An interview with Mark Gatiss to tie in with his narration of a set of ghost stories by E F Benson. He explores the topics of his favourite ghost stories, literary inspirations and more.

I personally believe that Marinette actually likes chat noir but she confuses her feelings for him as friendly because she’s so blindly in love with Adrian. Same goes for Adrian/chat noir. It’s hard to se the forest for all those trees


Hilarity in the original eraser stamp making session: 

Jun’s: “This Year’s Me” makes me happy with the purple and pink (which I’m blatantly interpreting as subtle RED okay?)

Sho’s: “I’m back” elicits screams of terror? laughter? intense reaction from the audience.  Really, Sho?

Masaki’s: his two-pronged approach creates “Please take good care of me Nittere-san” Nandarou-kun (Jun clarifies that “It IS a bird right?”) and “Riddled-with-Injuries Masaki” stamps. Aiba-chan~ gambare~

Kazu’s: His initial confidence in presenting his own creation… only leads to his own embarrassed laugh?

Satoshi’s: His “Stylishly Suspicious Person” serves to tickle everyone, and especially Jun who asks if it’s actually Johnny-san.  After trying to hide his creation, he fails to convince that it’s “just a suspicious character” when Kazu outs him for calling his own company president “a suspicious character”.

Arashi ni Shiyagare 90-min SP 10.10.2015

Don't Let Him Come Back
  • Don't Let Him Come Back
  • The Go-Betweens
  • 78 til 79 the Lost Album

The Go-Betweens - Don’t Let Him Come Back

I was digging through a box of old CDs when I came upon this CD.  Remembering that I’d posted Jay Reatard’s version of this song, I decided to listen to the original.  A fine early example of Robert Forster’s unique lyrics. Hits the spot.

He wants an excuse to be where King Richard rules

People say there are other fish in the sea..I’m like “Screw you! HE was my fucking Sea!”
—  Till the day i die
Why yes, Marvel Studios, I do have a question I’d like to ask about Ant-Man...

Will Hank Pym’s abusive behavior be addressed in the movie, and does that have anything to do with the absence of Janet van Dyne? If so, was it intimidating to tackle such a mature topic in a genre that most people still think is “just for kids” or were you excited by the challenge and the opportunity to address something so important?