighthearted. These design documents also included references to her abilities being part magic with spells being carved onto her bones.
Story Patricia once lived with Marie in an orphanage, which was originally a nobleman's house, in Rommelgrad. Having to make do with what was available, both girls used to dress in maid outfits that they found within the house. At some point, they were captured by slave traders, but because Patricia was too defiant to be a slave, she was mutilated as an example to the others: Her eyes were gouged out, and she was also maimed.
Patricia before peacock.png Patricia as a patient at Lab 8 One year prior to the events of Skullgirls, Lab 8 teamed up with Lab 0 and the Last Peacock Hooded.png Patricia before becoming Peacock Hope to infiltrate the Medici warehouse said to be containing Rommelgrad's refugees. Although Valentine and the rest of her gang safely rescued the refugees, there was very little Valentine could do to repair the damage done to Patricia's body and was even willing to abandon her as a casualty of war. Big Band, however, believed that Dr. Avian would be of help and took the girl back to the Anti-Skullgirl Labs. The doctor informed him that Patricia would adapt well to her new eyes and that she would be walking in no time. Patricia became insistent on becoming an ASG soldier after the impression left on her by Lab 8's team. Despite that, Avian was wary about giving her too much power, while admitting her compatibility with the Avery Unit is strong. After some tests, Patricia's Argus System and Avery Unit were completely installed, and the combination proved to make her more powerful than the scientists had anticipated. Instead of being able to bend only space, Patricia could also bend other aspects of reality, spawning Tommy and Andy during her training. Eager to sign up for Lab 8's team, she assigned herself the name "Peacock".
She later vanished into the city with her gang, causing Lab 8's crew to worry immensely about her safety and condition after her surgery, and Stanley insisted that Big Band find her as soon as possible. Following her trail, Big Band stumbled upon an ice cream stand from which Peacock and her gang ate all of the ice cream except for Rocky Road. He considered this a clue, but later assumes that she was merely stress eating due to all the strange new occurrences happening to her all at once. He finally arrived at a movie theater, where he found the "clown car" that Peacock was said to have driven away in. As the vehicle appeared damaged, he burst into the theatre, assuming that the Medici may have returned for her. Peacock is revealed to be perfectly fine, having gone around the town because she felt she needed a break from the labs. The two begin to hit it off; although Big Band tells her she could have taken a break without causing property damage, they begin to connect through what they like most in a movie.
Ending: After defeating the Skullgirl, which turns out to be her best friend Marie, Peacock destroys the Skull Heart, though the skull heart claimed her act to be "foolish" and that this will "not be over". She and Marie have a friendly conversation before Marie disappears from the world, and Peacock vows to take revenge on the people who made both their lives miserable.
She is seen confronting the true head of the Medici family and his own secret weapon (Black Dahlia) and the two duke it out.
Abilities & Fighting Style With Peacock's physics-bending arsenal, nothing is sacred. She is a kind of character that will exploit any opportunity to its maximum and get away with it. No enemies of hers last long against her sharp eyes and sharper gun...blades. Her opponents last even shorter against her array of flower pots, baseballs, bowling balls, combustible toy cars, and countless other hazards that fill the air. Peacock never plays fairly, and isn't afraid to call in her goons to fight with her. In the rare occasions when Peacock can't topple her opponent, she can simply stall the battle until the timer runs out.
The Avery Unit has the power to “distort” which is a side effect of Peacock’s insanity. She can’t create things out of thin air, but rather modify Lab 8’s range of specialized arsenal. There are certain limits and her summons are only temporary. Her power is still growing so she may be able to summon more things in the future. This is suggested in Big Band's story mode, were he warns Peacock that she 'ain't ready' yet and has to be taught her 'limitations the hard way', but understands her potential in the future by saying 'we're gonna need those girls if we don't want to lose the last of the light'.
Trailer Skullgirls Introducing Peacock!Skullgirls Introducing Peacock! Color Palettes Peacock's Color Palettes.png Peacockcolors23-25.png "Rerun" - Default colors "Inkling" - Original colors "Untouchable" - Alucard (Hellsing) "Sketchy" - Original colors Original colors "Pea Shooter" - Lucky the Leprechaun (Lucky Charms cereal) "Dream Catcher" - Peacock's story mode intro pajamas "That's All Folks!" - Black-and-white cartoons "Freeze Frame" - Cirno (Touhou) Original colors Milk-Chan (Super Milk-Chan) Original colors Easy Default colors Hsien-Ko Original colors "Ultraviolent" - The Warden (Superjail) Inspector Gadget (Inspector Gadget) Sayaka Miki (Puella Magi Madoka Magica) Raspberyl (Disgaea series) - Indiegogo backer color ”Mean One” - The Grinch (How the Grinch Stole Christmas!) Princess Daisy (Super Mario series) Indian peafowl - Indiegogo backer color "Wildcard" - The Joker (DC Comics) - Indiegogo backer color Nonon Jakuzure (Kill la Kill) Annie Cuphead (Cuphead) Woody (Toy Story) Trivia Peacock's Ant Wasted move (c.MK) does not kill the ant, but rather the beam from the magnifying glass teleports it back to a safe area. In addition, all ants (if Peacock summons multiple through cancelling the move repeatedly) are the same ant, summoned from alternate universes. People who donated $50 to the Skullgirls Evo 2013 Breast Cancer Donation Drive could request a personalized voice mail message from one of the game's voice actors. Peacock's voice actress was requested to sing "Yakko's World" from the cartoon show Animaniacs and two versions of this cover exist, the original with the voice unmodified and the Lab Zero edit which has the voice modified to match the filter Peacock's voice has in-game.[1] The name of Peacock's "Robo With a Shotgun" move is a reference to the 2011 film "Hobo With a Shotgun," which in turn is based on a fake trailer in the intermission of the Quentin Tarantino/Robert Rodriguez double feature film Grindhouse. In an unused alternate ending, Peacock decides to "wish for something cool" and proceeds to make numerous outrageous wishes (such as turning the world's oxygen into chocolate), which the Skull Heart is unable to fulfill. Comically frustrated, she begins questioning its legend, and the Skull Heart laments that, in the thousands of years it has been doing its work, Peacock is the worst wisher it has met.[2] Peacock originally had an aerial move where she would fire one of her eyes off her Argus arms in a similar fashion to a bow and arrow. This move was dropped for being useless.[3] Peacocks's alternate title, The Murder-go-Round (and the full phrase from her character poster, "The 'Murder-go-Round' Broke Down") is a reference to the Looney Tunes theme song, from 1937 to 1969, known officially as "The Merry-go-Round Broke Down", reflecting her vintage cartoon theme.[4] Her Shadow of Impending Doom Level 3 - Avery drop is a reference to DIO's 'Road Roller Da!' super move from the 1998 arcade game JoJo's Bizarre Adventure. References ↑ Original Post of the Song Cover & Later Post with the Lab Zero Edit ↑ Alternate Unused Story Endings in the Game Data ↑ Skullgirls E3 2011 Peacock gameplay revealed - YouTube ↑ Wikipedia article v • d • e Skullgirls Games Main Editions Skullgirls • Skullgirls Encore • Skullgirls 2nd Encore Spin-offs Skullgirls Mobile Characters Main Cast Filia (Samson) • Cerebella • Peacock (Avery) • Parasoul • Ms. Fortune • Painwheel • Valentine • Double DLC Squigly (Leviathan) • Big Band • Fukua • Eliza (Sekhmet) • Beowulf • Robo-Fortune • Annie Other Adam • Aeon • Albus • Andy Anvil • Beatrix • Black Dahlia • Brain Drain • Delilah • Dr. Avian • Dr. Geiger • Feng • George Bomb • Grendel • Hive • Horace • Hubrecht • Ileum • Irvin • Isaac • King Franz • Lawrence • Leduc • Lonesome Lenny • Lorenzo • Marie • Minette • Molly • Mother • Mrs. Victoria (D. Violet) • Ottomo • Panzerfaust • Queen Nancy • Rachel Wong • Regina • Riccardo • Roberto • Roxie • Scythana • Selene • Stanley • Taliesin • Tommy Ten-Tons • Umbrella • Venus • Vitale • Yu-Wan • Misc. Archives Terminology Skullgirl • Skull Heart • Parasite • Living Weapon • Medici Mafia • Anti-Skullgirl Labs • Black Egrets • Cirque des Cartes • Fishbone Gang • The Last Hope • The Trinity Stages Streets of New Meridian • River King Casino • Medici Tower • New Meridian Rooftops • Rooftops Assault • NMO Arena | (Empty) • Bath of Tefnut | (Sekhmet) • Maplecrest • Nightmare Crest • Grand Cathedral | (Empty) • Final Atrium • Gehenna • Under the Bridge • Meridian Area Rapid Transit • Little Innsmouth | (Night) • Lab 8 | (Empty) • Glass Canopy • Class Notes • Sound Stage 15 Misc. System HUD • Controls • Basic Mechanics • Advanced Mechanics Extras Art Gallery • Marie 300% • The Typing of the Skullgirls Music Skullgirls Original Soundtrack • Skullgirls Original Soundtrack PLUS • Skullgirls Soundtrack Listing • In a Moment's Time • Hitomi No Kioku Character Quotes • Scripts • Galleries • Relationships • Move Lists Other Media SkullgirlS • Skullgals • Keep Skullgirls Growing! • Digital Art Compendium
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A Cinematic Guide to The Weeknd: Pt 3. My Dear Melancholy and After Hours

A Cinematic Guide to The Weeknd: Pt 3. My Dear Melancholy and After Hours

My Dear Melancholy

Gaspar Noe/Cannes Film Festival
The My Dear Melancholy era notable for being a time when The Weeknd was in proximity to a lot of serious directors. While he’s had a foot in Hollywood for awhile, 2017 through 2019 he was actively engaging with filmmakers like the Safdies Brothers, Gaspar Noe, and Claire Denis, amongst others. While he had been actively courting the Safdies since Good Time was released, he attended the 2018 Cannes Film Festival where he crossed paths Noe, whose film Climax took home a number awards at Cannes. Noe’s Enter the Void had previously served as an inspiration for Kiss Land, and for MDM (and later After Hours) seem to call back to Noe’s other films, like Irreversible and Love, which are both twisted depictions of heartbreak. On the other hand, Climax is about a French dance troupe who accidentally take LSD, and according to Noe is not a “message” movie. It is an audacious psychedelic technical exercise, with numerous long takes and highly choreographed set pieces. The idea for Noe, who had previously captured the feeling of drugs in previous films, was to do the opposite, and present the objectively reality of drugs, watching people high from a sober perspective.
Noe is a rather strong advocate of film, and the opening scene of Climax features VHS boxes of a number of films that have influenced his filmmaking. Two of note are Schizophrenia, otherwise known as Angst, one of Noe’s favorite films which The Weeknd name checked to the Safdies, and Possession, which would go on to be an influence on After Hours (more on this later). He is also said to have sat next to Benicio Del Toro at Cannes, which means he likely caught some of the Un Certain Regard section, where Del Toro served as a jury member. Outside of that section, there were a few other films of interest such as The House That Jack Built from Lars Von Trier (The Weeknd has previously expressed affection for Von Trier’s Antichrist), Mandy from Pastos Costamos, and music video director Romain Gavras’s The World Is Yours, as well as a restoration of 2001: A Space Odyssey, which Noe has referred to as the film that got him into filmmaking.
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Asian Cinema
Later in 2018, The Weeknd continued his globetrotting with a tour of Asia. He once claimed in an interview that whenever visiting a foreign country he only watches films from there. I’ve previously written about the influence of Asian cinema on Kiss Land, and there’s not enough work from the MDM era to glean anything cinematically adjacent to this, but now would be a good time to mention that the "Call Out My Name" video was heavily inspired by the work of famed Japanese photographer Hiroshi Sugimoto. The Asian tour poster seems to be a reference to Ichi the Killer, which leads us to Takashi Miike. Though he is notoriously prolific across a number of genres, his most popular works internationally are genre melding blends of horror, comedy and crime, most notably Audition, Ichi the Killer and Gozu. Another film worth mentioning is Perfect Blue, Satoshi Kon’s masterwork about a pop star’s mysterious stalker that The Weeknd posted about on Instagram before. Bloody and haunting, the film was a major influence on Darren Aronofsky’s Black Swan and Requiem for a Dream. In Interviews he has also mentioned a number of Korean films, such as The Wailing, I Saw the Devil and Oldboy. While Wong Kar Wai was previously mentioned as an influence on Beauty Behind the Madness, also worth mentioning is the work of John Woo, specifically A Better Tomorrow, well known for the shot of smoking a cigar off money, and Infernal Affairs, Andrew Lau’s crime classic which served has the basis for Scorsese’s The Departed.
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After Hours

Martin Scorsese
While After Hours more so than any other Weeknd album is bursting at the seams with cinematic references, the influence of Martin Scorsese stands above all. Similar to The Weeknd’s body of work, many Scorsese’s are explorations of violence and masculinity, investigating them from a perspective that depending on who you ask (and how they’re feeling) glamorizes, condemns or just simply presents the reality of characters on the fringes of society.
While there are direct references to a number of prominent Scorsese films, what’s interesting is that his influence also reverberates in other films/filmmakers that influence After Hours. Todd Phillips’s Joker is in effect an homage to Scorsese’s loner-centric New York films, and the Safdie Brothers have been putting their own millennial spin on the type of 70s gritty thriller that Scorsese trafficked in (Scorsese was also a producer on Uncut Gems). Specific Scorsese works will be discussed more in depth in the requisite sections, but it is worth mentioning upfront what a prominent role that Scorsese plays in the nucleus of After Hours.
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Urban HorroIsolation
With After Hours, The Weeknd departs from the slicker sounds and influences that permeated Starboy and returns to the cinematic grittiness of Beauty Behind the Madness. While urban horror is a theme that permeates throughout The Weeknd as a project overall, there is a thorough line to be drawn here that follows a number of 70s and 80s cinematic and aesthetic references. For one thing, while the initial bandaged nose was a reference to Chinatown (previously, The Weeknd has a Kiss Land demo titled "Roman Polanski"), the full bandaged face that is so prominently featured throughout the After Hours era is a classic cinematic visual trope that was especially prominent throughout 60s and 80s, though it saw a slight re-emergence in the 2010s. The fully bandaged face is often used to remake someone in the image of another, usually against their will (The Skin I Live In, Eyes Without Face), or as a case of mistaken identity and doppelgängers (Good Night Mommy, Scalpel), themes present throughout much of After Hours. The "Too Late" video acknowledges these references, but instead presents the bandages on two Los Angeles models recovering from plastic surgery, in a nod to a famous Steven Meisel’s photoshoot for Vogue Italia.
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The “masks” people wear is another horror trope that is featured prominently on After Hours, and this is best seen in the red suit character. One important reference in the film is to Brian De Palma’s Dressed To Kill, where a serial killer is targeting the patients of a psychiatrist (any more on this film will veer towards spoiler territory). The Weeknd is on the record as saying Jim Carrey’s The Mask as being a large influence on the Red Suit character, it being one of the first film’s he watched in theaters. One of the more complex references would be to Joker. While it sort of an in-joke that the character of the Joker is commonly overanalyzed and misinterpreted, referencing Todd Phillips’s Joker is more nuanced because it is in essence a full on homage to Martin Scorsese’s New York films, most notably Taxi Driver and The King of Comedy, which focus on eccentric loners, and can both be seen as cautionary tale of urban isolation, a theme explored perhaps in songs like "Faith." The King of Comedy revolves around a would be obsessive stand up Rupert Pupkin haggling his way to perform on late night TV, with The Weeknd’s talk show appearances being a prominent part of the early After Hours marketing, most notably in the “short film”. This idea of isolated and compressed urbanites recurs throughout After Hours and it’s films.
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The idea of urban repression is in the subway scene of the After Hours short film. The entire film itself is something of a reference to the subway scene to Possession (another Gaspar Noe favorite), mimicking the (also subway set) scene in which Isabelle Adjani’s Anna convulses on the subway due to a miscarriage, as well as Jacob’s Ladder, a 90s cult classic horror film starring Tim Robbins as a Vietnam vet (like Taxi Driver’s Travis Bickle) who is experiencing demonic hallucinations, encountering them in the subway and later at a party he attends, splitting the scene into two.
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Las Vegas
As always, The Weeknd once again grounds After Hours with a strong sense of place, this time setting the album against a nocturnal odyssey through Las Vegas. One of the most prominent films is Fear and Loathing in Las Vegas, Terry Gilliam’s adaptation of Hunter S. Thompson’s book. This is directly referenced in the "Heartless" video, which sees The Weeknd and Metro Boomin in the Johnny Depp and Benicio Del Toro roles as they tumble through a Las Vegas casino. The Weeknd has gone on the record to state that the famous red suit character was influenced by Sammy Davis Jr.’s character in the film Poor Devil. However, similar red suit has also been sported by a number of Vegas characters, most notably Richard Pryor and Robert De Niro’s Sam Rothstein in Martin Scorsese’s Casino. With the red suit, The Weeknd seems to be playing with the idea of a devil-ish other, another side of his personality that emerges in Las Vegas.
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While the city lights are the oft discussed part of part of Las Vegas, it should be noted that similar to Beauty Behind the Madness, the desert that surrounds Las Vegas is just as important to the juxtaposition of its beauty. The "Until I Bleed Out" video ends/"Snowchild" video in the desert, similar to the confrontation between Robert De Niro’s and Joe Pesci’s showdown in the desert in Casino, as well as Joe Pesci's death in Goodfellas. The idea of a hedonistic desert playground also bears semblance to Westworld, both the film and the TV show. The desert seems to represent some sort of freedom to The Weeknd, as the "Snowchild" video portrays the desert as a pensive location for reflection, as well as the "In Your Eyes" video showing the girl prominently dancing with the dismembered head out in the open, in reference to The Texas Chainsaw Massacre, another prominent desert film.
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New York/The Safdies
Despite it’s Las Vegas setting, After Hours also takes a good amount from films set in New York, most notably Martin Scorsese’s 1983 film After Hours. Besides the title, After Hours is similarly about a twisting and turning nighttime odyssey. The film stars Griffin Dunne as Paul, a working class stiff who heads downtown to rendezvous with a woman he met at a diner earlier that night. Of course, things don’t turn out the way they should, chaos ensues, and Paul is set on a dangerous trek back uptown. Like the film, the album After Hours is set off by a woman (though the album takes more stock in romantic endeavors), seems to be set over a single night (or at least a condensed period of time), and involves similar chaos and misadventures (sirens at night at the end of Faith). Tonally, After Hours the film is more comedic perhaps than After Hours the album, however The Weeknd is on the record as having said that "Heartless" and "Blinding Lights" placement on the album is intended to be somewhat comedic, reflecting exaggerated machismo and ecstasy, respectively (to comedic effect).
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Another of the most prominent filmmakers of After Hours are the Safdies, who featured The Weeknd in Uncut Gems. They also served as a link to Oneohtrix Point Never, who scored their last two films and later worked After Hours. I believe there are three major film tropes (not genres) that inspired After Hours, all of which the Safdies’s have engaged with. There is the one-long-night films, in which a character spends one-long-night on the run from whatever chaos and forces may be that they left in their path. This can be seen in the Good Time, as well as After Hours (the movie). Then, there is the descent-into-madness type, where a character slowly loses grip with reality and ends up in over their head (something like Scarface or Breaking Bad, but for our purposes Jacob’s Ladder can be categorized here as well), which the Safdies did with Uncut Gems. Lastly, but maybe most importantly, the Safdies also explored toxic romance (more on this later) in their less seen film Heaven Knows What, about two heroin addicts and the destructiveness their love brings out in each other, an idea that recurs throughout After Hours on songs like "Until I Bleed Out" and "Nothing Compares." A recurring song throughout Heaven Knows What is Isao Tomita’s synth version of Debussy’s "Claire De Lune", which is featured in some episodes of Memento Mori and bears some resemblance to the start of "Alone Again".
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Obsession/Toxic Romance
While love and lust and the ups and downs with it have been a formative part of The Weeknd’s ideology and themes, I don’t think it would be remiss to say that After Hours is perhaps his most outwardly romantic album. Despite this, one of the major arcs of the album is toxicity that comes with it, which a number of already mentioned films deal with. While "In Your Eyes" is one of the more romantic and accessible songs on the album, a re-assessment of it Ala Sting’s “Every Breathe You Take” could frame it as lonely obsessing, such as Travis Bickle’s infatuation with Jodie Foster’s teenage prostitute Iris, Joker's fixation on Murray Franklin, Rupert Pupkin’s obsession with Jerry Langford. Casino also deals with toxic romance, another prominent theme in After Hours, best seen in the love triangle that forms between Sam, his partner Nicky and his wife Ginger, played by Joe Pesci and Sharon Stone respectively.
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In almost all of the After Hours’s video content, The Weeknd seems to constantly meet his demise at the hands of women. Another interesting reference that may be something of a reach is to Phantom Thread, Paul Thomas Anderson’s film about Reynolds Woodcock, a couture dressmaker loosely based on Cristobal Balenciaga and his muse Alma, played by Daniel Day Lewis and Vicky Krieps, respectively. The film delves into their dysfunctional relationship, with Woodcock berating her and Alma poisoning his tea to keep him dependent on her. One of the highpoint of the film is a New Years Eve Party that bears strong resemblance to the "Until I Bleed Out" video. While the balloons may just be a callback to his earlier work, there is something about the color grading/temperature and the production design of the "Until I Bleed Out" video (as well as parts of the "Blinding Lights" video) that made me immediately think of Phantom Thread. A similar relationship is seen in the German horror film Der Fan, which The Weeknd has mentioned in a recent interview. In Der Fan, a young girl Simone spends her days obsessing over popstar R, until she finally encounters him outside his studio. The film is similar to the aforementioned Takashi Miike’s Audition in its exploration of obsession and idealization. In the film, an older man puts up a fake casting call to search for the perfect girlfriend. While Audition explores these themes from an Eastern perspective of societal pressure, Der Fan explores it through a Western lens of pop idolization and idealization. Both films deal with the idea that despite outward appearances, the perfect partner does not exist, and anyone that claims to be (or has the expectations put on them) is not who they seem.
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One film he has spoken at length about is Trouble Everyday, Claire Denis’s arthouse vampire movie. The film stars Vincent Gallo as Shane, a scientist who travels to Paris under the guise of his honeymoon to track down core, a woman who he was once obsessed with who has now become a vampire. Core is locked up in a basement but sometimes sneaks out to seduce and consume unwilling victims. This seems to be where some of the bloody face stuff comes from, but I believe it’s influence is a little more conceptual. To me, a good companion film to Trouble Everyday is American Psycho, which seems to also have been a thematic influence on After Hours. Both films concern idealized version of masculinity and femininity, both very sexual and physical, but hostile as well. American Psycho ends with Patrick Bateman confessing to the killing of a prostitute, but no one believe him. Trouble Everyday ends with Shane killing Core, but Shane is unable to arouse himself after that except through violence. Koji Wakamatsu, a former Yakuza turned prominent extreme Japanese filmmaker (and a major influence on Gaspar Noe) is quoted as saying “For me, violence, the body and sex are an integral part of life.” Despite being hollow, idealized impressions of the self, a vampire and as a banker (cold, seductive bloodsuckers = monsters), Patrick Bateman and Core represent the Frankenstein-ian relationship between sexuality and violence, which I believe is the main theme of After Hours. Truly, we hurt the ones we love.
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Postscript

To cap things off, I would just like to illuminate some key takeaways. As a filmmaker myself, this has been an extremely helpful exercise in understanding other artists process and ideas.
Steeped in the history of the medium…
It’s clear that The Weeknd is not your typical “I’m influenced by cinema” artist but an extremely legit film buff with serious credentials. The Weeknd’s film taste leans towards 70s-00s genre works, mostly horror, drama and thriller, and is well versed in the classics but also has the nose to sniff out deeper cuts and obscurities. The mantra of “good artists borrow, great artists steal” works even better if not many people know where you’re stealing from! What is impressive to me is that he is not just versed in “mainstream” obscurities, but also serious deep cuts. Films like Possession and Phantom of the Paradise may not stick out to the average person on the street but are well known in most film circles. Films like Inland Empire and New Rose Hotel (Der Fan was especially impressive to me, it is one of my favorite films) however are not as well known and it is very impressive to me that he can come across films like that, and really get enough out of it to bring into his own work.
…is able to interpolate contemporary/mainstream films…
This perhaps is one of the most impressive aspects of his integration of film into The Weeknd’s work. It is very easy for film buffs to get lost within their own obscure taste, living in a world where everyone is an idiot for not knowing who Shinya Tsukamoto. Trilogy and Kiss Land had a lot of contemporary obscurities, like Stalker, David Lynch etc., well known but they still existed as artifacts, not of the time we live in. However, perhaps picking something from his work on Fifty Shades of Grey, of late he has kept his finger on the zeitgeist and anticipated/integrated what the filmmakers of today are doing, such as his work on Black Panther and Game of Thrones, general appreciation of Tarantino, the works of Nicolas Winding Refn in Starboy, and his use of the Joker and Uncut Gems on After Hours, both of which came out just a few months before the album. It feels Jackson-esque, and I believe this is one thing that will help him further in his quest for pop stardom.
…while also being fully in tune to the works of modern transgressive auteurs…
In addition to keeping up with the mainstream is in touch with, The Weeknd also makes it a point to seek out and learn from the cutting edge filmmakers of today. While the Safdies were always going to blow up, I don’t doubt that a Weeknd co-sign accelerated their rise. Gaspar Noe is one thing, Enter the Void and Irreversible exist as masterpieces of the mainstream obscurities I’ve been mentioning, but he really truly tries to understand the heart of Noe’s work, even going so far back as to understand Noe’s influences (I sincerely hope he is tuned in to the work of Koji Wakamatsu). But most of all, to be a fan of Claire Denis is one thing, but to seek her out and make her an offer that she ACCEPTED is absolutely astounding to me. Just spitballing but it would be like if Michael Jackson shot a music video with Rainer Werner Fassbinder (who I’d bet good money that The Weeknd was put on to by Noe). We can only PRAY that one day we will be blessed with a David Lynch Weeknd video.
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…and that just about does it. Hope you enjoyed this and thanks for being patient with me. I got quite busy after the first two and had my own projects/work going that kept me occupied. As we’re still technically in the After Hours era, I also wanted to wait until a few more videos and interviews came out to aid me in my research.
I also wanted to find enough time to make the Letterboxd for this. I personally don’t love Letterboxd culture, I find the popular culture surrounding the site a bit snobbish and exclusive, but I’ve gotten a number of requests for one and you gotta give the people what they want. Throughout the list are a few films that he hasn’t mentioned but are some of my personal favorites and I believe Weeknd fans will like, I encourage you to accidentally stumble upon things on it. Don't overthink, just pick something and watch!
If you’d like to follow me further, you can find me on Instagram here, where I post about film reviews Letterboxd style. I prefer Instagram so that more average people see it instead of an echo chamber of film snobs. I am also a filmmaker myself, I just recently wrapped this short film and am currently in the process of putting together my next project.
The main reason I did this however, besides a general appreciation of The Weeknd’s work, was to put more people on to the beautiful art form that is cinema. One thing I learned from Scorsese is that one must be an advocate and truly champion your medium. I hope that this encourages to check out more interesting movies than they wouldn’t normally come across, and I hope this will inspire more people to create more as well, whether it be to write, make films, music, anything. If even one person picks up a pencil, a camera or a keyboard because of these posts, I will be satisfied.
Thanks all!
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submitted by Anaciite to u/Anaciite [link] [comments]

I watched "Maverick" (1994).

Ah, the art of making a traditional Western film just for the sake of it. Honestly, given how irrelevant the traditional style has become, I'm not surprised people don't mention this all too much when looking back at 1994. (Then again, it’s usually at most two dozen movies anyone cares about from then. What, you mean to tell me this is in a different league than Pulp Fiction?) I’m pretty sure the selling point of Maverick was that it's cool to be a regular Western film and not something as revolutionary as, say, Unforgiven, but nowadays that's not particularly inviting. Especially when it overshadows other points like its appealing cast. Even if such a movie is well-liked (which it is), why bother to watch a new movie that tries to be charming in an old-fashioned way when there are already countless movies of its class? The most inviting time to watch this was when it came out, and with each passing year it gets less interesting to consider watching.
Perhaps that's why it's taken me so long to get around to watching Maverick. That, and the fact I don’t really like Richard Donner as a director. In his later years, anyway. That guy has talent to spare, but his best days were well behind him at this point and while he was always a fair choice for a visually striking but precisely broad scope for handling plenty different ranges of material, a lot of his later work seemed to see him lack a real grasp on the material he was given and turned the stuff he made ranging from middling to godawful. My hopes were that if he gave this material the right level of energy, we had something good here.
And wouldn't you know it, I was right. For the most part. But the fact that I can relax knowing Donner made an overall better movie than Radio Flyer in the 90s is good enough for me.
Sure, it's a pretty lightweight endeavour, meaning if you don't like anything here then all bets are off, but this TV adaptation (knew about the original 50s show but never watched it) is quite a fun, feel-good sort of entertainment. Of course, given its lavish $75M-and-it-sure-looks-like-it budget (correct me if I'm wrong, as I was wrong before I watched this movie since I thought the title went to the cheap looking $70M film Wolf, but isn't this the second most expensive film of 1994 behind True Lies?) the look of the film is splendid. Donner's reliably marvellous sense of cinematography and set design are all aces, as are the Academy-recognised costumes. Randy Newman's score adds a nice touch, pretty great in occasional scenes. But really, this movie wouldn't be even half as fun if it weren't for the cast. Especially Mel Gibson as the titular Bret "Bert" Maverick.
Gibson and Co bring a much needed sense of energy and humour to the script, keeping plenty of the colourful characterisations in check as we travel around the map. The cast are all game, from prime con men to bank robbers to Indians to people of all travels like the Russian leader. They're great, if a bit too lightweight and underutilised--potential implications of her character notwithstanding, I kept forgetting Jodie Foster was in the movie until she would make her reappearance. Thankfully, Gibson is plenty enough of a hero to anchor and carry the film; he's charming as all get-out, funny, and quite talented in plenty methods, especially in balancing out getting on top and being a nice guy. Sympathise with him as he goes from a coward to a brave man willing to sacrifice himself for those around him, relying on his father's quotes and quick wits to survive. And magic, apparently. All leading up to the big poker game on the river. Ah, the old days of looking forward to seeing a new Gibson film...
For a movie that lends itself to the legacy of being a Western by being one for the 90s, it's a good effort for the most part. Do wish it was a bit more...fun, to be honest. And a bit broader in establishing the aspects of a poker game. And not so aimless towards the end. (What, you thought this was Casino Royale before Casino Royale? At least Martin Campbell can claim to have a steady hand on his material in his movies on any point in his career.) Donner is a bit of a letdown in staging plenty of the big showdown scenes--they're fine, but you'd expect to let the film do some of the workmanship in providing entertainment value rather than being all showy and hoping the light material and cast did all the work. Scenes like Maverick taking over the reins on a horse-powered journey gone wrong tend to succeed more on the charms of its cast than the spectacle of seeing him try to hang on for dear life. Not to mention such an anticlimactic scene where Maverick has to escape his bedroom on the boat. Typical 90s Donner, but despite my quibbles, it's great the movie is already entertaining enough as it is. It’s just that those quibbles could be brushed aside to make this a pretty great blockbuster for rediscovering rather than sheer adequacy. Great that it’s pretty spectacular in its lavish look, too (hard to think of someone better than Donner to make this as broadly beautiful as it is). Also pretty hilarious.
Seriously, I didn't expect this to be so funny. Then again, it's a Gibson/Donner collaboration, and if they want to do Lethal Weapon any way they can, so be it. (Unless it’s Conspiracy Theory, in which case I’ll order the gravy and go back to watching JFK.) Hilarious Danny Glover cameo included. ("I'm getting too old for this...") Likely the film's greatest asset in maintaining a steady level of quality, and it goes far enough to be some good fluff. Sure, it’s not the best thing you could ask for, but it’s always nice to kick back and relax to such entertaining fluffy stuff, no? Especially for those more into Westerns than I am.
Sorry if I rambled quite a bit, but I found this pretty fun to write about the way everyone seemed while making this.
7/10
P.S. Anyone down for a Top Gun/Maverick hybrid? Just for the sake of it?
submitted by Akram323 to iwatchedanoldmovie [link] [comments]

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The 100 best movie quotes of all-time as chosen by Hollywood. The Hollywood Reporter asked 1,600 film industry professionals for their most loved lines Voila! Finally, the Casino script is here for all you quotes spouting fans of the movie directed by Martin Scorsese and starring Joe Pesci, Sharon Stone, Kevin Pollak, James Woods, yadda yadda This script is a transcript that was painstakingly transcribed using the screenplay and/or viewings of Casino. I know, I know, I still need to get the cast names in there and I'll be eternally tweaking ... Casino Quotes. Nicky Santoro: You put my fuckin' money to sleep. You go get my money or I'll put your fuckin' brain to sleep! Nicky Santoro: For instance, I'll wake up tomorrow morning nice and ... The film is not as fast paced or gripping as Scorsese's earlier gangster pictures (Mean Streets and GoodFellas), but it's still absorbing. And, hey--it's Scorsese! --Jim Emerson Genre: Biography, Crime, Drama. Stars: Robert De Niro, Sharon Stone, Joe Pesci, James Woods. Production: Universal Pictures. Nominated for 1 Oscar. Another 3 wins & 9 nominations. IMDB: 8.2 Metacritic: 73 Rotten ... The 10 Most Iconic Quotes From Scorsese’s Casino. From the gritty reality of life behind the glamor to the spectacle of the city, Casino has a memorable quote for every aspect of Vegas life. By Mark Birrell Jul 31, 2019. Share Share Tweet Email. 0. Comment. Often written off as a cash-in on the success of Goodfellas, Martin Scorsese’s 1995 true crime film Casino is one of his most ... Discover and share Quotes From Film Casino. Explore our collection of motivational and famous quotes by authors you know and love. A collection of some of the best quotes from the 21st film in the James Bond series, Casino Royale. Includes quotes by James Bond, Vesper Lynd, Le Chiffre, Solange, Steven Obanno, Carter, Felix Leiter, Infante, Dryden, and Tomelli. Casino quotes: the most famous and inspiring quotes from Casino. The best movie quotes, movie lines and film phrases by Movie Quotes .com Quotes from the Movie Casino. 0; 1; 2 "When you love someone, you've gotta trust them. There's no other way. You've got to give them the key to everything that's yours. Otherwise, what's the point?" "You know I'm tryin' to put somethin' really big together out here. You know what I'm talkin' about, huh? You know! If you're actin' like this now, how can I depend on you?" "You know, I don't ... Discover and share Quotes From The Movie Casino. Explore our collection of motivational and famous quotes by authors you know and love.

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"Casino" Best Scene HD - YouTube

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