Chris Pratt, attractive rich heterosexual white man, says he doesn't feel represented in Hollywood.
America’s favorite Average White Man has an interview with People magazine ahead of the sequel to Guardians of the Galaxy.
“I don’t see personal stories that necessarily resonate with me, because they’re not my stories,” Pratt, 37, told the magazine. “I think there’s room for me to tell mine, and probably an audience that would be hungry for them. The voice of the average, blue-collar American isn’t necessarily represented in Hollywood.”
I’m actually amused by how earnest he is. Has he ever even been to the movies?
I’m pretty sure there’s a whole genre of movies based on average, blue-collar American white men literally saving some brown person’s country or the entire planet or whole other planets.
I’m pretty sure there’s a whole genre of movies where average, blue-collar American white men pine after some woman who is probably too good for them and then a whole lot of stuff happens in the middle where she realizes whoever she’s with is a dick and she should be with the protagonist instead so the average guy can get the girl.
I’m pretty sure there’s a whole genre of movies where average, blue-collar American white men – who are usually from Chicago or Boston – go into a life of crime for some noble reason (or not) and we sit for 90 minutes rooting for a “hero” who is literally breaking the law in every frame and/or killing people.
Chris Pratt sounds like someone strapped him in to a chair and made him watch Moonlight for 17 days so now he forgot that Hollywood is literally founded on white mediocrity. But wait! There’s more:
“I really feel there’s common ground out there that’s missed because we focus on the things that separate us,” he said. “You’re either the red state or the blue state, the left or the right. Not everything is politics. And maybe that’s something I’d want to help bridge, because I don’t feel represented by either side.”
I actually do think there’s common ground out there, and the common ground is the provable fact that the vast majority of Americans are a lot less prosperous than they realize, especially in comparison to the corporations they work for where all of the money is being hoarded. Our common ground as Americans would be redistributing the enormous wealth of this country so that we all could experience a higher standard of living. Unfortunately, that’s not possible because the things that separate us (mostly race, class, education, and location) are effectively used by our political system to keep an Us vs Them society among average Americans. This ensures that we don’t turn the country into a Haves vs HaveNots society where the overwhelming majority of Americans would define themselves as the HaveNots if they were thinking clearly and less concerned with how much they have in comparison to a neighbor who doesn’t look and/or think like they do.
But that’s not where Chris Pratt is. Chris Pratt is one of those Everybody Is So Upset, Can’t We All Just Get Along? yokels who doesn’t want to deal with conflict. He doesn’t have to deal with the day to day consequences of politics so to him, not everything is politics. I’d love to see what kind of bridge he is planning to make with his everyman blue-collar American heterosexual movie that speaks to him and has never been done before repeatedly. Let me know how it is. I’ll go spend my HaveNot money on something else.
January 2016. There’s a bench at the top of Primrose Hill, in London, that looks out over the skyline of the city. If you’d passed by it one winter night, you might have seen him sitting there. A lanky guy in a wool hat, overcoat and jogging pants, hands thrust deep into his pockets. Harry Styles had a lot on his mind. He had spent five years as the buoyant fan favorite in One Direction; now, an uncertain future stretched out in front of him. The band had announced an indefinite hiatus. The white noise of adulation was gone, replaced by the hushed sound of the city below.
The fame visited upon Harry Styles in his years with One D was a special kind of mania. With a self-effacing smile, a hint of darkness and the hair invariably described as “tousled,” he became a canvas onto which millions of fans pitched their hopes and dreams. Hell, when he pulled over to the side of the 101 freeway in L.A. and discreetlythrew up,the spot became a fan shrine. It’s said the puke was even sold on eBay like pieces of the Berlin Wall. Paul McCartney has interviewed him. Then there was the unauthorized fan-fiction series featuring a punky, sexed-up version of “Harry Styles.” A billion readers followed his virtual exploits. (“Didn’t read it,” comments the nonfiction Styles, “but I hope he gets more than me.”)
But at the height of One D–mania, Styles took a step back. For many, 2016 was a year of lost musical heroes and a toxic new world order. For Styles, it was a search for a new identity that began on that bench overlooking London. What would a solo Harry Styles sound like? A plan came into focus. A song cycle about women and relationships. Ten songs. More of a rock sound. A bold single-color cover to match the working title: Pink. (He quotes the Clash’s Paul Simonon: “Pink is the only true rock & roll colour.”) Many of the details would change over the coming year – including the title, which would end up as Harry Styles – but one word stuck in his head.
time Nishinoya asked him out, Asahi’s insecurity made him question why somebody so optimistic would want somebody like him. Nishinoya decided to take this opportunity
to help Asahi understand his reasons before he made his second attempt.
finding new notes long after they started dating and kept every single one as a
Any advice on how to write a heist story something like oceans Eleven?
Well, you can start by watching Ocean’s Eleven, and Ocean’s Eleven, and then Leverage, and then Burn Notice, and then The A-Team, and then Mission: Impossible, and then all the other heist stories like The Italian Job or Heat. Watch, read, uncover as many stories about criminals as you can from fiction to nonfiction to reading security analyst blogs. Read the spy memoirs, the thief memoirs, the fake ones and the real ones. Check out magicians, hypnotists, card tricks, and sleight of hand. Watch the making ofs and director’s commentaries looking for clues behind the thought process of these stories. The hows and the whys as you look into the research they did. Burn Notice, for example, is famous for using stunt props and technological rigs that work in real life. Like using cell phones to create cheap bugs on the go.
The worlds of criminal fiction and spy fiction rely on being able to present (or convincingly fake) a world which feels real. A heist is all about exploitation. So, you need a world with security structures to exploit. You’ve got to know how things work before you can craft a way to break them. Social engineering, hacking, and every other criminal skill is about breaking the systems in place. So, you’ve got to get a baseline for how law enforcement and security analysts work. What security systems are set up to look like. The ways we go about discouraging thieves. Better yet how people behave. Real, honest to god human behavior.
So, you know, pick somewhere in order to start your research. Get an idea of what you want write about stealing, then learn everything about the object, the museum, the city, the country, and its customs as you can.
If you’re setting a heist in a futuristic or fantasy setting then luck you, you get to make all of it up.
Learning the plot structure and conventions of the heist genre is the first step. This means watching lots and lots of heist movies, shows, and reading books. Over time, as you become better at critical analysis, you’ll begin to see specific story structures and character archetypes emerge.
The Heist Story is a genre. Like every other genre, it comes with its own structure, cliches, archetypes, plots, and genre conventions which necessitate the narrative. The better grasp you have of those, the better you’ll be at writing a heist.
For example, a heist story like Ocean’s Eleven relies on a collection of thieves rather than a single individual. The character types are as follows:
The Pointman- Your planner, strategist, team leader, and the Jack of All Trades. Can also be called the Mastermind. They’re the one who can take the place of anyone on the team should they fall through. They’re not as good as a specialist, but they’re very flexible. Narratively, he plans the cons and subs in where he’s needed.
The Faceman- Your experienced Grifter, here for all your social engineering needs. These guys talk their way in.
The Infiltrator - Your cat burglar or break-in artist. Basically, the conventional genre thief.Your Parker, Catwoman, Sam Fisher, or Solid Snake. The stealth bastards, they’re all about silent in, out, and playing acrobatic games with the lasers.
The Hacker - The electronics and demolitions specialist. Usually this is the guy in the van overseeing stuff remotely. Your Eye in the Sky. Their skill set can be split up and swapped around as necessary.
The Muscle - The one who is good at fighting. They’re combat focused characters, usually with mercenary and special forces backgrounds. Though, that’s optional.
The Wheelman - The one who handles the getaway. They’re your often overlooked transport specialists. It’s not just that they can drive, they’re skilled at getting lots of people around, figuring out how to move your valuables, and exiting hostile cities or countries undetected. They get the team in and they get them out.
For an example of these archetypes, I’m going to use Leverage. Nathan Ford, The Pointman (technically, he’s written like a Faceman). Sophie Devereaux , The Faceman. Parker, the Infiltrator. Hardison, the Hacker. Eliot, the Muscle. They all take turns being the Wheelman.
Other examples like Burn Notice: Michael Westen, the Pointman. Sam Axe, the Faceman. Fiona, the Muscle. They all take turns with explosives, Michael will invariably take all the roles during the course of the show.
Ocean’s Eleven has multiple variants of these archetypes, all broken down and mixed up.
You can mix and match these qualities into different individuals or break them apart like in Ocean’s Eleven, and more than one character can fill more than one role, but that’s the basic breakdown. For example, your hacker doesn’t need to be a guy in a van overlooking the whole security grid. One guy or girl with a cell phone can sit in the lobby of a building with an unsecured wireless network and crack the security. Welcome to the 21st century. The skills don’t necessarily need to take the specific expected shape.
What you do need is the basic breakdown: You need someone to plan the con, you need someone to be your face or grifter, you need someone to break in, you need someone to watch the security/electronics, you need muscle to back you up, and someone’s got to cover the getaway.
These shift depending on your plan, but this is the expected lineup for a heist narrative. The first step of a heist narrative is not the plan because we don’t have one yet. We’ve got an idea. Pick your target. Maybe it’s a famous painting. Maybe it’s a casino. Maybe it’s a rare artifact from a private investor’s collection loaned to a museum for a short period of time. Maybe it’s art stolen by the Nazis during WWII. Whatever it is, figure it out.
The next step is simple. If you want the thing, you’ve got to find a way to get it. This is a big job, your standard thief won’t be able to pull it off alone. So, you gotta go recruiting. Get your team together. Make sure to establish the goals of the different members for joining. Who they are. Their pedigree. One might be an old flame or an old enemy. This is where we lay out some character driven subplots.
When everyone’s together, we’ve got to lay out the plan. Before we have a plan though, we need to establish where the object is and the issues in getting it. Why this has never been done before. So, what are the challenges? Invariably, an object worth a great deal of money will have a lot of security protecting it. Figure out what that security is, who the item belongs to, what sort of retribution do the thieves face beyond what they might expect. Lasers, pressure plates, cameras, security, other career criminals, mob bosses, the rich and powerful, whatever.
After that: How do you get it? Then you’ve got to plan the con, while taking everything into account.
Then, We prep the Con. There will be steps to take before the con can be put into place, your characters taking their positions in plain sight. Stealing whatever pieces you need to make it work. Casing the joint. Etc.
Then: Run the Con. This is the part with the actual stealing. Better known as the first attempt. Things go well, there may be a few mistakes, but things are going well and then we…
Encounter Resistance. While running the con, something goes wrong, pieces fall apart, the thieves come close to success but the object gets moved and they suddenly need a new plan. New information may pop up, it may be one of your artists was running a con of their own separate from the rest.
If there’s a double cross in the works then this may be when and where it lands.
We’re ready now, so it’s time hit up: Steal the Thing, Round Two. Your characters put their new plan into play and get about thieving the object of their desire.
Lastly: The Get Away. This is the part where your thieves make for the hills with their stolen treasure. This can be short or long depending on the kind of story you’re telling and other double crosses may occur here. It could be the end of the story or the beginning of a new heist.
Heist stories are like mystery novels. They’re all about sleight of hand and misdirection. You’ve got to keep just enough information on the table to keep your audience on the hook, and just enough information off the table to surprise them later on the twist. Yet, when they go back to re-read the novel again, they’ll find the answer was there all along. They just didn’t see it coming.
If anything, learning how to write a well-done heist or a mystery or any kind of novel in this genre will teach you a lot about how to manage your foreshadowing and create superb plot twists. Like any good con, you need to lay out all the conflicting pieces where people can see them, let them draw their own conclusions, withhold the critical context, and then hit them with the whammy.
Like lots of audiences, new writers (and even some old ones) can get distracted by the shock and awe. They see they’re impressed by the conclusion, not the lay-up. If you want to write any kind of fiction, you need to learn to see past the curtain and pay attention to the critical pieces leading into an important moment rather than the moment itself.
Good writing isn’t modular, you can’t just strip out pieces and run with them because you’ll end up missing the crucial, sometimes innocuous pieces that ensured the scene worked. Like the Victorian Hand Touch, every moment between the two leads and most of their scenes with secondary players are working for that singular instance of eventual, gleeful catharsis.
If you’ve got a plot twist coming in your novel, every sentence from the second you start writing is working towards it. You start laying out your pieces, funneling in your tricks, and playing with misdirection. You may have multiple twists, to cover yourself, divert your audience, congratulate them for successfully guessing your ploy, and reassure their initial suspicions before catching them again on the upswing.
The clever writer is as much a con artist as their characters. The only difference is the target of their con is their audience. The tricks in their bag are narrative ones, and they work with the understanding that it doesn’t matter if someone guesses the end so long as they’re entertained by the journey. A great story stays entertaining long after the audience has figured out all the twists.
So, don’t get caught up in Red Herrings and frightened about not being able to outsmart other people. Tell a good story with conviction and heart about a bunch of crooks out to steal their heart’s desire.
It was so intriguing about the role. I think for me, wearing the helmet and being part of the Stormtroopers felt so strange. Like, so this is what it feels like to just be one of the many. And to look the same, and to have to do the same thing. To be under the same orders. This is what it feels like. And I was actually quite shocked as to how much Finn’s journey is investigating [that idea]. He’s a fun character, he has a very complicated history, but we get to experience the individuality of Stormtroopers, and it’s never been done before.
its interesting watching Wonder Woman reviews on youtube
every male reviewer I’ve watched has been like “yeah its a solid film. didn’t do anything spectacular.”
whereas every girl has been raving about it. it’s just interesting cause like…one dude was talking about how he didn’t really feel anything during the No Man’s Land scene and it just struck me bc like…obviously he didn’t feel shit because he’s seen something like it done a thousand times with male superheroes.
like its bizarre cause i was nearly in tears during that scene, watching the soldiers get a burst of courage and follow a powerful, strong WOMAN into battle. she inspired them. that shit has pretty much NEVER been done in film before and as a woman, I thought it was breathtaking and refreshing 2 see.
so yeah. idk if that made any sense i just thought it was interesting.
The Resistance, or protests against Trump beginning since November 8th of 2016, fights for peace and justice for all people. However, Pepsi recently decided that they want to fight for peace and justice for all people…while selling cans of their soda for loads of money.
In the recent 2-minute commercial, Kendall Jenner is modeling in front of photographers while a demonstration is taking place outside the modeling studio. The commercial features small clips of couples kissing, a hijabi Muslim taking pictures, among Trump opposers protesting in the streets. Later, Kendall removes herself from the studio and joins in on the demonstration by giving one police officer a Pepsi; as a result of her valiant act, the Resistance cheers, and multiple people begin drinking Pepsi.
This is problematic in so many ways, so let’s break it down:
1. Kendall Jenner is obtaining fame through a political commercial, yet she has never been political before this.
Besides mentioning her approval and support for then-candidate Hillary Clinton, Kendall has absolutely done no protesting of Trump and his radical policies. In an Instagram post, Jenner announced her support of Clinton, captioning one of her photos as “Shirt by @themarcjacobs. History by @hillaryclinton.” Despite being a female member of one of the most outspoken families in the country, Kendall Jenner has failed to attend little to any protests. But some protests weren’t in her area, so we’ll just let that slide… wrong. Kendall Jenner failed to attend the Women’s March, a series of protests held around the entire globe, even in remote places with small populations.
2. Pepsi is appropriating the Resistance for money.
Pepsi also, as a company, has never taken a stance on politics. Similar to Kendall’s issue, Pepsi is using their platform not to provoke change, but to make money off of the suffering of others.
3. Kendall Jenner wasn’t arrested, but Ieshia Evans was.
In 2016, Ieshia Evans was arrested by the police for protesting the death of Alton Sterling in Baton Rouge. The photo sparked controversy, but a similar set-up occurred in this Pepsi video. Kendall came face to face with the police, but instead of receiving handcuffs, she gave them a Pepsi and receive cheers and applause. The Huffington Post says:
The image of Jenner approaching the police line is all too similar to the widely shared photo of Black Lives Matter protester Ieshia Evans in Baton Rogue in 2016, as Elle notes. Unlike Jenner, however, Evans was arrested. If only she had a Pepsi in hand.
This is just one of the countless examples of when celebrities use their fame to exploit national crises and obtain money. Like Gigi Hadid embracing her Palestinian side, the rest of Taylor Swift’s white girl squad is appropriating the struggles of millions of Americans.
Everyone’s done vengeance, everyone’s done ‘The night is so dark,’ ” King says. “Giving Batman more pain doesn’t reveal anything about his character because he’s taken as much pain as he can. But giving him love and joy, that combines with the tragedy of his past into something new and never done before.”
Batman had had a slew of love interests over the years, from reporter Vicki Vale to supervillainess Talia al Ghul — he even shared a kiss once with Wonder Woman (sorry, Steve Trevor). But what makes Catwoman, aka Selina Kyle, the closest thing to a soulmate is her ability to bring down Batman’s emotional shield and find a connection
“Catwoman is someone who’s seen his pain and has been through stuff as bad as he has been through,” King says. “She says, ‘Look, both of us are broken, but we can be broken together.’ ”
When the writer was working on how he would have Batman propose, King would get advice from his 7-year-old daughter, who’s obsessed with both superheroes and romance.