Trivia with a Twist 2: A Laugh a Minute (Unabridged) – Steve Lemco

Steve Lemco - Trivia with a Twist 2: A Laugh a Minute (Unabridged)  artwork

Trivia with a Twist 2: A Laugh a Minute (Unabridged)

Steve Lemco

Genre: Comedy

Price: $ 5.95

Publish Date: November 3, 2015

© ℗ © 2015 Steve Lemco

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In less than seven hours time, #FutureHive will rejoice to the bellowing trap sounds of Future’s third studio album, Dirty Sprite 2.

Drake provides the sole guest appearance on track three, “Where Ya At,” which can be heard in Wired Tracks below. There, you’ll also find YG’s new heater “Twist My Fingaz,” a Cool Kids “reunion” called “Super Squad,” and more.

Photo: Instagram

YG – “Twist My Fingaz”

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New Web Series ‘Paper Boys’ Delivers Diversity, Charisma and a Magical Twist You Never Saw Coming

I think the unifying theme for every person in their 20’s, regardless of race, religion, or sexual orientation, is that none of us really has a clue what we’re doing. Cole, the main character of Paper Boys, is no exception to this rule. He’s trying to figure out how to land a job he loves (that will also pay the rent in one of the most expensive cities in the world), what to say to his straight best friend Daren who recently confessed he doesn’t want to marry his fiancée, and why he can’t seem to stop himself from stalking an old flame, Max, on Facebook. If all of this wasn’t enough to worry about already, Cole has also discovered that his sketchbook is, well… enchanted. Whatever Cole draws seems to happen in real life, and while this newfound power could be the answer to all his problems, he hasn’t quite figured out if it’s only going to make his life even more complicated.

Written by Curtis Casella and Kyle Cabral (Cabral also directs the series and stars as Cole), Paper Boys is a delightful new web series that takes the sometimes harsh reality of being a confused millennial trying to juggle love, a career, and a new city, and spices it up with a bit of magic to make it all the more captivating. The first two episodes have already generated over 90,000 views on YouTube, and the creators have recently succeeded in raising $ 10,500 via their Kickstarter campaign to create two more full episodes (and are hoping to raise even more to keep the series going).

2015-06-16-1434469763-3496973-paperboys_stills_01.jpg

I caught up with Kyle and Curtis, as well as Henry Lee (who plays Max), Kai Liu (who plays Rebecca), Sarah Elizabeth (who plays Charlie), and Nathan Brown (who plays Daren) over email, and asked them all about the inspiration behind Paper Boys, as well as what we can expect from future episodes:

What do you hope viewers will take away from this series?

Henry: That, for the most part, as fantastical as the notebook element may be, we are showcasing real people who are struggling with the same issues that we all deal with. They’re asking themselves the same questions we all ask ourselves, while trying to figure out where they fit in the world.

Kai: I hope that viewers will notice how diverse we are. The main character is Asian and the sisters are Asian and white. This dynamic is occurring more and more in the world we live in but the media tends to show only homogenous families. I hope we’re helping to create a new normal.

In a lot of ways, Paper Boys is a show about ordinary life for your average millennial, and then you have this element of magic mixed in. What was the inspiration for this part of the story?

Curtis: When we set out to create Paper Boys, we didn’t want to write something that was the same as other shows and web series with gay characters in them, and we ultimately decided on adding in this element of fantasy. We thought the sketchbook was appropriate because it gives Cole a degree of control over his life, which I think many of us millennials don’t always feel we have, especially after the financial crisis. So we wanted to explore questions like whether Cole is better off? Will he be happier?

A lot of people describe Paper Boys as a “gay web series” — this seems to happen a lot when a creator features a minority as a main character; the project becomes niche rather than general, it becomes a “gay web series” rather than just a “web series.” What does Paper Boys do to transcend that label and appeal to the masses?

Curtis: One of the reasons we created the sketchbook was that a lot of gay media is very rooted in reality – Looking, Weekend – and we wanted to tell a story that wasn’t just about being gay, but about a gay character making the discovery that he has this power.

Kyle: We’ll also have more diversity and representation moving forward, so I hope our series does a good job of being inclusive and relatable. I think the mere fact that we have characters that are involved in such complicated relationships – in terms of family, friends, and love – is something that anyone and everyone can relate to regardless of gender, race, age, or sexual orientation.

Once you realized you possessed a magic notebook that made things happen in real life, what would be the first thing you’d draw?

Kai: I would give myself superpowers. Obviously.

Henry: Increase the size of my condo by a bedroom and a bathroom and pay off the mortgage. Boring, but practical.

Sarah: Me and Jennifer Lawrence eating pizza together. Obviously.

Curtis: Paper Boys season two (on HBO?). Or a puppy.

Kyle: I can’t decide between drawing myself as a new mutant member of the X-Men, or sitting in the master suite office of my very own film and animation production studio. Both are practical, I think.

Nathan: …there are too many things I’d want from comic books to say.

Head over to Paper Boy’s official website to get caught up on the series, and make sure to “like” their Facebook page for updates on new episodes!

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Boy’s Video About Being From A ‘Broken Home’ Has A Sweet, Unexpected Twist

Sure, Azka Corbuzier is growing up in what some might call a broken home — but thanks to the love and support of his parents, the 9 year old feels anything but broken.

In a sweet YouTube video that’s racked up more than 490,000 views, the Indonesian boy maps out his parents’ short-lived love story and says that his family has actually become stronger since the split.

“Everything went fine until I am 6 years old. We have a great family,” a caption reads as stick figure illustrations flash by. “Mom and dad start to argue on a lot of things… so they decide to divorce.”

He adds: “They told me about it and tell me not to worry and I don’t have to choose between them. They never fight anymore and we still go to malls and abroad together.”

In an interview with the BBC, Azka’s dad Deddy Corbuzier, a well-known illusionist and TV host in Indonesia, said he was surprised by the video — just as he was by his son’s initial reaction to the split. The first question Azka asked was, “Who should I go with?”

“We told him he will stay at the same house, and he said, ‘OK then — no problem’,” Deddy said, explaining that they renamed their home “Azka’s house” and that his ex-wife lives nearby and stops by nearly every day.

As Azka sums it up in his video, “It’s not a broken home when you still have the same love from your parents.”

Keep in touch! Check out HuffPost Divorce on Facebook and Twitter. Sign up for our newsletter here.

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Oliver Twist – Charles Dickens

Charles Dickens - Oliver Twist  artwork

Oliver Twist

Charles Dickens

Genre: Fiction & Literature

Publish Date: January 1, 1934

Publisher: Public Domain

Seller: Public Domain


The story is about an orphan, Oliver Twist, who endures a miserable existence in a workhouse and then is placed with an undertaker. He escapes and travels to London where he meets the Artful Dodger, leader of a gang of juvenile pickpockets.

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Twist Is the New Twerk

Scott Bradlee’s Postmodern Jukebox

Genre: Jazz

Price: $ 9.99

Release Date: January 31, 2014

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Twist Is the New Twerk – Scott Bradlee & Postmodern Jukebox

Scott Bradlee & Postmodern Jukebox - Twist Is the New Twerk  artwork

Twist Is the New Twerk

Scott Bradlee & Postmodern Jukebox

Genre: Jazz

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© ℗ 2014 mudhutdigital.com

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‘The 100’ Fall Finale Twist: Insider Details On What’s Next For The Shocked Survivors

By this point, I think my assessment of “The 100” is pretty clear. I’ve written a number of pieces about the show, in its first and second season, praising its pace, its cast and its commitment to its premise about survival in an unforgiving, post-apocalyptic world.

Strangely enough, despite being one of the critics spreading the word about how smart this show was about putting its themes and its premise to work, I was shocked by the ending of “Spacewalker.”

Let me put it another way: I was both surprised and unsurprised by the ending, but either way, I only have positive thoughts about what occurred. It’s not that I enjoy watching a core character die, of course. I just think that too many shows shirk from having characters suffer realistic consequences for their actions, and ever since Finn (Thomas McDonell) massacred 18 Grounders in a small village, I have thought he would have to pay a very big price for that action.

Not that that’s the kind of act that can ever truly be atoned for, but if “The 100” had let that incident slide, I would have thought much less of the show. Brisk pacing and good twists are one thing, but a show accrues more substantial emotional weight when the characters have to struggle though events that are hard to process and accept. What occurred in “Spacewalker” was hard to watch — but in a good way, given that it will deepen the characters and make their lives and their dilemmas even more challenging going forward.

As I said, I wasn’t surprised that Finn had to pay a price for his actions: That lines up with the moral universe the show has been building for two seasons. I was somewhat surprised that that price was death. Despite much evidence that it’s not interested in conducting TV business as usual (unless that suits its purposes), I expected “The 100” to behave like a typical broadcast network drama and find a way to avoid killing off a popular character in the middle of the show’s second season. What “The 100” did is quite rare, though I do think it was the right decision under this particular set of circumstances.

That said, many aspects of Finn’s fate landed like a punch in the gut. The hardest thing to watch: Clarke as the person who ended Finn’s life. There were so many reasons it had to be that way: Practically, a quick death via Clarke’s knife was better than slow, horrific death courtesy of the Grounders, and of course, Clarke and Finn cared about each other a great deal. For her to be able to comfort him just before his death was so important.

And on reflection, I’m not shocked that Clarke did what she did: From day one, the character has had to make tough calls and has often had to choose among impossible options. What’s great about Eliza Taylor’s performance — and the show’s willingness to be subtle — is that you see the cost of those choices on her face. Given the same set of options, I think Clarke would make the same decision, but you could see, in that final scene, that she hated herself for doing it and that she’d never get over it.

All in all, what occurred in “Groundwalker” was both surprising and inevitable, a combination that’s hard to achieve but when it works, as it did here, it can be powerful and even moving.

More thoughts about the second season of “The 100” and “Spacewalker” are contained in a Talking TV podcast and in this interview with executive producer Jason Rothenberg:

Well, I’m doing not doing too well, because I just watched the episode again and I was crying, so I cursed you.
I can’t say that makes me sorry, actually.

Nor would I want you to. Kudos all around on the episode. There were some brave choices in there and the cast did an incredible job.
Thank you very much.

My first question is, is Finn really dead? There’s not going to be some miracle battlefield surgery, right? He won’t magically come back to life?
No, sadly, he’s really dead. He could come back in a flashback kind of way, but he’s no longer part of the show. It’s sad. When that happens, it’s like you lose a member of the family. It’s harder on us probably than it is even on the fans.

“Ultimately it lands on Clarke. She’s haunted. Literally she will be broken and haunted by that for the rest of her life, and certainly for the rest of the season.”

I get that, but I really respect that choice. After the episode with the massacre in the village, I turned to my husband and said, “I really hope the consequences of this becomes an ongoing story line.” You know, this can’t just be brushed aside, like, “Well, they had one more close call with the Grounders!” This was something different, and I really hoped that the consequences of that encounter would become an ongoing thread on the show. And even though “The 100” has made other brave decisions in situations like that, I wasn’t really sure what the show would do. So what happened — I can’t think of a bigger consequence for the characters in that world to pay, especially Finn.
Well, yeah. The truth is, I knew going into the season that that was going to happen. I talked to Thomas [in May], and told him what the plan was — that we were going to take his character in a pretty dark direction and that he was going to leave us somewhere in the middle of the season. I didn’t know that it would be the mid-season finale. As you’re breaking the season [i.e. figuring out the overall storylines], you have certain stories that sort of want to be certain things, and this one just felt like a tentpole moment, a pivot point for the season. It lined up with one of our best writers, Bruce Miller, so all the planets aligned.

But yeah, I knew that he was going to have the massacre, I knew that he was going to have to die for it ultimately, and I knew that it was going to be Clarke [who ended his life]. That’s the most surprising part about it, to me. You know people are anticipating that Finn’s going to die because what he did was so horrible, but I don’t think anybody’s going to see coming what happens. Ultimately it lands on Clarke. She’s haunted. Literally she will be broken and haunted by that for the rest of her life, and certainly for the rest of the season.

I did think it was very interesting that it landed on Clarke, and having it be a choice that she made was so hard — you could see how wrenching that decision was. And I didn’t see it coming, not really, because broadcast network television just doesn’t do that very often. Despite everything else “The 100” has done with its characters in the past, I didn’t necessarily think the show would be that… I guess the word is “uncompromising.”
Thank you. I think that is sort of becoming our thing. Not to give away the formula, but if you look at episodes, we say we’re going to do something and then [we do it]. Most network shows, certainly most broadcast network shows, don’t follow through in the end — there’s the miraculous, eleventh-hour save. But we say we’re going to do something, and then we do it.

Episode 5 last year, which was also written by Bruce, was “The Calling.” That whole episode was about the fact that [the leadership was] going to kill these 300 people to make more oxygen for everybody else. “But maybe the kids on the ground are going save the day!” [But they didn’t and the Arc inhabitants died.] That lands really hard.

Similarly, with this story, the whole episode is about — Finn was going to die. “We have to give Finn up. The Grounders want Finn.” We go over five different ways that we’re going to try to save his life. And then we just do what we said we were going to do. On some level, that says something about broadcast television [i.e. about the usual desire for resolutions that aren’t nearly as dark]. It also says, I think, something about the kinds of stories that we want to tell.

It was especially bold, because you also had the whole flashback plot about Finn doing a selfless, kind thing — giving Raven the spacewalk. It turns out that his crime wasn’t really a crime — it wasn’t an irresponsible spacewalk for himself, it was for Raven. So even more than usual, you would think, according to the usual rules of broadcast network television — if you have done some work to bring some good character traits to light, surely things couldn’t go that badly for him.
Yeah. That was sort of designed. The fact that Raven took the spacewalk and Finn took the fall for it — that was something that we’ve known for a while, and I’ve been trying to figure out a way to get it into the show. It just sort of lined up perfectly [for this episode], especially in the wake of the massacre, where the reaction has been kind of intense online. I follow it probably too much.

People are understandably enraged, a lot of people. We did that by design. It’s an enraging thing that he did. But [with the flashback], maybe it’s a little bit manipulative creatively, but we certainly were conscious of, “Okay, we need not to ‘win him back,’ but on some level, we need for people to care about him again before we pull him away.” His death would have been emotional anyway, because the characters we care about are so moved and messed up by it. But I think it’s even more emotionally devastating because of what you’re saying — we realize what a good guy he could be right as we kill him.

We did a very similar thing way back in Episode 3 in Season 1 with Wells. We told that flashback story that was kind of redeeming, and we see how he basically let Clarke think that he was the one that was responsible for her father’s death, so that she wouldn’t hate her own mother. And then we killed him in the same episode.

So what you’re saying is that you’re just a terrible person.
Yeah. [Laughs] I mean, you know what? The thing is — and I say this to the staff all the time — our job is to make people feel things.

“The thing is, our job is to make people feel things.”

Oh, I know.
Feel something. If I don’t feel something in a script that comes in, or even an outline that comes in, then I always send it back, because that’s the job.

Part of the reason I was feeling things at the end of the episode is because I watched the scene with Finn and Raven in the drop ship, and he says, “May we meet again.” He’s already decided at that point to sacrifice himself. To me what makes me more interested in Finn and his fate is that he knows he crossed a line and there’s really no way he could ever make amends for what he did. He knows how bad it was, on some level, and he feels torn up about it and he wants to at least do something to help other people. It’s the one good thing he can do.
Yeah, he’s not going to let other people take the fall for him. I think Thomas, as an actor, really elevated his game all season. He embraced the darkness of what we were doing with Finn, and showed side of himself as an actor that he didn’t know that he had. I really proud of him, and I’m going to miss him a lot, and so is everybody else in the cast.

I think that he did elevate his game, especially in this episode. It was very moving in the scene where Clarke kills him. He’s afraid, but when he knows what is happening, he says, “Thanks, Princess.”
Yeah.

That was tough.
Yeah, Bruce just did a really great job. Sometimes everything just sort of works. The idea, like I said, was there from the beginning and then you give it to the writers to put their spin on it, and Bruce is an excellent writer and really found the heart of that scene. I’ve seen it probably 20 times through [post-production] and every time I watch that scene, I get emotional. So I hear you.

It’s emotional because it has real weight. There are real consequences to his actions, and as much as his actions were unconscionable, it was hard to watch how his fate came down, for both of them. This is one of the things I look for in a drama — situations in which there’s no good choice and the characters are torn up by their bad options. For me as an audience member, it’s easier to invest in that kind of world — no matter what kind of circumstances the characters are in, that kind of heartbreaking challenge is relatable.
I should give a hat tip to the director, John Showalter. As I watch it, up until she says, “Can I say goodbye?” and then walks over — you’re thinking, “There’s no way. Something will happen. Someone will come in and save him.” She’s got a knife. We see that. “She’s going to kill [Grounder leader] Lexa.” That’s probably what most people are thinking. That’s certainly, by design, what we want people to think. So that tension really exists until that moment, and then, for me, it’s like, “Oh my God, are they really going to do this?”

I didn’t really expect it to go down that way. I thought, “Well, Clarke is one of the most resourceful people in this world. She’s going to cut loose his ropes and they’re going to run off into the forest and it’ll be some insane adventure.” But now, the cliffhanger is that the characters have to emotionally deal with the fallout. That is so much more interesting than, “Clarke and Finn run off, and we catch up with them in the next episode trying to evade the Grounders.” That is a mechanical cliffhanger, whereas this is an emotional cliffhanger, if you will.
Yeah. I can’t believe people have to wait until Jan. 21 to see the next episode, because it’s another outstanding one. Everybody on our crew and the cast is just firing at such a high level right now — it’s really exciting for me. But you’re right. It’s an emotional cliffhanger. Episode 9 is really the one where I felt like, okay, people are going to need to sort of take a breath and absorb what’s happened. It’s a very different kind of episode for us but it’s emotionally … not devastating, but almost cathartic.

It seems like you follow fan reactions online pretty closely. How would you characterize how that has been going lately, and do you have any guesses in terms of how people will react to this episode?
You know, I’m not surprised by the reaction [lately]. I feel like some people really got exactly what I was hoping they would get from Finn’s descent, which was that he was broken and that he was sort of suffering a little bit of PTSD from a fairly traumatic few weeks, from the Season 1 finale through the massacre, certainly. In that moment, he suffered a break and he was under the belief that his people had all been killed. In that moment he believed that, and he thought the people in this village were lying. Some people really sort of went with that and understood what he did, nevertheless believing it to be horrible and terrible and all of the things that it was.

Others though, you know — I feel like it’s hard to separate people’s feelings about a character and who they like the most and who they want Clarke to be with the most — to sort of separate those feelings and just go for the ride. I felt that was how it was divided — basically people who liked Bellamy and Clarke together sort of were almost rooting for Finn’s death after that. But again, it’s not surprising to me. The truth is, we as the audience were way ahead of Finn. We were watching this train wreck that we knew was going to happen because he was operating with the wrong information. We knew Clarke wasn’t there. We knew Clarke was trying to forge a peace with the Grounders and that Finn was barreling towards this really dangerous moment. And again, most shows would have had Clarke and company probably arrive before that massacre.

Yes.
But we wanted it to be the story that we knew we were telling, and I uncompromisingly set our compass and just drove for it. And by the way, the network — say what we will about broadcast television, and I have feelings probably similar to yours — has been incredibly supportive of everything. They’ve never balked at a single thing. It’s been kind of incredible, actually.

In terms of setting up the next seven episodes — what do you want to say about that? Is the alliance with the Grounders going to happen and is a war coming with Mount Weather?
Clarke will not let what she’s done in Episode 8 be for nothing. She will relentlessly drive forward until that confrontation happens. She’s not going to let the alliance fall apart. There will be a lot of people trying to pull it apart — the alliance between the Grounders and the Sky People [and the alliance between the Arc survivors and the Grounders]. Alliances are hard, you know. You don’t make peace with your friends. We’ll see that really coming to a head in the back half of the season. It really does become about rounding a bend and finally going after their people at Mount Weather before they can all be killed. Things are really heating up inside Mount Weather in a bad way as well. We took a week off for Episode 8 in Mount Weather, but off-camera, things are getting worse there.

No more cake in Mount Weather.
No more cake, definitely.

This interview has been edited and condensed.

The last Talking TV podcast of 2014 is all about “The 100,” which I’ve also paid tribute to on my Tumblr. The podcast, in which Ryan McGee and I talk about “Spacewalker” quite a bit, is available here, on iTunes and below.


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Pretty Little Liars Scoop: Ezria’s “Soul Mate” Connection, a Sisterly Twist, Mona’s Army and More!

PRETTY LITTLE LIARS“I didn’t disappear, I was kidnapped.”

Whoa, Ali! We didn’t know that your very first words back in Rosewood would be a big fat lie. Ohh wait a second—yes we did!…


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