“Cuz as me the almost-man looks up into that town, I can hear the 146 men who remain. I can hear every ruddy last one of them. Their Noise washes down the hill like a flood let loose right at me, like a fire, like a monster the size of the sky cuz there’s nowhere to run.” -The Knife of Never Letting Go
In 2006, Dave Chappelle disappeared from the production of his hit Comedy Central series Chappelle’s Show. Since, the actor and comedian has resurfaced in spurts, telling fractions of his story along the way. The next step will be an appearance on Ride with Norman Reedus.
While talking with ComicBook.com on the set of The Walking Dead’s 100th episode, Norman Reedus opened up a bit about his time with Chappelle which will be showcased when his motorcycle show returns in November. As it turns out, more of Chappelle’s story and why he seemingly disappeared at the peak of his career will be unveiled during the episode.
“He’s amazing,” Reedus said of Chappelle. “When he talks about why he left his show it was because of that overwhelming thing. It’s hard to get used to, it’s not a normal thing to not be able to make it to the milk and to the register. It’s kind of insane. I don’t know.”
Reedus does note that The Walking Dead has provided a similar sensation of fame for him as Chappelle’s Show did for Chappelle. However, Reedus has embraced the sensation which caused Chappelle to leave it all behind. “I’ve gotten used to it in a way and I respect it in a different way but, I don’t let it get to me,” Reedus said.
Chappelle is hardly the only noteworthy name appearing on Ride with Norman Reedusin the show’s second season. The Walking Dead’s Negan actor Jeffrey Dean Morgan will be joining his good friend for a ride through Spain and The Walking Dead executive producer Greg Nicotero will also be making an appearance.
Ride with Norman Reedus premieres its second season on November 5, 2017 at 11 pm ET, following new episodes of The Walking Dead and Talking Dead, with another episode set to air on Monday, November 6 at 9 pm ET.
“ you two have never been to montgomery. there was a MAN there. local councilman. and he had a beautiful wife and they had a lonesome little girl. the girl knew everybody loved her daddy. they LOVED him because he knew everyone’s name. all their kid’s names. who went off to what college. who’s recovering from what illness. and he knew when to BURN the ballot boxes and which ones to burn. but what he DIDN’T know…what he never could learn…was when to turn down a drink. so life was hard for the little girl. it was harder for her mother. as she grew, she got tired. tired of CRYING. goddamn exhausted icing her mother’s face. pullin’ out stitches cause her mama didn’t want to go back to the emergency room. she just got TIRED. one morning, she ate her cereal. she brushed her teeth for school. she took the gun out of her daddy’s dresser. she shot him. shot him while he slept off the night before. ───yeah. my mama looked at me THEN like you’re lookin’ at me now. i knew that was something i’d have to carry. I’D DO IT AGAIN. i’d live with the look. i’d do it a thousand times to protect her. TO PROTECT YOU. ”
the maneuver that trevor and jeremy executed when john mace walked in right as they were about to steal his zip ties was some real fahc nonsense.
no planning, no talking, just: “whoaho john! fancy running into you here! hey, listen-” as trevor just fuckin takes the whole bag of zip ties and skedaddles
He’s a Russian mobster, trying to make amends for his sins. For as long as he can remember his world has been nothing but darkness, a darkness that he nurtured until the day it stole his family from him. Now he lives his life buried in guilt and regret, trying to fix what he knows can never be fixed. That is until his new executive assistant walks into his life. Felicity Smoak is nothing like anyone he’s ever known. She shines light into the darkest parts of his shadowed soul, and before he knows what’s happening, he starts to smile more, to look forward to getting up in the morning, to see the world in a new way. He suddenly has something to live for again. Someone. As he falls in love with her, he thinks there might be more than the ugliness around him, that maybe there’s hope for him after all.
She’s a Helix hacker, sent in to take the notorious Bratva Captain down from the inside. But nothing is what it seems. There’s a darkness inside Oliver Queen, but he doesn’t use it against others, only himself. She does her job, and she does it well, but the more she gets to know her mark, the more she starts to question the purpose behind her assigned task. With each day that passes - each day she spends with Oliver - she finds herself putting just as much effort into making him smile as she does chipping away at the Bratva’s impressive internal network. When she learns the truth about Oliver’s past and what he’s doing to make amends, she realizes she’s falling in love with him… and that she wants to help.
But there’s only so long the walls between her lives can stand under the pressure before they start to crumble.
What would happen if Helix found out what she was doing?
“It’s not Dolph’s fault he’s a walking Hitler joke!!!!!” You’re right, it’s not, because he’s a fictional character and has no say in his existence. It is instead the fault of the writers + producers for deciding the character was a good idea and letting him through, and they should absolutely be held accountable.
BUT. That doesn’t change the fact that HE’S A WALKING HITLER JOKE and people are one thousand percent well within reason to be uncomfortable with him and any attempt to make him ~cute and loveable~.
Because that’s ultimately what’s awful about him as a character: every time he’s on screen the narrative does its level best to make him as cute and loveable as possible.
It’s like being handed a piece of rotten fruit and told it’s a cupcake. You can see that it’s a piece of rotten fruit, but the person handing it to you is insisting that it’s a delicious cupcake and that you’ll love it.
Penny getting the severance he received was almost certainly due to a contractual arrangement (we call those employment agreements) that was entered into with him when he first became President of USAG. Usually, the only way a company can get around paying severance is if the individual is terminated for “Cause.” “Cause” is usually VERY specifically defined, and terminating someone for it nearly ALWAYS ends up in court and it’s very hard to prove and very expensive to prove, unless one part of the definition is like “conviction of fraud” and some prosecutor has already convicted the guy of fraud. Usually the definition is like “material breach of a corporate policy” or “material breach of your employment agreement.” All very wishy-washy things. For most companies, it’s better to just get your release of claims, pay them the money, and be on your way versus trying to avoid paying them by incurring massive legal fees.
I literally do employment agreements (among other executive compensation things) for a living.
Anyway the message for my post: Stop assuming USAG paying Penny’s severance had anything at all to do with that person’s feelings on the entire situation. Do I think trash people like Penny should get to walk w/ severance packages? No. Do I think companies are making very logical decisions when they let executives walk w/ severance packages? Absolutely yes.
The sounds of a stack of paper being bounced off the table echo loudly throughout the conference room. With any luck, the announcement about who would be getting the promotion would be made during this meeting
I had poured hours upon days upon months into my work life, and I was hopeful that it wouldn’t be all for naught. I was confident in my saying that I truly deserved this promotion, but if by some chance I didn’t get it, there was always next time.
A 'Supernatural' Profits Fight, and the AT&T-TW Merger Issue That Few Are Discussing
Warner Bros. has been battling the creator of one of the longest-running television shows in an arbitration that addresses the fairness of media consolidation and the very mechanism to resolve disputes with those who feel shortchanged.
Since AT&T announced in October 2016 that it would be acquiring Time Warner for $85 billion, there has been hardly any talk about how the deal will impact creative talent. When the issue of vertical integration comes up, it’s often a discussion on whether distributors including Comcast, Dish, and Verizon will get fair terms to license networks like HBO or TBS, or whether AT&T might try to unfairly compete for telecom customers by holding exclusives on a would-be owned show like Game of Thrones or a franchise like “Batman.” AT&T executives insist this would make no business sense, that receiving money for content is the name of the game, and that antitrust history prevents government officials blocking a merger between a supplier and a distributor. But virtually ignored is how this deal will impact those who create, write, star, and direct in popular entertainment.
If the question hasn’t provoked more examination, there could be a reason for that beyond the complexity of the topic. Almost all contracts in entertainment include arbitration provisions. As a result, most of the disputes that arise from vertical integration are kept hushed. But The Hollywood Reporter has learned about one pending fight in arbitration — and it’s a battle that not only involves Warner Bros. and the very lawyer now tasked with fighting the Justice Department, but it also addresses the fairness of media consolidation and the mechanism to resolve disputes from those who feel shortchanged by studios selling to their affiliated distributors.
The arbitration is over Supernatural, the CW series that is now in its thirteenth season. It’s obviously a successful show given its longevity, but few appreciate the economics underpinning the series. According to a 2013 profit participation statement sent out by Warner Bros., the total gross receipts for the show’s first eight seasons amounted to $570 million. But after expenses, distribution fees, interest payments, and money to the talent agency that packaged the show, Warner reported that Supernatural had a deficit of nearly $23 million, meaning nothing in the pool for those entitled to a percentage of net profits. See the profit participation statement:
Eric Kripke, the creator of the fantasy horror series as well as a profit participant, objects to the studio’s accounting. In particular, he points to what Warner has been booking in license fees from its affiliated broadcast network. (In fairness to Warner, it must be noted that the CW is only half-owned by Warner Bros. with the other half enjoyed by CBS, which presumably had a say too.)
“The show is one of the CW’s most successful series,” states an audit claim. “It is customary in the television industry for studios to obtain license fees from networks that, starting in Season 5, equal or exceed the cost of producing the show… If Warner had merely received a full cost license fee from the CW for Season 5 through 8, the gross receipts would be increased by $104,005,323.”
This is what actually occurred:
Kripke, through his loan-out, also raises other issues including transactions with affiliated on-demand services and insufficient documentation to determine whether the license fees from Netflix and Hulu represent fair market value.
In response, Warner has invoked arbitration by filing a demand at JAMS, a leading arbitration forum.
Representing by a team at O'Melveny & Myers which includes Daniel Petrocelli (recently tapped by AT&T to defend that Time Warner merger in case the government sues to block it), the studio retorts, “Under the parties’ agreements, Kripke granted WBTV absolute discretion and control over how and whether to distribute and exploit the Series, including by authorizing WBTV to license the show to an affiliated company.”
Warner knocks at Supernatural in its arbitration demand letter and says Kripke has gotten the benefit of the bargain with millions of dollars in fixed fees. The studio says the reduction in license fees was necessary. According to its lawyers, “As a result of these deals, Kripke has continued to obtain greater total compensation, because the Series, which otherwise would have been cancelled during its early years based on its performance, has remained on the air.”
Now that the case is in arbitration, Kripke’s attorney is mounting what might best be characterized as a fight priming the bigger fight. It’s something that Warner probably didn’t expect.
Kripke is represented by Ron Nessim, an attorney at Bird, Marella who recently sued AMC on behalf of various Walking Dead executive producers including Robert Kirkman and Gale Anne Hurd. Along with the Frank Darabont litigation, the Walking Dead profits cases represent more exploration over the issue of whether creatives are being treated fairly when studios producing content share a parent company with the outlet distributing the content.
Nessim is also the author of a 2015 article in the UCLA Entertainment Law Review entitled “Mandatory Arbitration Provisions Involving Talent and Studios and Proposed Areas for Improvement.” In that article, Nessim makes the argument that studios may be advantaged in arbitration thanks to a phenonomenon that critics call “repeat player bias.” Meaning, if an arbitration vendor like JAMS wishes to maximize its revenue, that vendor may have financial motives — unconscious or otherwise — to favor parties who arbitrate repeatedly.
Nessim’s concerns have now impacted how he’s handling the Supernatural case.
After Warner submitted its demand for arbitration, the parties began volleying letters to each other and to a case manager at JAMS. Correspondence began last month and has continued through this week.
Among other things, Nessim is demanding information about financial and professional relationships between JAMS and those involved in the present case. He also is insisting upon disclosures about potential arbitrators. He wants to know all about Warners’ prior and pending cases, the amount of the claims, the prevailing parties and so forth. Last and not least, Nessim is pushing JAMS to classify this clash as a “consumer arbitration,” which would mean that JAMS would have to publish information about this Supernatural case on its website.
Warner has attacked Kripke’s endeavor as a “sideshow” while Nessim writes in his most recent letter, “[I]n a ‘company town’ like Los Angeles, we believe that members of the talent community are justifiably concerned about the danger of arbitration providers and their neutrals being influenced in favor of the entertainment conglomerates that draft the contracts that direct the business to them.”
The matter remains unresolved.
If the Justice Department does move forward with a courtroom effort to stop AT&T’s $85 billion acquisition, the issues faced by creatives might not be overtly discussed in a complaint spelling out the competitive harms of vertical integration. But as the government’s case continues, it just well might.
In an important speech before the American Bar Association on Thursday, the Justice Department’s antitrust chief Makan Delrahim addressed vertical mergers. He expressed skepticism of behavioral remedies or divestitures that may only partially remedy the harms of consolidation of suppliers and distributors. He also said, “If a merger is illegal, we should only accept a clean and complete solution, but if the merger is legal we should not impose behavioral conditions just because we can do so to expand our power and because the merging parties are willing to agree to get their merger through.”
Led by Petrocelli, AT&T may probe any undue influence that CNN-hating Donald Trump has had on the Justice Department, which is supposed to operate independently. At the same time, there’s potential skeletons in Hollywood’s closet to probe and put before a judge if prosecutors dare. After all, if any problems from a merger of this type aren’t dealt with on the front end, how many creatives in Hollywood have confidence such issues will be fairly resolved later on in private forums?
Heavy footsteps approach, ringing out sharply on the stone
of the dungeons and striking leaden dread into Benvolio’s gut. Although his
eyes itch with exhaustion and his aching limbs protest, he pulls himself to
stand as the figure comes to stand on the opposite side of the iron bars; the
man is tall and has his arms folded politely behind his back, like he is not
there to execute Benvolio. Prince Escalus. The other man looks calm, hollow
eyes scanning Benvolio over before inclining his head slightly.
“It’s time, Montague. Any last requests?”
It’s an empty question – he is supposed to say no, to nod mutely and go to his execution
with dignity; to walk himself to his death without shaking legs or fear on an
innocent face. Benvolio surprises them both by speaking. It comes almost as an
afterthought – but then the heat of her lips rush against his own in memory,
and Benvolio’s own move to say: “Parchment and ink.”
Prince Escalus blinks, as if he has misheard. “Excuse me?”
“That’s my last request – my only one. Parchment and ink, and a promise that my note will be
“No.” Oliver protests. “I don’t want to hurt you!”
You laugh and put your hands on his bare chest. “You won’t, I promise.”
“Are you sure?”
Practically squealing with excitement, you step across the mat from your boyfriend. Getting in the position Digg, taught you, you wait for him to throw the first punch.
Finally, he throws a half-hearted right hook at your stomach, which you evade easily, stepping around behind him. You throw a hit at the back of his neck, but he blocks, grabbing your arm in the process.
Thinking quickly, you flip over into a somersault, pulling him down as you stand up from the perfectly executed roll. You walk up to him and put your foot on his chest. “I win.”
The President of the United States of America is feeling really tired today and just wants to be left alone, okay?
On Friday, President Trump was scheduled to sign executive orders in front of a press gaggle. Instead of actually signing the orders, Trump seems to have gotten a little bit cranky and walked straight out of the signing ceremony, leaving the orders unsigned.
Trump didn’t even respond to Vice President Pence’s desperate pleas for the President to come back and sign the orders.
Like a good boy, Pence then proceeds to gather the orders in a nice little folder for the president to sign later. Trump was provoked after a reporter asked him a question about Flynn.
Request: @supernaturalmarvelgirl said: Sam x reader. The reader is with Sam and she’s secretly a stripper. She sneaks out during the night and “works.” Well one night Dean follows her and asks why she works there and if Sam knows. She says no and Dean rescues her and Sam talks to the reader about it. Thank you 😘
Sam x Reader
Word count: 2037
Warnings: reader is a stripper? Language, angst, a little fluff, implied smut
A/N: Originally just a request but ended up being for @seenashwrite 200th follower celebration because there was a line I just couldn’t pass up (in bold) congrats on your milestone, love! And as always I have to give a shoutout to my amazing beta, @avasmommy224, I miss you tons girl!! Anyways, hope yall enjoy!
You tied the lace on your thigh high leather boots, making sure the bow was perfect and checked your reflection in the full length mirror hanging on the back of your dressing room door. You fluffed your hair and took a deep, shaking breath. No matter how many times you told yourself you had to do this, it never seemed to ease the harsh sting of reality. You were a stripper, plain and simple. There was no way of sugarcoating it. Some liked to call you an adult entertainer or exotic dancer for the rich and famous.
story time u guys bc I can’t hold it in anymore, I’m currently interning on the universal studios lot in hollywood and I pass the great news set EVERY DAY i’ve seen it when it was empty and during construction, through set dec and everything. one morning I passed and i could see the news desk for the breakdown…. and now I pass it and the giant stage doors are closed and the red light is blinking. as i walked past the stage an important looking lady got out of a golf cart labeled “executive producer” and casually walked through the normal sized door. literAlly TRACY WIGFIELD IS IN THERE AND MAYBE TINA FEY and all i wanna do is barge in and sing carol’s intern song from the show
(side note: great news is definitely going to be the new 30 rock)
additionally - today i saw a few extras from superstore, passed by the will & grace reunion stage and saw kristen bell’s parking space (“reserved for k. bell”)
also my friend told me that she has a friend who saw mindy kaling at the commissary which is pretty much a cafeteria and I’M DYING.
A small box was thrown onto Chuuya’s lap as Dazai entered the hospital room.
Shooting his partner a look, the redhead lifted the suspicious box and held it far away himself as if expecting the box to explode any second.
“What’s this?” He asked with an incredulous look.
The brunet simply smiled and approached the bed.
“It’s a collar for a sheepdog like you~”
“HAH? Who are you calling a sheepdog Dazai.”
Opening the package, the redhead stared at the black choker sitting between folds of tissue paper.
“There’s no way I’m wearing something as tacky as this Dazai.”
“Chuuya, I don’t want to hear that from someone who wears hats that went out of fashion nearly a century ago.”
Dazai pulled the black fabric out of the box and sat besides the redhead.
“Just wear it okay.”
Hesitant hands wrapped themselves around Chuuya’s pale throat and fastened the accessory in place, covering the red scar in the process. The scar he had inflicted with his own hands in attempts to destroy the bringer of death that had overtaken Chuuya the minute he uttered the strange chant.
His partner raised an eyebrow at the oddly gentle action when he met Dazai’s melancholy eyes.
“Oi Dazai, why are you making such an unattractive face.”
The executive pulled away and walked out the door with a wave of his hand.
“No reason Chuuya,” he hummed in a quiet voice. “No reason at all.”
A small parcel waited outside his door one cold morning when Dazai had decided to go out for a brief walk.
Curious, he bent down and picked up the brown package with no return or sender address no matter how many times he turned it over as if an address would mysteriously appear.
After examining it carefully, he came to the conclusion that the package was nothing dangerous and headed back indoors to open it.
A brown bolo tie with a shining turquoise pendant fell into his waiting palm along with a single piece of paper.
Slightly smiling, Dazai placed the tie onto the table beside him and reached out for the white strip.
Happy birthday Mackerel
Fondness and affection surged into his system once his eyes fell upon Chuuya’s perfect handwriting. Even when abroad, the redhead never failed to celebrate his birthday even if it was something as simple as a letter.
After a moments consideration, guilt paved through his tender thoughts once Dazai realized Chuuya had no idea that he had left the mafia and was now on the other side, the side of light, the side of the enemy.
He bit down on his lip before undoing this black tie around his neck and replacing it with the sea green pendant.
Even if Chuuya would never forgive him, even if he never saw him again…His hand instinctively wrapped around the cool stone as he walked out the door once more.
At least he now had this.
It wasn’t until years later after Chuuya’s death that Dazai discovered the additional message hidden within the shimmering pendant.
Having dropped it while attempting to fasten it around his neck, the accessory had opened to reveal a small rolled up note along with a faded picture.
Trembling fingers picked up the delicate paper as tears silently fell onto the fading letters.