Nemasis Enforcer
thinking of some1 special
- Joined
- Oct 17, 2003
- Posts
- 4,659
I've got all them you just mentioned on vidoe (i've actually got 782 movies on vid)Liar said:
Embarrassing Movies
- Thread starter cheerful_deviant
- Start date
Lauren Hynde
Hitched
- Joined
- Apr 11, 2002
- Posts
- 21,061
I almost cried in despair for having sat for three hours and fifteen minutes looking at the TV screen, and then I almost cried laughing when it won all those oscars...CharleyH said:Not if you cried
CrazyyAngel
Literotica Guru
- Joined
- Jul 26, 2003
- Posts
- 688
Nemasis Enforcer said:
Uhhh ... all the money you need to rebuy them on DVD when your videotapes fall apart
... CA
cloudy
Alabama Slammer
- Joined
- Mar 23, 2004
- Posts
- 37,997
Lauren Hynde said:I almost cried in despair for having sat for three hours and fifteen minutes looking at the TV screen, and then I almost cried laughing when it won all those oscars...
Damn, I'm glad I'm not the only one that didn't "get" Titanic.
Piece of drivel............
Nemasis Enforcer
thinking of some1 special
- Joined
- Oct 17, 2003
- Posts
- 4,659
I've got 203 DVD's tooCrazyyAngel said:Uhhh ... all the money you need to rebuy them on DVD when your videotapes fall apart
CA
Nemasis Enforcer
thinking of some1 special
- Joined
- Oct 17, 2003
- Posts
- 4,659
I've only seen it once fully and that was on tv last year and I thought it was crap too, boared stiff until it started sinking and people began dying, that said any movie that kill Leo DiCraprio is a good thing in my eyes!!!cloudy said:
CharleyH
Curioser and curiouser
- Joined
- May 7, 2003
- Posts
- 16,771
Lauren Hynde said:I almost cried in despair for having sat for three hours and fifteen minutes looking at the TV screen, and then I almost cried laughing when it won all those oscars...
What "Oscar" winning film wouldn't a person cry laughing over? (forget LOTR)
As for despair, try watching Stan Brackage.
ABS! Comedy? Hmf. That was serious art Lady!
CharleyH
Curioser and curiouser
- Joined
- May 7, 2003
- Posts
- 16,771
ABSTRUSE said:
My point exactly. And it was pure art the way she was able to do that
with the lesbian scene of course.TANK GIRL!!!!!!!!!!!! I just re-watched that a couple weeks ago - LOVED IT almost as much as Lair of the White Worm.
ABSTRUSE
Cirque du Freak
- Joined
- Mar 4, 2003
- Posts
- 50,094
CharleyH said:My point exactly. And it was pure art the way she was able to do that
TANK GIRL!!!!!!!!!!!! I just re-watched that a couple weeks ago - LOVED IT almost as much as Lair of the White Worm.
Striking the comment for Gina's sake.
But you have to admit, Jennifer Tilly stole the show in "Bound".
Tank girl rocks!!!
Lauren Hynde
Hitched
- Joined
- Apr 11, 2002
- Posts
- 21,061
sweetsubsarahh said:
At the request of some families, I shall explain this theory, recurring to the words of one of my favourite authors:Lauren Hynde said:The Teletubbies are Evil.
Why The Teletubbies Are Evil by Bret Easton Ellis (from Gear Jan/Feb 1999)
Bret Easton Ellis is the author of Less Than Zero, The Rules Of Attraction, American Psycho, The Informers and Glamorama. A writer known for his dissection of popular culture trends, Ellis has chosen to examine The Teletubbies, those strangely psychedelic cuddly beings that have been imported from Britain to our TV screens. They are, he warns, pure evil.
THE BIG ISSUE: Why The Teletubbies are evil. The shocking truth by Bret Easton Ellis.
There is a children's TV program that takes place under gray English skies where a sun with the face of a baby so adorable he must be computer-generated rises as a tinny march plays on the soundtrack.
And then the Teletubbies appear – four blobs, performers in costumes, each a different color of pale frosting with defining antennae flopping on top of their heads – cavorting and frolicking in an astroturfed wasteland, a barren miniature golf course. They take karate stances for no apparent reason. They carry purses. They have names like Dipsy and Tinky-Winky. They have smooth, ageless, simian faces. They speak in sentence fragments and clipped phrases, sounding vaguely like giddy Japanese waitresses who work at the sushi bar in Hell. Sometimes they interact with a narrator who asks urgent questions along the lines of, "What's in the bag, Tinky-Winky?"
Like toddlers, the Teletubbies are amazed by balls, pieces of felt and plastic food. Holding balls, pieces of felt and plastic food. Holding hands while dancing around a plant is an especially popular pastime. Toys are put in bags and then pulled out of bags with great fanfare and encouragement. Minutes go by as the Teletubbies fall over while the sun looks down on them and squeals with delight. Sober, straining to pay attention you have no idea what's going on. Imagining the performers in those suits making "tubby custard," tasting "tubby toast" and trying on hats can move you to make yourself a very large drink.
Teletubbies share this space with giant, motley rabbits that are real and lumber toward plastic flower beds (one insider tells me the rabbits are as large as "small lambs" and are "bred especially" for this show). Farting noises commence, periscopes pop out of astroturf, a pinwheel dispenses sparkly rays causing the Teletubbies to huddle and spaz out, and that's when the gray squares on their bellies start glowing.
These Oompa Loompas on acid are actually living televisions – all proudly baring a screen embedded in their stomachs, which flash to life, showing short films of real children acting disconcertingly like Teletubbies – attempting gymnastics, zipping up bags, closing and opening drawers, deciding what to wear, singing mindlessly, hiding from each other (actually what any number of my friends in Manhattan do on a daily basis). This documentary footage reminds you of the thin line between the speech patterns of children and total drunks.
Though it lacks the forced, noxious gaiety of Barny, Teletubbies seems like a wicked satirist's idea of a horrible children's program watched in a future concocted by Huxley or Orwell or Gibson. They are reminiscent of the mutants in David Cronenberg's The Brood, and you can only stare and think: well they must have been designed to upset us. It's a dare. Marilyn Manson's calculated shock tactics seem phony compared to these psychedelic teddy bears (a warning: do not play The Dope Show over Teletubbies with the volume off). I would actually rather have my kids watch Taxi Cab Confessions or Deliverance.
The soothing tones, the eerie quiet, the New Agey vibe, the immaculate surfaces, everything so anal and controlled and antiseptic, a world where even the spontaneous seems rehearsed, the sheer humorlessness of it all – is what makes Teletubbies so creepy and emlematic of the new mothers and fathers of my generation.
Part of my resentment stems from the fact that I'm at an age where the majority of these friends are having children and settling down and this intrudes upon my bachelor lifestyle: dinner reservations are now made at seven, wilder invitations are bypassed, casual indignation about drugs and movie violence (these from former addicts, dealers, nymphos). But part of it stems from the hypocrisy of adults – the creators of Teletubbies and the scared, thoughtful parents plopping their kids in front of the tube – who over-identify with children and want the world baby-proofed. Adults who want the world to conform to their own notion of safety.
There was a mad, anarchic quality to Sesame Street – wit and sass were in abundance – in the late 60's and early 70's. The puppets were boisterous and often confused and fed up with the adults (authority figures) surrounding them. There were skits, rock songs, a general air of messiness that is conspicuously absent from Teletubbies and which makes it such odious time when cultural artifacts are stripped down to such an essential dumbness that people can locate a purity and familiarity they find soothing. Comfort abounds. Get Zen! Zone out! Sshhh.
One gets the feeling that if the Cookie Monster or Oscar the Grouch entered Teletubby land, their uncontrollable natures would compel the Teletubbies to club the living shit out of them and have the giant pinwheel make their muppet corpses disappear.
cloudy
Alabama Slammer
- Joined
- Mar 23, 2004
- Posts
- 37,997
The same lovely people who brought us the teletubbies now have a new show, Boobah. It's worse, I promise.
NEW YORK - With “Boohbah,” beauty is in the eyes of the beholder.
But for grown-ups exposed to it, this new PBS kids show might seem beautiful in the same hypnotic way as a druggy midnight screening of “2001: A Space Odyssey.”
The intended audience — kids aged 3 to 5 — will experience “Boohbah” on quite a different level, its creator insists.
“We always get the adults who don’t understand what we’re trying to do,” says Anne Wood, the visionary behind the equally tripped-out “Teletubbies” of years past.
In contrast to the Teletubbies, a quartet of playmates who each seemed a blend of Roswell alien and teddy bear, the five Boohbahs (despite resembling assorted-flavor gumdrops clad in Astroturf) are meant to be magical atoms of energy.
They’re energetic, for sure — streaking through the heavens in an orb of light ... spinning, soaring and scampering about, all to a soundtrack of electronica and children’s laughter ... before charging through a set of calisthenics.
So, rather than anesthetizing youngsters with its candy colors and dreamy atmosphere, “Boohbah” is designed to have the opposite effect. It’s an exercise show for preschoolers.
“Their first response is to laugh at it,” Wood reports. “Then their second response is to get up and move about like the Boohbahs. This is not a mesmeric type of show at all.
“Kids are really entranced by the joy of movement, and with ‘Boohbah’ they get involved quite a lot with its symmetry, pattern and spatial order, along with problem solving.”
Two years in the works, “Boohbah” premieres on most PBS stations Jan. 19 (check local listings), when, if “Teletubbies” is any predictor, it becomes a cultural touchstone — and, for parents within earshot of the television, the bane of their existence.
But who can blame them, when the opening of the show sounds something like this: Boohbah, Boohbah, Boohbah, Booh! Boohbah, Boohbah, Boohbah, Booh! Boohbah, Boohbah, Boohbah, Booh! (Kids giggling) Boohbah, Boohbah, Boohbah, Booooooooh!
Not that anything about “Boohbah” is spur-of-the-moment, as Wood explains during a phone chat from her Ragdoll Ltd. headquarters in Stratford-upon-Avon, England.
Even the title was carefully thought out to be a pleasing two-syllable word that rolls off the tongue with the same familiar intonation with which a mother might summon her child.
And since the 104 “Boohbah” episodes will be sold globally, that word had to sound comfortable to young viewers anywhere. Indeed, they are encouraged — alas, parents! — to voice it responsively during the show.
“It’s a command word,” says Wood. “‘Boohbah’ gives them the idea they are controlling things.”
Silliness and sight gags
During parts of an episode, the Boohbah creatures cede the screen to a multicultural human family called the Storypeople, who consist of such characters as Grandmamma, Grandpappa, Mr. Man and Mrs. Lady.
In a pastoral setting (these segments are shot in Spain, Wood says, “because we wanted a particular quality of light to make it look like a picture book”), the Storypeople explore a group activity, such as jumping rope.
A tinkly piano is heard, along with pointed comments from an off-screen narrator: “It’s a blue skipping rope.”
Then Brother’s blue rope magically fuses with Sister’s red rope (Narrator: “It’s a long skipping rope”). Soon everybody gets to jump, all at the same time. Then everybody falls down, laughing. Boohbah!
There is much silliness, plenty of sight gags. Unbeknownst to Mrs. Lady, her sweater snags on a tree trunk and unravels, progressively revealing her shirt underneath as she frolics across the grounds. Realizing her plight, Mrs. Lady discovers a pair of huge knitting needles and, retracing the path of yarn, re-knits it into her sweater.
Yet another feature, Look What I Can Do, finds a kid engaged in some simple activity like hopping in a circle on one foot. The challenge to viewers to try it for themselves is unstated, yet irresistible.
“‘Boohbah’ really connects with little kids and gets them up and moving,” says John Wilson, the PBS executive who worked with Wood in developing the show for U.S. viewers.
“It isn’t made to answer the question, ‘What will an adult enjoy?’ And that’s what makes it beguiling — or pick your own word — to the adult in the room. Anne is absolutely focused on the child in the room.”
Which, according to Anne Wood, is the way “Boohbah” should be. “When you see children responding to the show,” she says, “it kind of defies criticism.”
http://images-eu.amazon.com/images/P/B0000AZVFQ.02.LZZZZZZZ.jpg
NEW YORK - With “Boohbah,” beauty is in the eyes of the beholder.
But for grown-ups exposed to it, this new PBS kids show might seem beautiful in the same hypnotic way as a druggy midnight screening of “2001: A Space Odyssey.”
The intended audience — kids aged 3 to 5 — will experience “Boohbah” on quite a different level, its creator insists.
“We always get the adults who don’t understand what we’re trying to do,” says Anne Wood, the visionary behind the equally tripped-out “Teletubbies” of years past.
In contrast to the Teletubbies, a quartet of playmates who each seemed a blend of Roswell alien and teddy bear, the five Boohbahs (despite resembling assorted-flavor gumdrops clad in Astroturf) are meant to be magical atoms of energy.
They’re energetic, for sure — streaking through the heavens in an orb of light ... spinning, soaring and scampering about, all to a soundtrack of electronica and children’s laughter ... before charging through a set of calisthenics.
So, rather than anesthetizing youngsters with its candy colors and dreamy atmosphere, “Boohbah” is designed to have the opposite effect. It’s an exercise show for preschoolers.
“Their first response is to laugh at it,” Wood reports. “Then their second response is to get up and move about like the Boohbahs. This is not a mesmeric type of show at all.
“Kids are really entranced by the joy of movement, and with ‘Boohbah’ they get involved quite a lot with its symmetry, pattern and spatial order, along with problem solving.”
Two years in the works, “Boohbah” premieres on most PBS stations Jan. 19 (check local listings), when, if “Teletubbies” is any predictor, it becomes a cultural touchstone — and, for parents within earshot of the television, the bane of their existence.
But who can blame them, when the opening of the show sounds something like this: Boohbah, Boohbah, Boohbah, Booh! Boohbah, Boohbah, Boohbah, Booh! Boohbah, Boohbah, Boohbah, Booh! (Kids giggling) Boohbah, Boohbah, Boohbah, Booooooooh!
Not that anything about “Boohbah” is spur-of-the-moment, as Wood explains during a phone chat from her Ragdoll Ltd. headquarters in Stratford-upon-Avon, England.
Even the title was carefully thought out to be a pleasing two-syllable word that rolls off the tongue with the same familiar intonation with which a mother might summon her child.
And since the 104 “Boohbah” episodes will be sold globally, that word had to sound comfortable to young viewers anywhere. Indeed, they are encouraged — alas, parents! — to voice it responsively during the show.
“It’s a command word,” says Wood. “‘Boohbah’ gives them the idea they are controlling things.”
Silliness and sight gags
During parts of an episode, the Boohbah creatures cede the screen to a multicultural human family called the Storypeople, who consist of such characters as Grandmamma, Grandpappa, Mr. Man and Mrs. Lady.
In a pastoral setting (these segments are shot in Spain, Wood says, “because we wanted a particular quality of light to make it look like a picture book”), the Storypeople explore a group activity, such as jumping rope.
A tinkly piano is heard, along with pointed comments from an off-screen narrator: “It’s a blue skipping rope.”
Then Brother’s blue rope magically fuses with Sister’s red rope (Narrator: “It’s a long skipping rope”). Soon everybody gets to jump, all at the same time. Then everybody falls down, laughing. Boohbah!
There is much silliness, plenty of sight gags. Unbeknownst to Mrs. Lady, her sweater snags on a tree trunk and unravels, progressively revealing her shirt underneath as she frolics across the grounds. Realizing her plight, Mrs. Lady discovers a pair of huge knitting needles and, retracing the path of yarn, re-knits it into her sweater.
Yet another feature, Look What I Can Do, finds a kid engaged in some simple activity like hopping in a circle on one foot. The challenge to viewers to try it for themselves is unstated, yet irresistible.
“‘Boohbah’ really connects with little kids and gets them up and moving,” says John Wilson, the PBS executive who worked with Wood in developing the show for U.S. viewers.
“It isn’t made to answer the question, ‘What will an adult enjoy?’ And that’s what makes it beguiling — or pick your own word — to the adult in the room. Anne is absolutely focused on the child in the room.”
Which, according to Anne Wood, is the way “Boohbah” should be. “When you see children responding to the show,” she says, “it kind of defies criticism.”
http://images-eu.amazon.com/images/P/B0000AZVFQ.02.LZZZZZZZ.jpg
G
Guest
Guest
ABSTRUSE said:
i feel so incredibly lucky.. (id like to feel up lucky sorry that slipped)
that my kids are no longer in that demographic
Lauren Hynde
Hitched
- Joined
- Apr 11, 2002
- Posts
- 21,061
OK, that was seriously disturbing.cloudy said:
Lauren Hynde
Hitched
- Joined
- Apr 11, 2002
- Posts
- 21,061
As soon as someone mentions the Teletubbies over there, I will post it.CharleyH said:Sounds eerily like Brownies . . .
LOL - One of the funniest articles of all time in my opinion. But Lauren, sweetie
cheerful_deviant
Head of the Flock
- Joined
- Apr 4, 2004
- Posts
- 10,487
cloudy said:
"Duudee, pass me that bone! Boohbah is on!"
Lauren Hynde
Hitched
- Joined
- Apr 11, 2002
- Posts
- 21,061
You know, getting back to the movies' topic, I don't think I have ever seen that one in any conditions other than druggy midnight screenings...cloudy said:
