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Lupine Publishers is a multidisciplinary, scholarly Open Access publisher focused on Genetic, Biomedical and Remedial missions in relation with Technical Knowledge as well. Our journals maintains a scrupulous, methodical, fair peer review System. Besides, quality control is riveted in each step of the publication process. https://in.linkedin ... Welcome to Lupine Publishers. Lupine Publishers is one of the world’s largest open access publisher of peer-reviewed, fully peer reviewed journals.Launched with an intention of openness of original research publication, we are passionate about working with the global academic community to promote scholarly research articles to the world. With the help of our academic authors and Editors ... Modern Approaches in Dentistry and Oral Health Care. Current publisher: Lupine Publishers (10.32474) EISSN : 26374692 Lupine Publishers is an online publishing house, which has multidisciplinary, scholarly Open Access journals promoting scientific research via its Peer reviewed articles and by archiving highly standard articles in respective journals. Lupine Publishers is is an online publishing house, which has multidisciplinary, scholarly Open Access journals promoting scientific research via its Peer reviewed articles and by archiving highly standard articles in respective journals. Lupine Publishers is a multidisciplinary, scholarly Open Access publisher focused on Genetic, Biomedical and Remedial missions in relation Lupine Publishers Our journals maintains a scrupulous, methodical, fair peer review System. About Us. The Lupine Publishers is an open access medical and clinical research publication that gives acclaimed scientific authors and research experts a global platform to share their work among like-minded peers and help accumulate scientific knowledge in a singular repository. Our open access policy supports the free publication, download and forwarding of innovative works of research that ... Modern Approaches in Dentistry and Oral Health Care. Current publisher: Lupine Publishers (10.32474) EISSN : 26374692

2019.11.16 06:44 Lupinepublishers-TGH Sex mms by hidden camera

Lupine Publishers | Risk Predictive Factors to Convert Laparoscopic Cholecystectomy into Other Procedures
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Lupine Publishers | Journal of Gastroenterology and Hepatology
Abstract Laparoscopic cholecystectomy (LC) is nowadays the procedure of choice for cholecystitis. The intraoperative finding can make this procedure quite tricky such as dense adhesions at calot’s triangle, fibrotic and contracted gallbladder, acutely inflamed or gangrenous gallbladder, cholcystoenteric fistula, etc. There are also risk factors which make laparoscopic surgery difficult like old age, male sex, obesity, previous abdominal surgery, thickened gallbladder wall, distended gallbladder, pericholecystic fluid collection, impacted stone, etc.
Methods: This is a one cohort retrospective review of patients admitted to the hospital with acute cholecystitis who during LC were converted to intraoperative cholecystostomy tube placement (CCT) or to open cholecystectomy (OC). Preoperative risk factors to predict difficult cholecystectomy were evaluated.
Results: Medical records were reviewed retrospectively from January 2010 through December 2016. IRB approval was obtained. LC was performed in 556 cases between 2010-2016, with 56 (10%) conversion: 39 CCT and 17 OC. The highest reason for conversion are Perioperative fluid around the gallbladder before surgery on the ultrasound (10%), preoperative thickness of the gallbladder (9%), Impacted stones (7%) are the predicting factor that have more changes to turn the LC into a different surgical approach. These three parameters are followed by Prior Hospitalization (3%) and presence of abdominal scar (5%). Essential factors to make a problematic surgery were postoperative perivasculitis (2%), obesity (8%), difficult liver mobilization (1%), acute and scleroatrophic cholecystitis (1%), “porcelain gallbladder” (2%). Causes of bleeding during our operation were: cirrhosis (2%), accidental adhesion tearing (0.5%) (Table 1).
Conclusion: Problematic LC can be diagnoses before the surgery and make the OR team ready for different surgical approach.
Keywords: Laparoscopic Cholecystectomy; Open Cholecystectomy; Cholecystostomy Tube; Difficult Cholecystectomy; Predictive Factors for Difficult Surgery.

Introduction Laparoscopic cholecystectomy (LC) is nowadays the procedure of choice for cholecystitis [1]. The intraoperative finding can make this procedure quite tricky such as dense adhesions at calot’s triangle, fibrotic and contracted gallbladder, acutely inflamed or gangrenous gallbladder, cholcystoenteric fistula, etc. [2]. There are also risk factors which make laparoscopic surgery difficult like old age, male sex, obesity, previous abdominal surgery, thickened gallbladder wall, distended gallbladder, pericholecystic fluid collection, impacted stone, etc. [3]. A cholecystostomy is an opening made in the gallbladder, to place a tube for drainage. John Stough Bobbs, in 1867, was the first to described it [4,5]. It has been used in 1) person is ill, and 2) to defer cholecystectomy [6]. Todd Baron and Mark Topazian in 2007 place the first percutaneous Cholecustostomy Tube using ultrasound guidance [7]. The role of Cholecystostomy tube (CCT) is controversial in current surgical practice [8]. In critically ill patients, cholecystostomy tubes should remain in place until the patient is deemed medically suitable to undergo cholecystectomy. Removal of the cholecystostomy tube without subsequent cholecystectomy was reported associated with a high incidence of recurrences. [9] Attempts to predict intraoperative difficulties was described and included, palpable gallbladder, pericholecystic fluid, male more than female incidence, etc. [11], but still is not an 100% given all patients are different. Technical and tactical solutions to deal with complicated cholecystitis surgery were reported [10] but cannot be always applicable. Our study is based on the assumption that difficulty cholecystectomy can be defined before the surgery and give the opportunity to the surgical team to prepare for alternate surgeries option like Open Cholecystectomy (OC) or intraoperative Cholecystostomy Tube placement (CTT).

Methods This is a retrospective review of patients admitted to the hospital who were diagnosed with acute cholecystitis who underwent an initial laparoscopic Cholecystectomy. The study was designed to find those patients who were converted in other surgery than LLC and check if the preoperative work out was predictive of failure of LLC. The Cohort taken in consideration were those who converted into Cholecystostomy Tube Placement (CCT) or to open cholecystectomy (OC). Medical records were reviewed for demographic data, diagnoses, imaging, complications, and outcomes: from January 2010 through December 2016 from the same surgeon. IRB approval was obtained.
a) Inclusion Criteria: All patients who underwent LC from January 2010 to December 2016 were included in the study.
b) Exclusion Criteria:
i. Laparoscopic cholecystectomy performed with other laparoscopic intervention in the same setting.
ii. Laparoscopic cholecystectomy with Common Bile Duct (CBD) exploration.
iii. Absolute contraindications to LC like cardiovascular, pulmonary disease, coagulopathies, and end-stage liver disease. Demographic symptoms sings of presentations were evaluated to find if those were impacting on our surgeries and addresses the activities of the cholecystectomy. The evaluated risk were the following: history os hospitalization, palpable gallbladder, thicken gallbladder, peri-cholecystitis fluid, impacted stones at the neck, abdominal scar. The characteristic of the patients was reported in Table 1.
Pre And Intraoperative A detailed proforma was in place before the surgery to record information regarding patient history, physical examination, laboratory parameters, ultrasonography (USG) findings and intraoperative details.
Operative Technique After obtaining an informed consent including an option for CCT and OC the patient was taken to the operating room placed under general anesthesia and prep in the usual fashion. The first incision was done in the left upper quadrant with a knife and a trocar, and a camera was advanced through the tissue under direct vision. Once in the abdomen, we obtained a pneumoperitoneum of 15mmHg. We place 2 five mm trocars in the right upper quadrant, one at the level of the belly button of 5 mm. The initial trocar was switched to a 12mm trocars. Evaluation of the Right upper quadrant and the gallbladder was made.
Critical Factors The crititical factor evaluated to continue the LC or turned into CCT or OC: 1) a change of the color of the gallbladder (green etc), 2) multiple adhesion which could not be taken out, 3) inability to grab the gallbladder after aspirating with the needle, 4) failure to see after the body of the gallbladder and define the neck of the gallbladder without good vision of the area of the common bile duct.
CCT The fundus of the gallbladder was open with the Bovie. The fluid was aspirated, and the stones inside in the gallbladder were taken out by grasping with a laparoscopic Babcock after all the stones were cleaned and placed one by one in a separate bag inserted in the abdomen. The bag was closed. We then whased the gallbladder with saline, which also helps to mobilize hidden stones. The camera was then advance inside the gallbladder and evaluated from inside visualize the cystic duct. Once we know they there no other stones obstructing, a 2/0 silk purse string was placed at the fundus opening. With a separate incision, a Foley 18 French was inserted in the abdomen and the tip placed inside the gallbladder. The purse string was tied, and the balloon of the Foley was filled with seven ml. of saline. A Jackson Prat was placed at the liver fossa and secure with a 2/0 nylon to the skin. Same suture was used to secure the CCT to the skin. as we did to achieve the Foley now new cholecystostomy tube. The CCT was connected to a Foley bag and left on gravity. Given the difficult to have a real CCT, we usually use a Foley 18 French as CCT tube. We wash the abdomen and close the trocars with 4/0 monocryl and dermabond. After surgery, the patient was allowed to advance the diet and walk. Most of the patients were discharged within 36 hours with home health.
OC If the CCT was not possible with a knife, we made a subcostal incision. The incision was then taken down with the bouvie while separating the muscle. Once in the abdomen, we close the gas insufflation. Few laps were placed on the stomach, duodenum and colon side. The gallbladder was grasped with a kelly clamp and dissected with bouvie from the liver. Once at the neck of the gallbladder was visualized the artery and the cystic duct, were dissected either between clips or with vascular staplers. Jackson Prat ten French drainage was placed in the liver fossa and secure to the skin. The wound was closed in layers with one vycril and stapler for the skin. The patient was allowed fluid, they were placed on PCA pump and discharge home with home health care within 4 days.
Post OP Treatment of the CCT The tube was left on biliary bag drainage, Cholangiogram is ordered between week 4 and 6. If no stones were found from the cholangiogram the tube was pulled out in the office otherwise redo surgery was scheduled.

Results
Table 1: Patient Characteristics.
📷
556 cases were performed between 2010-2016 by the same surgeon, Total 56 patients (10%) who match our criteria were converted: 39 CCT and 17 OC. The surgery was performed by the same surgeon in different hospitals. Mean intraoperative time was 51 ± 26 min (range 27–77min) in CCT and 53 ± 28min (range 25–81 min) in OC. Postoperative hospital stay was 1.4 ± 0.4 days in CCT and 4 ± 1 in OC (p< 0.05). The operative data, time bleeding and postoperative hospital stay, seromas incidence were collected and reported in Table 1. The following comorbidities were founded: cardiovascular disease (20 patients), respiratory failure (10 patients). At 30 days, the morbidity associated with the CCT itself was 4% while OC was 70%. Of the patients who underwent CCT only one (10%) underwent LC after 30 days. Perioperative fluid around the gallbladder before surgery on the ultrasound (10%), preoperative thickness of the gallbladder (9%), Impacted stones (7%) are the predicting factor that have more changes to turn the LC into a different surgical approach. These three parameters are followed by Prior Hospitalization (3%) and presence of abdominal scar (5%) (Table 1). Essential factors to make a problematic surgery were: postoperative perivasculitis (2%), obesity (8%), difficult liver mobilization (1%), acute and scleroatrophic cholecystitis (1%), “porcelain gallbladder” (2%). Causes of bleeding during our operation were: cirrhosis (2%), accidental adhesion tearing (0.5%) (Table 1).

Discussion With the help of accurate prediction, the high-risk patient may be informed beforehand regarding probability of conversion to OC or CCT. This discuss will also help the surgeon and the OR team to prepare the alternative surgeries. Surgeons should be aware of the possible complications that may arise in high-risk patients.
Risk Predictors Factors Male sex makes surgery difficult as being reported in studies [10-12]. Conversion rate and significantly higher mortality [13,8] and found to be a significant factor. Subtotal cholecystectomy, antegrade and fundus first techniques which is now being more commonly done during LC were associated with lower complications and conversion rate. Other risk factors for difficulty surgery are reported as increased age, acute and thick wall chronic cholecystitis, wide and short cystic duct, cholecyst digestive fistula, previous upper abdominal surgery, obesity, liver cirrhosis, anatomic variation, cholangiocarcinoma, and low surgeon’s caseload [14]. Although decompression and drainage of the gallbladder through a radiological placed cholecystostomy tube may be used as a temporary treatment of acute cholecystitis in ill population, there is still some debate about the management of the tube and the subsequent need for a cholecystectomy. Other authors reported 105 patients, 12 (11.4%) required conversion to open cholecystectomy. They pointed out that their significant predictors of conversion were body mass index> 30Kg/m2, male gender, history of acute cholecystitis or acute pancreatitis, the recent history of upper abdominal surgery, and gallbladder wall thickness exceeding 3mm [15]. Thickened gallbladder wall is an ultrasonographic finding of acute cholecystitis, and it was a significant factor in previous studies [16-18]. James Majeski [16], showed that a preoperative gallbladder ultrasound evaluation with a thick gallbladder wall (>3mm) and calculi, is a clinical warning for a problematic laparoscopic cholecystectomy procedure which may require conversion to an open cholecystectomy procedure [19].
But Carmody concluded that detailed preoperative ultrasound evaluation of the gallbladder in patients destined for laparoscopic cholecystectomy is of little value in screening for difficult or unsuitable cases. They found that there were no ultrasound features that can differentiate between the unsuccessful, confusing, or uneventful laparoscopic cholecystectomy [20]. In our study thickened gallbladder wall was present in all patients and outcome was found to be dependent on this variable by chi-square test (p = 0.001), and logistic regression analysis also ascertained the significance of this factor for prediction (p = 0.005). Pericholecystic fluid is an ultrasonographic finding of acute cholecystitis. This was found to be a significant factor in our study (p = 0.939), as well as palpable gallbladder (p = 0.05). Therefore, we agree with Randhawa [21] who also reported that presence of palpable gallbladder has a significant bearing on define difficult surgery. Difficulty in gallbladder grasping was associated significantly with the conversion. A distended gallbladder or a gallbladder filled with stones is not easily grasped because it tends to slip away. Presence of inflammation around the gallbladder makes the wall friable and edematous, thus posing problems. These data were reported by Singh [22] who also found a significant association between difficulties in grasping a distended gallbladder and pericholecystic inflammation. Lal [23] have identified that presence of large stones in the gallbladder neck leads to distention and difficulty in grasping.
Cholecystostomy Percutaneous Cholecystectomy (PCCT) is primarily indicated for accessing the gallbladder to manage cholecystitis or to serve as a portal to remove or dissolve gallstones [24,25]. In the current literature and clinical practice, surgeon and internal medicine physician continue to recommend PCCT as an alternative to surgical cholecystectomy in patients with acute cholecystitis deemed poor surgical candidates. This trend is mainly based on retrospective studies [24,25,9] and anecdotal clinical experience, which result in an inconsistent and unsupported utilization of PCCT. The recommendation of PCCT over surgical alternatives will continue to be based mostly on clinical intuition until randomized, controlled trials answer a series of questions regarding the treatment of acute cholecystitis [8]. If surgical options under general anesthesia can be avoided by a fast, simple, low-risk procedure under conscious sedation in any patient, it stands to reason that that procedure should become the new primary treatment option. Controversy and confusion over the application of PCCT raise a critical question: Does the existing, albeit insufficient, literature support the potential use of PCCT as a first-line and potentially definitive therapy for any cases of acute cholecystitis? PCCT should be still considered in a critical ill patient who cannot stand general anesthesia. Some other authors were close to our concept and tried to dissolve the stones to avoid another surgery by placing CCT laparoscopically.
Authors have employed the cholecystostomy tract to facilitate removal of gallstones by basket extraction [26] dissolution with bile acids, and destruction and retrieval with shock-wave lithotripsy [27,28,29]. Retrospective studies have demonstrated a gallstone recurrence rate of ∼10 to 30% per year and a symptomatic recurrence rate requiring repeat treatment of ∼6 to 18% per year. Stone removal can be repeated as needed, but the high rate of symptomatic recurrence and the risks and consequences of recurrent acute cholecystitis may limit the future of this option as a definitive treatment. With nowadays improved laparoscopic technique the conversion rate should be minimal in our experience is only 10%. The highest reason for conversion are Perioperative fluid around the gallbladder before surgery on the ultrasound (10%), preoperative thickness of the gallbladder (9%), Impacted stones (7%) are the predicting factor that have more changes to turn the LC into a different surgical approach. These three parameters are followed by Prior Hospitalization (3%) and presence of abdominal scar (5%) (Table 1) and made high risk for performing another surgery but LLC. Other factor whoch can predict problematic surgery were: postoperative perivasculitis (2%), obesity (8%), difficult liver mobilization (1%), acute and scleroatrophic cholecystitis (1%), “porcelain gallbladder” (2%). Causes of bleeding during our operation were: cirrhosis (2%), accidental adhesion tearing (0.5%) (Table 1).

Conclusion Problematic LC can be diagnoses before the surgery and make the OR team ready for different surgical approach. Conversion should be kept less than 20% of the cases in out experience was 10%. PCCT should be still considered in a critically ill patient who cannot stand general anesthesia.
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2019.09.04 18:03 cuavas MAME 0.213

MAME 0.213 It's really about time we released MAME 0.213, with more of everything we know you all love. First of all, we’re proud to present support for the first Hegener + Glaser product: the “brikett” chess computers, Mephisto, Mephisto II and Mephisto III. As you can probably guess, there’s an addition from Nintendo’s Game & Watch line. This month it’s Mario’s Bombs Away. On a related note, we’ve also added Elektronika’s Kosmicheskiy Most, exported as Space Bridge, which is an unlicensed total conversion of the Game & Watch title Fire. If you haven’t played any of the handheld LCD games in MAME, you’re missing something special – they look superb with external scanned and traced artwork.
On the arcade side, we’ve added The Destroyer From Jail (a rare Philko game), and alternate regional versions of Block Out and Super Shanghai Dragon’s Eye. The CD for Simpsons Bowling has been re-dumped, resolving some long-standing issues. With its protection microcontroller dumped and emulated, Birdie Try is now fully playable. Protection microcontrollers for The Deep and Last Mission have also been dumped and emulated. Improvements to Seibu hardware emulation mean Banpresto’s SD Gundam Sangokushi Rainbow Tairiku Senki is now playable, and sprite priorities in Seibu Cup Soccer have been improved.
In computer emulation, two interesting DOS compatible machines based on the Intel 80186 CPU are now working: the Mindset Personal Computer, and the Dulmont Magnum. The Apple II software lists have been updated to include almost all known clean cracks and original flux dumps, and the Apple II gameport ComputerEyes frame grabber is now emulated. We’ve received a series of submissions that greatly improve emulation of the SWTPC S/09 and SS-30 bus cards. On the SGI front, the 4D/20 now has fully-working IRIX 4.0.5 via serial console, and a whole host of improvements have gone into the Indy “Newport” graphics board emulation. Finally, MAME now supports HDI, 2MG and raw hard disk image files.
As always, you can get the source and Windows binary packages from the download page.
MAMETesters Bugs Fixed

New working machines New working clones Machines promoted to working Clones promoted to working New machines marked as NOT_WORKING New clones marked as NOT_WORKING New working software list additions New NOT_WORKING software list additions Source Changes submitted by cuavas to cade [link] [comments]


2019.09.04 18:02 cuavas Sex mms camera by hidden

MAME 0.213 It's really about time we released MAME 0.213, with more of everything we know you all love. First of all, we’re proud to present support for the first Hegener + Glaser product: the “brikett” chess computers, Mephisto, Mephisto II and Mephisto III. As you can probably guess, there’s an addition from Nintendo’s Game & Watch line. This month it’s Mario’s Bombs Away. On a related note, we’ve also added Elektronika’s Kosmicheskiy Most, exported as Space Bridge, which is an unlicensed total conversion of the Game & Watch title Fire. If you haven’t played any of the handheld LCD games in MAME, you’re missing something special – they look superb with external scanned and traced artwork.
On the arcade side, we’ve added The Destroyer From Jail (a rare Philko game), and alternate regional versions of Block Out and Super Shanghai Dragon’s Eye. The CD for Simpsons Bowling has been re-dumped, resolving some long-standing issues. With its protection microcontroller dumped and emulated, Birdie Try is now fully playable. Protection microcontrollers for The Deep and Last Mission have also been dumped and emulated. Improvements to Seibu hardware emulation mean Banpresto’s SD Gundam Sangokushi Rainbow Tairiku Senki is now playable, and sprite priorities in Seibu Cup Soccer have been improved.
In computer emulation, two interesting DOS compatible machines based on the Intel 80186 CPU are now working: the Mindset Personal Computer, and the Dulmont Magnum. The Apple II software lists have been updated to include almost all known clean cracks and original flux dumps, and the Apple II gameport ComputerEyes frame grabber is now emulated. We’ve received a series of submissions that greatly improve emulation of the SWTPC S/09 and SS-30 bus cards. On the SGI front, the 4D/20 now has fully-working IRIX 4.0.5 via serial console, and a whole host of improvements have gone into the Indy “Newport” graphics board emulation. Finally, MAME now supports HDI, 2MG and raw hard disk image files.
As always, you can get the source and Windows binary packages from the download page.
MAMETesters Bugs Fixed

New working machines New working clones Machines promoted to working Clones promoted to working New machines marked as NOT_WORKING New clones marked as NOT_WORKING New working software list additions New NOT_WORKING software list additions Source Changes submitted by cuavas to emulation [link] [comments]


2019.09.04 18:00 cuavas Sex mms by hidden camera

MAME 0.213 It's really about time we released MAME 0.213, with more of everything we know you all love. First of all, we’re proud to present support for the first Hegener + Glaser product: the “brikett” chess computers, Mephisto, Mephisto II and Mephisto III. As you can probably guess, there’s an addition from Nintendo’s Game & Watch line. This month it’s Mario’s Bombs Away. On a related note, we’ve also added Elektronika’s Kosmicheskiy Most, exported as Space Bridge, which is an unlicensed total conversion of the Game & Watch title Fire. If you haven’t played any of the handheld LCD games in MAME, you’re missing something special – they look superb with external scanned and traced artwork.
On the arcade side, we’ve added The Destroyer From Jail (a rare Philko game), and alternate regional versions of Block Out and Super Shanghai Dragon’s Eye. The CD for Simpsons Bowling has been re-dumped, resolving some long-standing issues. With its protection microcontroller dumped and emulated, Birdie Try is now fully playable. Protection microcontrollers for The Deep and Last Mission have also been dumped and emulated. Improvements to Seibu hardware emulation mean Banpresto’s SD Gundam Sangokushi Rainbow Tairiku Senki is now playable, and sprite priorities in Seibu Cup Soccer have been improved.
In computer emulation, two interesting DOS compatible machines based on the Intel 80186 CPU are now working: the Mindset Personal Computer, and the Dulmont Magnum. The Apple II software lists have been updated to include almost all known clean cracks and original flux dumps, and the Apple II gameport ComputerEyes frame grabber is now emulated. We’ve received a series of submissions that greatly improve emulation of the SWTPC S/09 and SS-30 bus cards. On the SGI front, the 4D/20 now has fully-working IRIX 4.0.5 via serial console, and a whole host of improvements have gone into the Indy “Newport” graphics board emulation. Finally, MAME now supports HDI, 2MG and raw hard disk image files.
As always, you can get the source and Windows binary packages from the download page.
MAMETesters Bugs Fixed

New working machines New working clones Machines promoted to working Clones promoted to working New machines marked as NOT_WORKING New clones marked as NOT_WORKING New working software list additions New NOT_WORKING software list additions Source Changes submitted by cuavas to MAME [link] [comments]


2019.08.28 13:34 Lupinepublishers-TGH Sex hidden by camera mms

Lupine Publishers - Journals of Gastroenterology and Hepatology
Risk Predictive Factors to Convert Laparoscopic Cholecystectomy into Other Procedures by Eldo E Frezza in Current Trends in Gastroenterology and Hepatology - Lupine Publishers
Abstract
Laparoscopic cholecystectomy (LC) is nowadays the procedure of choice for cholecystitis. The intraoperative finding can make this procedure quite tricky such as dense adhesions at calot’s triangle, fibrotic and contracted gallbladder, acutely inflamed or gangrenous gallbladder, cholcystoenteric fistula, etc. There are also risk factors which make laparoscopic surgery difficult like old age, male sex, obesity, previous abdominal surgery, thickened gallbladder wall, distended gallbladder, pericholecystic fluid collection, impacted stone, etc. Methods: This is a one cohort retrospective review of patients admitted to the hospital with acute cholecystitis who during LC were converted to intraoperative cholecystostomy tube placement (CCT) or to open cholecystectomy (OC). Preoperative risk factors to predict difficult cholecystectomy were evaluated. Results: Medical records were reviewed retrospectively from January 2010 through December 2016. IRB approval was obtained. LC was performed in 556 cases between 2010-2016, with 56 (10%) conversion: 39 CCT and 17 OC. The highest reason for conversion are Perioperative fluid around the gallbladder before surgery on the ultrasound (10%), preoperative thickness of the gallbladder (9%), Impacted stones (7%) are the predicting factor that have more changes to turn the LC into a different surgical approach. These three parameters are followed by Prior Hospitalization (3%) and presence of abdominal scar (5%). Essential factors to make a problematic surgery were postoperative perivasculitis (2%), obesity (8%), difficult liver mobilization (1%), acute and scleroatrophic cholecystitis (1%), “porcelain gallbladder” (2%). Causes of bleeding during our operation were: cirrhosis (2%), accidental adhesion tearing (0.5%) (Table 1). Conclusion: Problematic LC can be diagnoses before the surgery and make the OR team ready for different surgical approach.
Keywords: Laparoscopic Cholecystectomy; Open Cholecystectomy; Cholecystostomy Tube; Difficult Cholecystectomy; Predictive Factors for Difficult Surgery.
Introduction Laparoscopic cholecystectomy (LC) is nowadays the procedure of choice for cholecystitis [1]. The intraoperative finding can make this procedure quite tricky such as dense adhesions at calot’s triangle, fibrotic and contracted gallbladder, acutely inflamed or gangrenous gallbladder, cholcystoenteric fistula, etc. [2]. There are also risk factors which make laparoscopic surgery difficult like old age, male sex, obesity, previous abdominal surgery, thickened gallbladder wall, distended gallbladder, pericholecystic fluid collection, impacted stone, etc. [3]. A cholecystostomy is an opening made in the gallbladder, to place a tube for drainage. John Stough Bobbs, in 1867, was the first to described it [4,5]. It has been used in 1) person is ill, and 2) to defer cholecystectomy [6]. Todd Baron and Mark Topazian in 2007 place the first percutaneous Cholecustostomy Tube using ultrasound guidance [7]. The role of Cholecystostomy tube (CCT) is controversial in current surgical practice [8]. In critically ill patients, cholecystostomy tubes should remain in place until the patient is deemed medically suitable to undergo cholecystectomy. Removal of the cholecystostomy tube without subsequent cholecystectomy was reported associated with a high incidence of recurrences. [9] Attempts to predict intraoperative difficulties was described and included, palpable gallbladder, pericholecystic fluid, male more than female incidence, etc. [11], but still is not an 100% given all patients are different. Technical and tactical solutions to deal with complicated cholecystitis surgery were reported [10] but cannot be always applicable. Our study is based on the assumption that difficulty cholecystectomy can be defined before the surgery and give the opportunity to the surgical team to prepare for alternate surgeries option like Open Cholecystectomy (OC) or intraoperative Cholecystostomy Tube placement (CTT).

Methods This is a retrospective review of patients admitted to the hospital who were diagnosed with acute cholecystitis who underwent an initial laparoscopic Cholecystectomy. The study was designed to find those patients who were converted in other surgery than LLC and check if the preoperative work out was predictive of failure of LLC. The Cohort taken in consideration were those who converted into Cholecystostomy Tube Placement (CCT) or to open cholecystectomy (OC). Medical records were reviewed for demographic data, diagnoses, imaging, complications, and outcomes: from January 2010 through December 2016 from the same surgeon. IRB approval was obtained. a) Inclusion Criteria: All patients who underwent LC from January 2010 to December 2016 were included in the study. b) Exclusion Criteria: i. Laparoscopic cholecystectomy performed with other laparoscopic intervention in the same setting. ii. Laparoscopic cholecystectomy with Common Bile Duct (CBD) exploration. iii. Absolute contraindications to LC like cardiovascular, pulmonary disease, coagulopathies, and end-stage liver disease. Demographic symptoms sings of presentations were evaluated to find if those were impacting on our surgeries and addresses the activities of the cholecystectomy. The evaluated risk were the following: history os hospitalization, palpable gallbladder, thicken gallbladder, peri-cholecystitis fluid, impacted stones at the neck, abdominal scar. The characteristic of the patients was reported in Table 1. Pre And Intraoperative A detailed proforma was in place before the surgery to record information regarding patient history, physical examination, laboratory parameters, ultrasonography (USG) findings and intraoperative details. Operative Technique After obtaining an informed consent including an option for CCT and OC the patient was taken to the operating room placed under general anesthesia and prep in the usual fashion. The first incision was done in the left upper quadrant with a knife and a trocar, and a camera was advanced through the tissue under direct vision. Once in the abdomen, we obtained a pneumoperitoneum of 15mmHg. We place 2 five mm trocars in the right upper quadrant, one at the level of the belly button of 5 mm. The initial trocar was switched to a 12mm trocars. Evaluation of the Right upper quadrant and the gallbladder was made. Critical Factors The crititical factor evaluated to continue the LC or turned into CCT or OC: 1) a change of the color of the gallbladder (green etc), 2) multiple adhesion which could not be taken out, 3) inability to grab the gallbladder after aspirating with the needle, 4) failure to see after the body of the gallbladder and define the neck of the gallbladder without good vision of the area of the common bile duct. CCT The fundus of the gallbladder was open with the Bovie. The fluid was aspirated, and the stones inside in the gallbladder were taken out by grasping with a laparoscopic Babcock after all the stones were cleaned and placed one by one in a separate bag inserted in the abdomen. The bag was closed. We then whased the gallbladder with saline, which also helps to mobilize hidden stones. The camera was then advance inside the gallbladder and evaluated from inside visualize the cystic duct. Once we know they there no other stones obstructing, a 2/0 silk purse string was placed at the fundus opening. With a separate incision, a Foley 18 French was inserted in the abdomen and the tip placed inside the gallbladder. The purse string was tied, and the balloon of the Foley was filled with seven ml. of saline. A Jackson Prat was placed at the liver fossa and secure with a 2/0 nylon to the skin. Same suture was used to secure the CCT to the skin. as we did to achieve the Foley now new cholecystostomy tube. The CCT was connected to a Foley bag and left on gravity. Given the difficult to have a real CCT, we usually use a Foley 18 French as CCT tube. We wash the abdomen and close the trocars with 4/0 monocryl and dermabond. After surgery, the patient was allowed to advance the diet and walk. Most of the patients were discharged within 36 hours with home health. OC If the CCT was not possible with a knife, we made a subcostal incision. The incision was then taken down with the bouvie while separating the muscle. Once in the abdomen, we close the gas insufflation. Few laps were placed on the stomach, duodenum and colon side. The gallbladder was grasped with a kelly clamp and dissected with bouvie from the liver. Once at the neck of the gallbladder was visualized the artery and the cystic duct, were dissected either between clips or with vascular staplers. Jackson Prat ten French drainage was placed in the liver fossa and secure to the skin. The wound was closed in layers with one vycril and stapler for the skin. The patient was allowed fluid, they were placed on PCA pump and discharge home with home health care within 4 days. Post OP Treatment of the CCT The tube was left on biliary bag drainage, Cholangiogram is ordered between week 4 and 6. If no stones were found from the cholangiogram the tube was pulled out in the office otherwise redo surgery was scheduled.
Results 556 cases were performed between 2010-2016 by the same surgeon, Total 56 patients (10%) who match our criteria were converted: 39 CCT and 17 OC. The surgery was performed by the same surgeon in different hospitals. Mean intraoperative time was 51 ± 26 min (range 27–77min) in CCT and 53 ± 28min (range 25–81 min) in OC. Postoperative hospital stay was 1.4 ± 0.4 days in CCT and 4 ± 1 in OC (p< 0.05). The operative data, time bleeding and postoperative hospital stay, seromas incidence were collected and reported in Table 1. The following comorbidities were founded: cardiovascular disease (20 patients), respiratory failure (10 patients). At 30 days, the morbidity associated with the CCT itself was 4% while OC was 70%. Of the patients who underwent CCT only one (10%) underwent LC after 30 days. Perioperative fluid around the gallbladder before surgery on the ultrasound (10%), preoperative thickness of the gallbladder (9%), Impacted stones (7%) are the predicting factor that have more changes to turn the LC into a different surgical approach. These three parameters are followed by Prior Hospitalization (3%) and presence of abdominal scar (5%) (Table 1). Essential factors to make a problematic surgery were: postoperative perivasculitis (2%), obesity (8%), difficult liver mobilization (1%), acute and scleroatrophic cholecystitis (1%), “porcelain gallbladder” (2%). Causes of bleeding during our operation were: cirrhosis (2%), accidental adhesion tearing (0.5%) (Table 1).
Discussion With the help of accurate prediction, the high-risk patient may be informed beforehand regarding probability of conversion to OC or CCT. This discuss will also help the surgeon and the OR team to prepare the alternative surgeries. Surgeons should be aware of the possible complications that may arise in high-risk patients. Risk Predictors Factors Male sex makes surgery difficult as being reported in studies [10-12]. Conversion rate and significantly higher mortality [13,8] and found to be a significant factor. Subtotal cholecystectomy, antegrade and fundus first techniques which is now being more commonly done during LC were associated with lower complications and conversion rate. Other risk factors for difficulty surgery are reported as increased age, acute and thick wall chronic cholecystitis, wide and short cystic duct, cholecyst digestive fistula, previous upper abdominal surgery, obesity, liver cirrhosis, anatomic variation, cholangiocarcinoma, and low surgeon’s caseload [14]. Although decompression and drainage of the gallbladder through a radiological placed cholecystostomy tube may be used as a temporary treatment of acute cholecystitis in ill population, there is still some debate about the management of the tube and the subsequent need for a cholecystectomy. Other authors reported 105 patients, 12 (11.4%) required conversion to open cholecystectomy. They pointed out that their significant predictors of conversion were body mass index> 30Kg/m2, male gender, history of acute cholecystitis or acute pancreatitis, the recent history of upper abdominal surgery, and gallbladder wall thickness exceeding 3mm [15]. Thickened gallbladder wall is an ultrasonographic finding of acute cholecystitis, and it was a significant factor in previous studies [16-18]. James Majeski [16], showed that a preoperative gallbladder ultrasound evaluation with a thick gallbladder wall (>3mm) and calculi, is a clinical warning for a problematic laparoscopic cholecystectomy procedure which may require conversion to an open cholecystectomy procedure [19]. But Carmody concluded that detailed preoperative ultrasound evaluation of the gallbladder in patients destined for laparoscopic cholecystectomy is of little value in screening for difficult or unsuitable cases. They found that there were no ultrasound features that can differentiate between the unsuccessful, confusing, or uneventful laparoscopic cholecystectomy [20]. In our study thickened gallbladder wall was present in all patients and outcome was found to be dependent on this variable by chi-square test (p = 0.001), and logistic regression analysis also ascertained the significance of this factor for prediction (p = 0.005). Pericholecystic fluid is an ultrasonographic finding of acute cholecystitis. This was found to be a significant factor in our study (p = 0.939), as well as palpable gallbladder (p = 0.05). Therefore, we agree with Randhawa [21] who also reported that presence of palpable gallbladder has a significant bearing on define difficult surgery. Difficulty in gallbladder grasping was associated significantly with the conversion. A distended gallbladder or a gallbladder filled with stones is not easily grasped because it tends to slip away. Presence of inflammation around the gallbladder makes the wall friable and edematous, thus posing problems. These data were reported by Singh [22] who also found a significant association between difficulties in grasping a distended gallbladder and pericholecystic inflammation. Lal [23] have identified that presence of large stones in the gallbladder neck leads to distention and difficulty in grasping. Cholecystostomy Percutaneous Cholecystectomy (PCCT) is primarily indicated for accessing the gallbladder to manage cholecystitis or to serve as a portal to remove or dissolve gallstones [24,25]. In the current literature and clinical practice, surgeon and internal medicine physician continue to recommend PCCT as an alternative to surgical cholecystectomy in patients with acute cholecystitis deemed poor surgical candidates. This trend is mainly based on retrospective studies [24,25,9] and anecdotal clinical experience, which result in an inconsistent and unsupported utilization of PCCT. The recommendation of PCCT over surgical alternatives will continue to be based mostly on clinical intuition until randomized, controlled trials answer a series of questions regarding the treatment of acute cholecystitis [8]. If surgical options under general anesthesia can be avoided by a fast, simple, low-risk procedure under conscious sedation in any patient, it stands to reason that that procedure should become the new primary treatment option. Controversy and confusion over the application of PCCT raise a critical question: Does the existing, albeit insufficient, literature support the potential use of PCCT as a first-line and potentially definitive therapy for any cases of acute cholecystitis? PCCT should be still considered in a critical ill patient who cannot stand general anesthesia. Some other authors were close to our concept and tried to dissolve the stones to avoid another surgery by placing CCT laparoscopically. Authors have employed the cholecystostomy tract to facilitate removal of gallstones by basket extraction [26] dissolution with bile acids, and destruction and retrieval with shock-wave lithotripsy [27,28,29]. Retrospective studies have demonstrated a gallstone recurrence rate of ∼10 to 30% per year and a symptomatic recurrence rate requiring repeat treatment of ∼6 to 18% per year. Stone removal can be repeated as needed, but the high rate of symptomatic recurrence and the risks and consequences of recurrent acute cholecystitis may limit the future of this option as a definitive treatment. With nowadays improved laparoscopic technique the conversion rate should be minimal in our experience is only 10%. The highest reason for conversion are Perioperative fluid around the gallbladder before surgery on the ultrasound (10%), preoperative thickness of the gallbladder (9%), Impacted stones (7%) are the predicting factor that have more changes to turn the LC into a different surgical approach. These three parameters are followed by Prior Hospitalization (3%) and presence of abdominal scar (5%) (Table 1) and made high risk for performing another surgery but LLC. Other factor whoch can predict problematic surgery were: postoperative perivasculitis (2%), obesity (8%), difficult liver mobilization (1%), acute and scleroatrophic cholecystitis (1%), “porcelain gallbladder” (2%). Causes of bleeding during our operation were: cirrhosis (2%), accidental adhesion tearing (0.5%) (Table 1).
Conclusion Problematic LC can be diagnoses before the surgery and make the OR team ready for different surgical approach. Conversion should be kept less than 20% of the cases in out experience was 10%. PCCT should be still considered in a critically ill patient who cannot stand general anesthesia.
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2019.08.16 16:36 00u By mms camera hidden sex

This is a Stranger Things Complete Unofficial Soundtrack s1 s2 s3 collection of music within Stranger Things seasons s1, s2 and s3 except: * no Christmas, classical, accordion, hornpipe, marching band, songs briefly sung by cast and none of the score by Kyle Dixon and Michael Stein
The first list is just season/episode/time - name - artist with no spoilers.
The second list is a hidden spoiler since it includes ID3tag comments for each track about when it is heard in the episode.
FILE NAME FORMAT sXeY.HMMSSz - [song name] - [artist] X=season Y=episode H=hour MM=minute SS=second z=s - "soundtrack" sourced from an official Stranger Things Soundtrack, e.g. Heroes z=e - "extra" not on an official soundtrack using the best source possible
MISSING s1e1 - Dark Stars - Mark Glass - Jonathan parks outside Lonnie's place s2e6 - Where Django's At - Cameron Brooks s2e9 - I See Charcoal (You See Scarlet) - Cameron Brooks
EDITS - these songs were shortened but include all the music heard in the show s1e5.01459e - Green Desert (edit) - Tangerine Dream s3e6.05306e - Confrontation and Rescue (edit) - Philip Glass
SUBSTITUTE s2e9.04450e - Rare Bird (Live) - Tangerine Dream is LIVE and but the version in the show is a studio version from "Ride On The Ray The Blue Years Anthology 1980-1987 (2011)". This live version sounds very close to the one used in the show.
season/episode.HMMSSx - title - artist s1e1.01615e - Can't Seem to Make You Mine - The Seeds s1e1.02139e - She Has Funny Cars - Jefferson Airplane s1e1.02647e - I Shall Not Care - Pearls Before Swine s1e1.02855e - Jenny May - Trader Horne s1e1.03810e - Every Little Bit - Jackie James and Ian Curnow s1e1.03844e - White Rabbit - Jefferson Airplane s1e1.04106s - Africa - Toto s1e2.01630e - Go Nowhere - Reagan Youth s1e2.01639s - Should I Stay Or Should I Go - The Clash s1e2.02736e - I'm Taking Off (Shield Your Eyes) - Space Knife s1e2.03252e - Body Language - Alexander Baker and Clair Marlo s1e2.03708e - Tie A Yellow Ribbon - Brotherhood Of Man s1e2.03823e - Raise A Little Hell - Trooper s1e2.04312e - I Melt With You - Modern English s1e2.05236s - Hazy Shade Of Winter - The Bangles s1e3.00041e - Waiting for a Girl Like You - Foreigner s1e3.04708s - Heroes - Peter Gabriel s1e4.00348s - Atmosphere - Joy Division s1e4.03357e - Color Dreams - The Deep s1e5.01102s - Elegia - New Order s1e5.01459e - Green Desert (edit) - Tangerine Dream s1e5.05027s - Nocturnal Me - Echo and The Bunnymen s1e6.00331s - Corey Hart - Sunglasses At Night s1e6.01624e - I See the Future - Andrew Pinching s1e6.01907e - Happy Jose - Kookie Freeman s1e6.02815e - The Bargain Store - Dolly Parton s1e6.03223e - Exit - Tangerine Dream s1e7.02224e - Fields of Coral - Vangelis s1e8.03656e - Horizon (Warsaw Gate Mix) - Tangerine Dream s1e8.03656e - When It's Cold I'd Like to Die - Moby s2e1.00610s - Whip It - Devo s2e1.00925e - Just Another Day - Oingo Boingo s2e1.01210s - Talking in Your Sleep - The Romantics s2e1.01356s - Rock You Like a Hurricane - Scorpions s2e1.01558e - Spookie Movies - Gary Paxton s2e1.04005e - Every Other Girl - Prehistoric Wolves s2e2.01031e - Ghostbusters (Instrumental) - Ray Parker Jr s2e2.02509e - Wango Tango - Ted Nugent s2e2.02925e - Blackout - Swing Set s2e2.03042e - Shout at the Devil - Motley Crue s2e2.03223e - Islands in the Stream - Kenny Rogers and Dolly Parton s2e2.03820e - Monster Mash - Bobby Boris Pickett s2e2.04116s - Girls On Film - Duran Duran s2e2.04540e - Outside the Realm - Big Giant Circles s2e2.05242e - Ghostbusters - Ray Parker Jr s2e3.00852e - Whistle On the River - The Mercey Brothers s2e3.01604s - You Don't Mess Around with Jim - Jim Croce s2e3.01901e - Go! - Tones On Tail s2e3.02716s - The Ghost in You - The Psychedelic Furs s2e3.02849e - Clean Cut American Kid - Ill Repute s2e3.03144e - Cookin - Al Casey Combo s2e3.03713e - How I Feel About You - Jumpstreet s2e4.01015e - This Is Radio Clash - The Clash s2e4.01619e - Scarface (Push It To the Limit) - Paul Engemann s2e4.03308e - The Growing - The Haxan Cloak s2e5.00552e - Try My Love - Carroll Lloyd s2e5.01103e - You Ought To Be With Me - Carl Weathers s2e5.01518e - Green, Green Grass of Home - Bobby Bare s2e5.01810e - Can I Do What I Want - Shock Therapy s2e5.02029e - Metal Sport - Hittman s2e5.02048e - Darling Don't Leave Me - Robert Gorl s2e5.03727e - When the Sun Goes Down - The Jetzons s2e5.03943e - Strength in Numbers - Channel 3 s2e5.04143e - No More - Billie Holiday s2e5.04939e - Open the Kingdom (Liquid Days Part Two) - Philip Glass s2e6.00052e - Hammer to Fall - Queen s2e6.00717e - There Is Frost On the Moon - Artie Shaw and His Orchestra s2e6.00944e - You Better Go Now - Billie Holiday s2e6.01658e - Blue Bayou - Roy Orbison s2e6.01854e - Round and Round - Ratt s2e7.00631s - Runaway - Bon Jovi s2e7.01625s - Back To Nature - Fad Gadget s2e7.02128e - The Bank Robbery - John Carpenter s2e7.02313e - Dead End Justice - The Runaways s2e7.04202e - Whisper to a Scream (Birds Fly) - The Icicle Works s2e8.00503e - The Love You Save (May Be Your Own) - Jack Cook s2e8.00519e - The Four Horseman - Metallica s2e9.00451e - The Way We Were - Barbra Streisand s2e9.00541e - I Do Believe (I Fell in Love) - Donna Summer s2e9.04450e - Rare Bird (Live) - Tangerine Dream s2e9.04847e - Love is a Battlefield - Pat Benatar s2e9.04940s - Twist of Fate - Olivia Newton-John s2e9.05105s - Time After Time - Cyndi Lauper s2e9.05606s - Every Breath You Take - The Police s3e1.00607s - Never Surrender - Corey Hart s3e1.01313e - Open the Door - Gentlemen Afterdark s3e1.01709e - Rock This Town - Stray Cats s3e1.01745s - Moving In Stereo - The Cars s3e1.01929e - The Touch of You - Andrea Litkei and Ervin Litkei s3e1.02138s - Workin' for a Livin' - Huey Lewis and The News s3e1.02646s - She's Got You - Patsy Cline s3e1.03050e - Hot Blooded - Foreigner s3e1.03157e - Italian Gigolo - Vincenzo Salvia s3e1.03714s - Can't Fight This Feeling - REO Speedwagon s3e1.04411e - (I Just) Died in Your Arms - Cutting Crew s3e2.00526s - You Don't Mess Around With Jim - Jim Croce s3e2.00902e - Get Up and Go - The Go-Go's s3e2.01229e - Gunpoint Affection - Black Market Baby s3e2.01454e - Matter of Love - Altitude Music s3e2.01931e - Ballroom Foxtrot - John Leighton s3e2.02629e - Too Late for Tears - Geronimo and the Apaches s3e2.02656s - My Bologna - Weird Al Yankovic s3e2.02801e - Beautiful, Lovable - Billy Munn s3e2.03232s - Material Girl - Madonna s3e2.03714s - Cold As Ice - Foreigner s3e3.00006e - Angel - Madonna s3e3.00303e - Phone to Phone - Life By Night s3e3.00355s - Lovergirl - Teena Marie s3e3.00741e - The Pod Dance - Trevor Jones s3e3.01458e - All Your Reasons Why - Smart Remarks s3e3.01721s - Things Can Only Get Better - Howard Jones s3e3.02228e - Place In My Heart - Brian Page s3e3.02811s - Wake Me Up Before You Go-Go - Wham s3e3.04221e - Is It a Sin - Al Anthony s3e3.04516e - American Pie - Don Mclean s3e4.04830s - We'll Meet Again - Vera Lynn s3e5.02338e - Strike Zone - Loverboy s3e5.03236e - Boogie Man - Sid Phillips and His Melodians s3e5.03857e - In Our Hideaway - Valentino s3e6.00631e - Stand Up And Meet Your Brother - Possum River s3e6.01132e - The Wild Ride - Danny Elfman s3e6.01314s - Neutron Dance - The Pointer Sisters s3e6.04406e - Stairway Chase - Danny Elfman s3e6.05306e - Confrontation and Rescue 1896 Satyagraha Act II Tagore Scene 1 (edit) - Philip Glass s3e7.00010s - R.O.C.K. In the U.S.A. (A Salute To 60's Rock) - John Mellencamp s3e8.00735e - Goldrush II 12in Mix - Yello s3e8.01315e - (Your Love Keeps Lifting Me) Higher and Higher - Jackie Wilson s3e8.03514s - Never Ending Story - Dustin and Suzie s3e8.05654e - When You See Me - Hurricane Express s3e8.10608e - Deep - Peter Sandberg
SPOILERS - season/episode.HMMSSx - title - artist # comment on when the song is heard s1e1.01615e - Can't Seem to Make You Mine - The Seeds # Hopper walks into the Hawkins Police Department and chats with his officers, then is informed of Will Byers being missing s1e1.02139e - She Has Funny Cars - Jefferson Airplane # Eleven sneaks into Benny's Burgers to find some food s1e1.02647e - I Shall Not Care - Pearls Before Swine # Benny makes burgers and sits down to talk with Eleven s1e1.02855e - Jenny May - Trader Horne # Eleven makes noisy the fan stop at the diner s1e1.03810e - Every Little Bit - Jackie James and Ian Curnow # Nancy is studying in her bedroom as Steve climbs up to her window s1e1.03844e - White Rabbit - Jefferson Airplane # Heard on the radio when agents come to Benny's Burgers to capture Eleven s1e1.04106s - Africa - Toto # Steve helps Nancy with her homework and things get heated s1e2.01630e - Go Nowhere - Reagan Youth # Jonathan listens to music while starting his drive to Lonnie's place s1e2.01639s - Should I Stay Or Should I Go - The Clash # Jonathan hears this song as he drives, remembering when he and Will listened to the song together. Later, Joyce finds the stereo playing it in Will's room. s1e2.02736e - I'm Taking Off (Shield Your Eyes) - Space Knife # Jonathan shoves past Cynthia and searches Lonnie's house for Will s1e2.03252e - Body Language - Alexander Baker and Clair Marlo # Over the phone, Nancy and Barb make plans to sneak off to Steve's party s1e2.03708e - Tie A Yellow Ribbon - Brotherhood Of Man # Nancy has Barb pull her car over, then Barb tries to convince her that the party is just Steve's attempt to have sex with her s1e2.03823e - Raise A Little Hell - Trooper # Steve opens the front door, letting the girls in s1e2.04312e - I Melt With You - Modern English # Music playing at Steve's pool party s1e2.05236s - Hazy Shade Of Winter - The Bangles # Nancy makes out with Steve while Barbara is taken by the Monster - plays into end credits s1e3.00041e - Waiting for a Girl Like You - Foreigner # First song as Nancy loses her virginity with Steve s1e3.04708s - Heroes - Peter Gabriel # Hopper and the kids find out what has been discovered at the quarry s1e4.00348s - Atmosphere - Joy Division # First song after Chief Hopper finishes informing Joyce about the discovery at the quarry s1e4.03357e - Color Dreams - The Deep # Hopper buys O'Bannon a beer, before questioning him about the discovery at the quarry s1e5.01102s - Elegia - New Order # Instrumental music on the morning of Will's funeral s1e5.01459e - Green Desert (edit) - Tangerine Dream # Hopper tears apart his trailer looking for listening devices - 10m45s edit of 19m33s original s1e5.05027s - Nocturnal Me - Echo and The Bunnymen # Jonathan tries to find Nancy and it plays into end credits s1e6.00331s - Corey Hart - Sunglasses At Night # Steve sneaks up to Nancy's bedroom window but sees her sitting on the bed with Jonathan s1e6.01624e - I See the Future - Andrew Pinching # Karen opens Nancy's bedroom door to find music blaring and the room empty - Karen opens Nancy's bedroom door to find music blaring and the room empty s1e6.01907e - Happy Jose - Kookie Freeman # Song playing inside the grocery store as Eleven steals Eggos s1e6.02815e - The Bargain Store - Dolly Parton # Nancy and Jonathan go to the store to buy monster hunting supplies s1e6.03223e - Exit - Tangerine Dream # Steve and Jonathan fight in the alley s1e7.02224e - Fields of Coral - Vangelis # Nancy asks about Eleven's dress then the kids explain The Upside Down to everyone s1e8.03656e - Horizon (Warsaw Gate Mix) - Tangerine Dream # Hopper coaching Joyce on pacing her breathing as he flashbacks to his daughter's first signs of cancer s1e8.03656e - When It's Cold I'd Like to Die - Moby # The boys call out for Eleven after she disappears with the Demogorgon and Will is brought back to life in the Upside Down s2e1.00610s - Whip It - Devo # The boys arrive at the arcade s2e1.00925e - Just Another Day - Oingo Boingo # The boys walk back into the arcade and the new day starts as Chief Hopper arrives at the police station s2e1.01210s - Talking in Your Sleep - The Romantics # Hopper walks out on Murray then Steve and Nancy talk in the car about his application essay s2e1.01356s - Rock You Like a Hurricane - Scorpions # Steve and Nancy are interrupted by Billy's grand entrance at school s2e1.01558e - Spookie Movies - Gary Paxton # The boys watch Max sit down in class and Bob arrives at Melvald's General Store s2e1.04005e - Every Other Girl - Prehistoric Wolves # At Hawkins Lab the main technician is bouncing a stress ball before the console alarms go off s2e2.01031e - Ghostbusters (Instrumental) - Ray Parker Jr # The boys are getting dressed up for Halloween as their families take photos s2e2.02509e - Wango Tango - Ted Nugent # Billy drives Max home and complains about having to move to Hawkins s2e2.02925e - Blackout - Swing Set # Jonathan drives Will to meet his friends as they discuss Bob and their mom's over-protectiveness s2e2.03042e - Shout at the Devil - Motley Crue # Steve, Nancy and Billy at the Halloween party s2e2.03223e - Islands in the Stream - Kenny Rogers and Dolly Parton # Bob and Joyce dance around her living room s2e2.03820e - Monster Mash - Bobby Boris Pickett # El remembers taking the food in the forest Hop left for her and the boys and Max go trick-or-treating s2e2.04116s - Girls On Film - Duran Duran # The trick-or-treating group breaks up and Jonathan arrives at the Halloween Party s2e2.04540e - Outside the Realm - Big Giant Circles # Mike tells Will it feels like Eleven is still around, Jonathan drives Nancy home and tucks her into bed, Hop rushes home late and knocks on the door s2e2.05242e - Ghostbusters - Ray Parker Jr # Dustin peers inside the trashcan and explaims "Holy Sh.." and is cut off by the end credits s2e3.00852e - Whistle On the River - The Mercey Brothers # Dustin grabs his pile of library books and makes a run for it then Bob drives Will to school and he tells him about a nightmare he had as a kid s2e3.01604s - You Don't Mess Around with Jim - Jim Croce # Flashback to Hopper playing a record for Eleven then a montage of them cleaning up the cabin and learning to use the radio for Morse code messages s2e3.01901e - Go! - Tones On Tail # Eleven leaves the cabin; Steve and Billy wrestle on the basketball court; Nancy shows up at the gym to confront Steve s2e3.02716s - The Ghost in You - The Psychedelic Furs # Jonathan tells Nancy how he ended up taking her home from the party then they talk about how things have changed since Will disappeared s2e3.02849e - Clean Cut American Kid - Ill Repute # While Nancy and Jonathan talk, a classmate starts listening to music on his walkman s2e3.03144e - Cookin - Al Casey Combo # Joyce phones Bob at Radioshack for help with playing his video camera s2e3.03713e - How I Feel About You - Jumpstreet # As Nancy and Jonathan head to her room, Karen Wheeler stops them to say hi s2e4.01015e - This Is Radio Clash - The Clash # After telling her mom she's staying at Stacey's overnight, Nancy heads outside to join Jonathan s2e4.01619e - Scarface (Push It To the Limit) - Paul Engemann # Hopper starts his truck after getting a message about Joyce's many calls; Billy gives Steve advice on holding his ground on the court s2e4.03308e - The Growing - The Haxan Cloak # Billy grabs Maxs arm and tells her to stay away from Lucas then Hopper heads out into the pumpkin field and starts digging s2e5.00552e - Try My Love - Carroll Lloyd # Nancy and Jonathan check into a motel s2e5.01103e - You Ought To Be With Me - Carl Weathers # The Sinclair family sits down for breakfast and Lucas asks his father what he does when his mom is mad at him s2e5.01518e - Green, Green Grass of Home - Bobby Bare # Eleven catches a ride with a semi trucker to visit her mother s2e5.01810e - Can I Do What I Want - Shock Therapy # Nancy and Jonathan arrive at Murray's Warehouse s2e5.02029e - Metal Sport - Hittman # Billy drops Max at the arcade and tells her to be out in an hour s2e5.02048e - Darling Don't Leave Me - Robert Gorl # Max is shown into the backroom of the arcade where Lucas is waiting for her s2e5.03727e - When the Sun Goes Down - The Jetzons # Lucas finishes telling Max about everything and then follows her through the arcade trying to convince her s2e5.03943e - Strength in Numbers - Channel 3 # Max says goodbye to Lucas since Billy arrived to pick her up then Billy questions her about hanging out with Lucas s2e5.04143e - No More - Billie Holiday # Murray puts on a record to help him think about Nancy and Jonathan's revelations s2e5.04939e - Open the Kingdom (Liquid Days Part Two) - Philip Glass # Rapid flashback montage of what happened to Terry Ives s2e6.00052e - Hammer to Fall - Queen # Steve questions Dustin about Dart as he drives him home then takes out the nail-bat s2e6.00717e - There Is Frost On the Moon - Artie Shaw and His Orchestra # Murray, Nancy and Jonathan have a drink to celebrate finishing their mailing campaign then Murray questions Nancy and Jonathan's claim that they are not a couple s2e6.00944e - You Better Go Now - Billie Holiday # Nancy and Jonathan contemplate Murray's words then end up meeting in the living room to express how they don't believe what Murray said s2e6.01658e - Blue Bayou - Roy Orbison # Murray cooks breakfast for Nancy and Jonathan then asks an awkward question on how Jonathan slept s2e6.01854e - Round and Round - Ratt # As Billy pumps iron he tells Max to answer the door, later Max lies to Billy about who was at the door s2e7.00631s - Runaway - Bon Jovi # Eleven gets off a bus in Chicago to look for the girl from Hawkins Lab she's seen in her mom's papers and the Void s2e7.01625s - Back To Nature - Fad Gadget # Kali properly introduces Eleven to her crew s2e7.02128e - The Bank Robbery - John Carpenter # Kali shows Eleven their information board and Eleven recognizes Ray and uses her powers to track his location s2e7.02313e - Dead End Justice - The Runaways # Kali's crew agrees to go after Ray then a montage of the group preparing for their mission then stopping at a supermarket to stock up s2e7.04202e - Whisper to a Scream (Birds Fly) - The Icicle Works # Eleven tells the lady on the bus that she's going home then the end credits play s2e8.00503e - The Love You Save (May Be Your Own) - Jack Cook # Max's mom and step-father arrive home in a pick-up truck s2e8.00519e - The Four Horseman - Metallica # Billy listens to music while smoking and getting ready for his date then his father and step-mum enter his room concerned for Max's whereabouts s2e9.00451e - The Way We Were - Barbra Streisand # Karen is taking a bath when the doorbell rings and Ted is asleep and doesn't wake up after Karen calls for him to go to the door s2e9.00541e - I Do Believe (I Fell in Love) - Donna Summer # Karen opens the door and meets Billy looking for his sister then he comes in flirting with her the whole time s2e9.04450e - Rare Bird (Live) - Tangerine Dream # Murray watches the military leave Hawkins Lab, Barb finally has a funeral, Hopper walks into a restaurant and meets Sam Owens s2e9.04847e - Love is a Battlefield - Pat Benatar # Dustin finishs his hair prep then Steve drops him off at the Snow Ball s2e9.04940s - Twist of Fate - Olivia Newton-John # Dustin enters the school gym and looks around at the Snow Ball dance s2e9.05105s - Time After Time - Cyndi Lauper # Lucas awkwardly asks Max to dance, a girl asks "zombie-boy" Will to dance, Dustin asks several girls but he's rejected then Nancy sees Dustin sitting forlorn and kindly dances with him s2e9.05606s - Every Breath You Take - The Police # Hopper holds a grieving Joyce in the parking lot as Mike sits alone when Eleven walks into the gym and they see each other and dance s3e1.00607s - Never Surrender - Corey Hart # El and Mike are kissing on her bed and Mike starts singing along to the tape despite El's objections s3e1.01313e - Open the Door - Gentlemen Afterdark # Nancy and Jonathan wake up late and rush to work; Joyce and Will have breakfast and the magnets fall off the fridge; Nancy urges Jonathan to drive faster; Dustin tries to contact his friends as he arrives back home s3e1.01709e - Rock This Town - Stray Cats # Justine hair sprays Lucas in the face then we see the citizens of Hawkins enjoying the public swimming pool s3e1.01745s - Moving In Stereo - The Cars # Billy's fan-women watch as Heather leaves and Billy starts his lifeguard shift then pauses to yell at a kid for running s3e1.01929e - The Touch of You - Andrea Litkei and Ervin Litkei # Hopper goes into Melvald's to visit Joyce and vent about El and Mike s3e1.02138s - Workin' for a Livin' - Huey Lewis and The News # Joyce helps Hopper with parenting as Nancy rushes by Melvald's back to her office to deliver everyone's lunches s3e1.02646s - She's Got You - Patsy Cline # Joyce talks Hopper through the talk he plans to give El, then turns down his invitation to dinner s3e1.03050e - Hot Blooded - Foreigner # Billy admires Mrs Wheeler's swimming then compliments her after she gets out of the pool s3e1.03157e - Italian Gigolo - Vincenzo Salvia # Billy very suggestively offers to teach Mrs Wheeler "all the styles" including the breast stroke s3e1.03714s - Can't Fight This Feeling - REO Speedwagon # El and Mike make out in her bedroom while Hopper clutches a pillow and practices his speech before going to talk to the kids s3e1.04411e - (I Just) Died in Your Arms - Cutting Crew # Mrs Wheeler gets ready for her appointment with Billy s3e2.00526s - You Don't Mess Around With Jim - Jim Croce # Hopper gleefully sings along with his car radio as he drives to Melvald's General Store s3e2.00902e - Get Up and Go - The Go-Go's # Nancy drags Jonathan off to investigate the rats followed by a Starcourt Mall montage s3e2.01229e - Gunpoint Affection - Black Market Baby # Dustin pulls out his Russian translation book then Max practices a skateboard trick as El arrives to get advice about Mike s3e2.01454e - Matter of Love - Altitude Music # Heather lifeguards the pool while Billy's fan-women complain about her then Mrs Wheeler sees Billy heading inside and she goes after him s3e2.01931e - Ballroom Foxtrot - John Leighton # Mrs Driscol leads Nancy and Jonathan into her basement so they can investigate s3e2.02629e - Too Late for Tears - Geronimo and the Apaches # Joyce tries to learn about magnets from a stack of university electromagnetism textbooks s3e2.02656s - My Bologna - Weird Al Yankovic # Joyce rings Mr Clarke's doorbell while he is painting miniatures then the garage door opens and they meet s3e2.02801e - Beautiful, Lovable - Billy Munn # Nancy makes calls inquiring about rabid rats and Mrs Driscol offers Nancy a glass of fresh-squeezed lemonade s3e2.03232s - Material Girl - Madonna # Max helps El shop for clothes; the boys look for an apology gift; El and Max have their picture taken and get sticky revenge on the girl who laughed at them and rejected Dustin s3e2.03714s - Cold As Ice - Foreigner # "I dump your ass!" leaves Mike stunned and confused while El and Max get on the bus laughing and high-fiving then Hopper arrests a protester s3e3.00006e - Angel - Madonna # Max dances around to music as El looks through a teen magazine in El's room s3e3.00303e - Phone to Phone - Life By Night # Drunk Hopper returns home and bursts into El's room but only finds El and Max reading magazines and no Mike s3e3.00355s - Lovergirl - Teena Marie # Hopper is happy that Mike is not with El while Max and El Spin the Bottle to determine who El should look at in The Void s3e3.00741e - The Pod Dance - Trevor Jones # Will wakes up Lucas and Mike with music as he tries to get them to play D s3e3.01458e - All Your Reasons Why - Smart Remarks # In the Hawkins Post darkroom, Jonathan and Nancy review his rat pictures and talk s3e3.01721s - Things Can Only Get Better - Howard Jones # Steve and Dustin spy on people around the mall looking for Russians s3e3.02228e - Place In My Heart - Brian Page # El and Max ask the pool manager about Heather's whereabouts then El sees Heather's photo on a bulletin board s3e3.02811s - Wake Me Up Before You Go-Go - Wham # Steve and Dustin discover their suspected Russian is a Jazzercize instructor s3e3.04221e - Is It a Sin - Al Anthony # El and Max enter Heather's house and finds Billy eating dinner with Heather's parents s3e3.04516e - American Pie - Don Mclean # After the girls leave, Billy sits back down at the table with Heather and her parents; Janet passes out, then Heather knocks out her father; end credits s3e4.04830s - We'll Meet Again - Vera Lynn # Billy runs away and the kids stare at him through the hole in the wall; Heather reassures Billy as they look over the rest of the Mind Flayer's minions; end credits s3e5.02338e - Strike Zone - Loverboy # Hopper buys snacks and smokes then watches as Todd pulls up to the gas pumps in a convertible s3e5.03236e - Boogie Man - Sid Phillips and His Melodians # Murray uses a metal detector on Alexei and argues with Hopper s3e5.03857e - In Our Hideaway - Valentino # Nancy and Jonathan apologize to each other as they take an elevator up to Mrs Driscoll's hospital room s3e6.00631e - Stand Up And Meet Your Brother - Possum River # Mayor Kline oversees the set-up of the July 4th Fun Fair s3e6.01132e - The Wild Ride - Danny Elfman # Hopper roughly throws Alexei outside and tells him to get his own cherry slurpie s3e6.01314s - Neutron Dance - The Pointer Sisters # Alexi starts to drive off in the yellow convertible s3e6.04406e - Stairway Chase - Danny Elfman # Joyce calls back their government contact to express how urgent the situation is in Hawkins s3e6.05306e - Confrontation and Rescue 1896 Satyagraha Act II Tagore Scene 1 (edit) - Philip Glass # Billy informs El that now all The Flayed can see where she is and that she's responsible for letting them in; The Flayed gather at Brimborn Steel Works and meld with The Mind Flayer; End credits s3e7.00010s - R.O.C.K. In the U.S.A. (A Salute To 60's Rock) - John Mellencamp # Montage of people at the Mayor's July 4th Fun Fair s3e8.00735e - Goldrush II 12in Mix - Yello # Steve drives the Cadillac with Dustin, Robin and Erica to the Cerebro radio tower s3e8.01315e - (Your Love Keeps Lifting Me) Higher and Higher - Jackie Wilson # Murry complains to Jim about killing the four Russians and the Scoops Troop talks as they drive to Dustin's Cerebro radio tower s3e8.03514s - Never Ending Story - Dustin and Suzie # Suzie forces Dustin to sing with her over the radio so she will provide Plank's constant s3e8.05654e - When You See Me - Hurricane Express # Robin and Steve apply for jobs at the video store and Robin tries to convince Keith to also hire Steve s3e8.10608e - Deep - Peter Sandberg # Eleven reads Hopper's letter and the kids part ways
submitted by 00u to StrangerThings [link] [comments]


2019.04.26 10:05 rhonnie14 Sex mms by hidden camera

We were back for the next party. Just a little later than anticipated. Ten years later. But hey, Elizabeth and I finally made it. We finally made the long-awaited sequel to our favorite spring break in Panama City Beach, Florida.
Only now we weren't hard-partying FSU students. Instead, we were twenty-nine and settled down in the suburbs. Married with full-time teaching jobs. And parents as well.
Yeah, we loved Sam and Carol. And raising them proved far more rewarding than any of the binge drinking and wild nights spent during yesteryear. But like a tantalizing time machine, the allure of reliving our youth came calling from time to time. If only for a weekend at least. A one-off shot at traveling back to 2012...
So, Liz and I set aside the time. We let the kids stay with my folks. And on a Friday in April, we left our home in pleasant Tallahassee for the decadent debauchery of PCB.
Maybe you'd call us sad. Two adult losers trying to re-capture a bygone era of blackouts and irresponsibility. But hey, you try dealing with kids every day. Both at work and home. Like an eternal rehab, family life had forced Elizabeth and I into stilted sobriety. Just a little bit of wine and beer on the weekends, our steamy sex only in spurts. I mean shit, sometimes you had to cut loose. And for one weekend, why couldn't Liz and I purge off our nostalgic sins? After all, what better place to do it than Panama City Beach?
So like a couple of overeager college students, we descended upon the beach. The water was still cold, but spring break was still going strong for all the waves of college kids. And us hard-partying parents.
Even commercialized by snowbirds, PCB was still a party destination. One chock-full of alcoholics, diners, and cheesy putt-putt golf courses and amusement parks that'd been there since the glory days of 1960s surf culture.
Noise was everywhere. During prime time, you'd hear obnoxious screams, incessant chit-chat, and a never-ending soundtrack that coasted from The Beach Boys to Nicki Minaj. Even in the still of the night, you'd hear stray stragglers and the peaceful lullaby of crashing waves.
Together, Liz and I got drunk on the beach. Indulged at Captain Jack's seafood buffet. Made an intoxicated investigation through the Ripley's Believe It Or Not! museum. And then we made our midnight rounds through the local Walmart.
The only problem was I'd forgotten to book a motel room. Honestly, I wasn't aware just how much the condominiums had conquered our college escape... The mom-and-pop motels of yore now gone with our early-20s. Needless to say, Liz and I couldn't get an oceanfront view. Instead, we ended up at the notorious Coconut Grove. Or Nut Ove as the roach motel's broken neon sign proclaimed...
Coconut Grove was two stories of a yellow eyesore. Like a stage full of Florida cliches, the motel featured skinny palm trees and a modest swimming pool out front. The bare minimum to attract desperate tourists.
Being a few miles away from the actual beach also meant cheaper rates. And cheaper rates meant more unsavory neighbors. With no shoreline breeze, their collective cigarette smoke dominated the motel's seedy atmosphere.
Around one A.M., Liz and I crashed in room number eleven. Needless to say, it was ugly as shit. The room only had one bed, a coffee maker, and a bulky T.V. I didn't even see a Bible in the dresser. Not that Sin City, Florida needed it. Or that Coconut Grove could even afford one for every room.
In the corner was a cramped bathroom unsuitable for anyone over two-hundred pounds. Apparently, Nut Ove had put all its money into nurturing those palm trees.
Every few feet, plastic coconuts broke up the monotony of our hideous yellow walls. The weak A/C unit did its best to stifle the room's cigarette smell. Our walls no match for the loud shouting and Jimmy Buffet soundtrack outside... To top it all off, this shithole wasn't even that cheap. We still had to pay the beach premium even when the swimming pool was the closest thing we had to an ocean view.
But Liz and I didn't complain. We'd stayed in far nastier places during the FSU days. And now for the first time in months, we had real privacy. A suburbanite spring break.
Together, we laid out on the stiff bed. Intoxicated and relaxed. A nightstand lamp our only light.
Both of us held a Miller Lite. Me in my boxers, Elizabeth in her lingerie.
I wasn't very tall but stayed in good shape. Handsome even with the large glasses. Clean-shaven and with a nice, smooth brown complexion. Of course, I could be neurotic, but the booze certainly helped keep me fun and carefree. Less paranoid than normal. Especially tonight. Even Liz was surprised to see me all smiles when we checked into Coconut Hell.
Liz's short black hair and slender frame accompanied a wacky personality. Her poise was always strong. Liz the eccentric writer to my history nerd. Her green eyes beamed any time when we went on an adventure. And they sure as Hell did when we checked into here.
"Michael, put on the T.V.," she told me in a playful demand.
Grinning, I grabbed the remote and followed orders. "A little Snapped to get you hot?" my baritone voice joked.
"Maybe Forensic Files," she teased.
"I like the sound of that."
Like a battle cry, a rock star's scream erupted from the T.V.
And then came an infantry of electric guitars and harmonies. An alt-rock beat straight from 1994.
On screen, a grainy music video played. In the corner, white font spelled it out for us: "New Age Girl" Deadeye Dick
The band's enthusiastic roars grabbed our ears. Liz and I's drunken stupor captivated by this 90s gem.
I flashed her a smile. "You want me to change it?"
"Naw, Hell no!" Liz yelled. Adamant, she knocked the remote out of my hand. "Leave it here!"
Deadeye Dick's harmonies sounded even louder. Like a serenade right above my shoulder. I figured the station was turning it up. Channel 14 ready to get this party started.
Liz turned her sparking emerald eyes toward me. "Didn't Ben play this last time we were here?"
I let out a drunken chuckle. "Yeah, his ass almost got us kicked out!"
I felt a tight grip on my shoulder. With sloppy slowness, I turned but saw no one. Just the bite-sized bathroom behind me. The force of the band's roars must've hit me. But I was too drunk to care. And judging by Liz's cringey sing-along so was she.
"Mary Moooonnn!" she cried. Her voice reminiscent of a Southern banshee... a dying one.
So we let the infomercial play on. Baines Inc.'s 90s Subversive Rock Classics box set. We could get all these goofy, sometimes cheesy 90s hits for only $19.99. Everything from Spacehog's "In The Meantime" to Luscious Jackson's "Naked Eye" to Natalie Imbruglia's "Torn." I gotta say these were some gems... If Liz hadn't reminded me what century I was in, I might've called that toll-free number right then and there.
The commercial was almost five minutes. And completely strange. Outside of baby boomer-targeted local channels, I hadn't seen a CD ad on T.V. in years. Not only that but the commercial itself looked like a relic from the early 2000s. There was no attempt at hi-def, no mention of a web page or social media, and shit, Baines Inc. even offered the set on cassette tape... All while a hypermasculine deep voice kept telling us what a steal this was for twenty dollars...
Then again, the infomercial was about as weird as the channel 14 itself. The Booth Network. The channel's logo nothing more than a pale androgynous face. One with a wicked grin.
I'd never heard of Booth. Nor had a clue where it was being broadcast from...
But still, Liz and I consumed the music like drugs. These forgotten songs sweet nostalgic candy to our ears. The private concert swept us back to the 90s. Back to our childhood.
The narrator announced the reasonable price once more. And them came his barrage of shipping and handling fees. A machine gun of phone numbers and addresses.
"Party on to 90s Subversive Rock Classics!" the enthused voiceover proclaimed.
In a seamless transition, another infomercial appeared. On screen, an older white man stared back at us. He was skinny. Hollow cheekbones. His silver suit somewhere between a spacesuit and a Golden Age tuxedo. With trimmed gray hair and a smooth calm face, this host had the radiance of a bygone movie star. And an ominous voice ripe for black-and-white horror films.
Low-budget sci-fi music played all around him. The type of spooky theremin-made scores not heard in popular culture since the Kennedy administration. Yet the music was even more unsettling here in 2019...
Like a news anchor from the future, the man sat at a bland desk. His backdrop nothing more than a black wall, an empty galaxy. His harsh gaze stayed on Liz and I. His precise delivery said the words of either a madman or televangelist... or Hell, maybe both.
"This isn't just you," he said in a deliberate, gravelly voice. "Your life isn't just here on this Earth, but within layers. Many layers we can't see. Layers we can't understand."
Liz and I exchanged knowing smirks. Oh boy...
The host threw his arms up in righteous frustration. "You think that we're the only ones in the entire galaxy! Of course not. But no, it's not just aliens or extraterrestrials, not just them, but parallel worlds running alongside ours!" In crazy professor mode, the man's hand gestures went wild. "You got us here, but then you also have you hidden from yourself! The other you." He hit the desk for emphasis. "Maybe that's real or maybe it's the duplicate! But it's there. All the different timelines, all the overlaps! They're right here with us!"
Pausing, the man reached under the desk. Not for a cigarette or beer like I figured... but for a small remote.
"He's getting serious," I quipped to Liz.
"Oh yeah," she responded.
On screen, the host waved the remote around. His mannerisms, much like his lecture, long veered out of control. "You can find these alternate worlds if you look hard enough," he said. Discreet, he pressed a button on the remote, making the camera move in a little closer. "Pay attention to where you last placed things, remember the details." The music picking up, the man leaned in closer toward the screen. Closer toward us. "And most importantly, open your eyes!" With a dramatic flourish, he stood up. He now resembled a God in that black backdrop. "Because they're around you! And they've always been!"
Crawling across the screen, spooky yellow font spelled out a toll-free number. $19.99 for Dr. Dourif's Frightening Metaphysics.
"Come to Dr. Dourif," the hypermasculine narrator said, our 90s stoner now emulating a cryptic caretaker. "For the secrets to our world."
Like a preacher confronting his congregation, Dr. Dourif walked toward the camera. "You can see them!" he hollered. "They make mistakes and cross over here! If you pay attention, you can see the mistakes!"
The theremin music rose to a roaring crescendo. A soundtrack for Dr. Dourif's wild highlights.
Of course, the $19.99 and various phone numbers also returned for a curtain call. As did the narrator's speedy rundown of hidden fees.
Liz took a casual sip of booze. "We should buy it."
I nodded. "I bet it'll open our eyes..."
The five minute infomercial faded away. Liz and I now sat in front of a black screen. Everything became so quiet and slow. We heard no one outside, no one behind the thin walls. Even the smell of cigarettes had evaporated. Gone with The Booth Network.
Uneasy, I faced Liz. She was almost done with her Miller Lite. Liz always a faster drinker than me. "You wanna change it?" I asked, hoping my drunkenness kept my voice from sounding too scared.
Liz gave the T.V. a weird look. "There ain't nothing coming on?"
I forced a chuckle. "I think that's it-"
A rebellious scream interrupted me. 90s Subversive Rock Classics had risen from the grave.
Our private concert began once more. The same opening act: Deadeye Dick.
"They're back..." Liz joked.
This drunk, I was even grooving to the song. "Can we leave it here?"
"You read my mind!" Liz beamed. She held her longneck out toward me. "I'm liking that doctor too."
"So am I." I clanged my beer into hers. Cheers to 90s rock.
In an entertaining loop, both infomercials kept playing. Five minutes of cheesy rock followed by five minutes of the deranged Dr. Dourif. It was entertaining enough.
Like obnoxious theater patrons, Liz and I talked back to the screen. A few more beers in and we were even singing along to the music. Not to mention re-enacting the good doctor's many manic tics.
"You can see the mistakes!" Liz yelled in mock fashion.
"That's the greatest nineteen-ninety-nine we'll ever spend," I added.
Laughing, Liz gave me a light shove. "Don't forget shipping and handling!"
After thirty minutes of this infomercial double feature, Liz and I yawned in unison. The drunken karaoke had worn us out until the inevitable morning sex.
"You ready for bed?" she asked me.
"Yeah," I replied.
The booming theremin score drew us both toward the T.V. At all the toll-free numbers being displayed. The many addresses. And at Dr. Dourif in his eccentric element.
"If you pay attention, you can see the mistakes!" he howled.
The camera stayed on the man's fiery face. His wild eyes. His sincerity for the subject...
And then the show faded to black. Back to a brief intermission.
The T.V. cut off. I turned to see a smiling Liz hold the remote.
"Time for bed," she said.
"Gotcha," I said. In a drunken struggle, I managed to turn out the light.
In the quiet darkness, Liz led me to the bathroom. She hurled all our longnecks into the trash bin. A garbage pile of beer.
There the two of us stood in the cramped room. Inches away from each other.
I nodded toward the trash bin. "I'd say we got pretty close to college."
"Mm-hmm," Liz replied. Caressing my arm, she leaned in closer. "Hopefully, that carries over to morning..."
Like an alarm, the rocker's opening scream shattered our intimacy. Somehow, Deadeye Dick found their way back on stage...
"What the fuck!" Liz yelled.
I followed her out the bathroom. "I thought you turned it off!"
"I did!"
"New Age Girl" blanketed whatever silence we had. The glowing T.V. and nightstand lamp destroyed the darkness.
Amidst Deadeye Dick's catchy beat and insistent roars, Liz and I looked on in paralyzing unease.
Yeah, we stood right outside the bathroom. Right here at Coconut Grove. Right here in room number eleven. Our walls were the same putrid yellow. The plastic coconuts still surrounded us. And even the smell of cigarettes had returned.
Only I saw Liz and I lying in bed. Me in my boxers, Liz in her lingerie. Both of us holding Miller Lites. Exactly how we were a mere thirty minutes ago.
On screen, the band's roars continued. Their catchy chorus now hollow to Liz and I's horror. At least to this Liz and I.
In bed, the two of us were still laughing and smiling. Still enjoying the suburbanite spring break.
"You want me to change it?" I heard myself say to Liz number two.
"Naw, Hell no!" the other Liz yelled. We watched her knock the remote out of the other Michael's hand. "Leave it here!" she added.
"Hey!" the real Liz yelled. "Who the fuck are y'all!"
Supportive, I grabbed a hold of her hand. "Yeah, what is this!" I hurled at these... intruders.
But we got no response. Like a disinterested audience, the couple chose to ignore us. Disregard our cries.
Even when Liz reached out and grabbed Michael number two's shoulder, all he did was turn and look right at us. But he had no reaction... as if he saw right through Liz and I.
In a shocking epiphany, I recognized that confused look. The same one I had when I felt someone clutch my shoulder... only I didn't know at the time it was Liz's worried touch.
Drunk and indifferent, the second Michael just turned and looked back at the commercial. Entranced by the 90s-a-thon.
To my horror, I realized the doppelganger couple just didn't care. They were oblivious. Like the infomercials, they just stayed in their loop of drunken bliss. Their eyes glued to the T.V.
In the doorway, the 90s rock washed over Liz and I's ever-growing fear. Sure, our counterparts didn't see us. But we damn sure saw them...
Liz yanked me back toward the bathroom. "Come on!" she said in a trembling voice.
Out of the corner of my eye, I saw the trash bin. The now-empty bin. Our Miller Lite mountain was gone.
Then we came to a terrified stop. Even through the darkness, Liz and I could see the man standing right in front of the shower.
Even without the theremin score, the man was eerie. Like an ominous statue, he stood so quiet and still. His silver suit somehow glistened. His bright eyes laser-focused on us. And in that frightening instant, Dr. Dourif's many mad ideas became all the more clearer to Liz and I. The mistakes and overlaps in our realities all the more noticeable.
Dr. Dourif didn't even have to say a word. Especially not when that knowing smile spread across his lips.
14
submitted by rhonnie14 to DarkTales [link] [comments]


2019.04.26 10:04 rhonnie14 We Watched Weird Infomercials On A Local Channel

We were back for the next party. Just a little later than anticipated. Ten years later. But hey, Elizabeth and I finally made it. We finally made the long-awaited sequel to our favorite spring break in Panama City Beach, Florida.
Only now we weren't hard-partying FSU students. Instead, we were twenty-nine and settled down in the suburbs. Married with full-time teaching jobs. And parents as well.
Yeah, we loved Sam and Carol. And raising them proved far more rewarding than any of the binge drinking and wild nights spent during yesteryear. But like a tantalizing time machine, the allure of reliving our youth came calling from time to time. If only for a weekend at least. A one-off shot at traveling back to 2012...
So, Liz and I set aside the time. We let the kids stay with my folks. And on a Friday in April, we left our home in pleasant Tallahassee for the decadent debauchery of PCB.
Maybe you'd call us sad. Two adult losers trying to re-capture a bygone era of blackouts and irresponsibility. But hey, you try dealing with kids every day. Both at work and home. Like an eternal rehab, family life had forced Elizabeth and I into stilted sobriety. Just a little bit of wine and beer on the weekends, our steamy sex only in spurts. I mean shit, sometimes you had to cut loose. And for one weekend, why couldn't Liz and I purge off our nostalgic sins? After all, what better place to do it than Panama City Beach?
So like a couple of overeager college students, we descended upon the beach. The water was still cold, but spring break was still going strong for all the waves of college kids. And us hard-partying parents.
Even commercialized by snowbirds, PCB was still a party destination. One chock-full of alcoholics, diners, and cheesy putt-putt golf courses and amusement parks that'd been there since the glory days of 1960s surf culture.
Noise was everywhere. During prime time, you'd hear obnoxious screams, incessant chit-chat, and a never-ending soundtrack that coasted from The Beach Boys to Nicki Minaj. Even in the still of the night, you'd hear stray stragglers and the peaceful lullaby of crashing waves.
Together, Liz and I got drunk on the beach. Indulged at Captain Jack's seafood buffet. Made an intoxicated investigation through the Ripley's Believe It Or Not! museum. And then we made our midnight rounds through the local Walmart.
The only problem was I'd forgotten to book a motel room. Honestly, I wasn't aware just how much the condominiums had conquered our college escape... The mom-and-pop motels of yore now gone with our early-20s. Needless to say, Liz and I couldn't get an oceanfront view. Instead, we ended up at the notorious Coconut Grove. Or Nut Ove as the roach motel's broken neon sign proclaimed...
Coconut Grove was two stories of a yellow eyesore. Like a stage full of Florida cliches, the motel featured skinny palm trees and a modest swimming pool out front. The bare minimum to attract desperate tourists.
Being a few miles away from the actual beach also meant cheaper rates. And cheaper rates meant more unsavory neighbors. With no shoreline breeze, their collective cigarette smoke dominated the motel's seedy atmosphere.
Around one A.M., Liz and I crashed in room number eleven. Needless to say, it was ugly as shit. The room only had one bed, a coffee maker, and a bulky T.V. I didn't even see a Bible in the dresser. Not that Sin City, Florida needed it. Or that Coconut Grove could even afford one for every room.
In the corner was a cramped bathroom unsuitable for anyone over two-hundred pounds. Apparently, Nut Ove had put all its money into nurturing those palm trees.
Every few feet, plastic coconuts broke up the monotony of our hideous yellow walls. The weak A/C unit did its best to stifle the room's cigarette smell. Our walls no match for the loud shouting and Jimmy Buffet soundtrack outside... To top it all off, this shithole wasn't even that cheap. We still had to pay the beach premium even when the swimming pool was the closest thing we had to an ocean view.
But Liz and I didn't complain. We'd stayed in far nastier places during the FSU days. And now for the first time in months, we had real privacy. A suburbanite spring break.
Together, we laid out on the stiff bed. Intoxicated and relaxed. A nightstand lamp our only light.
Both of us held a Miller Lite. Me in my boxers, Elizabeth in her lingerie.
I wasn't very tall but stayed in good shape. Handsome even with the large glasses. Clean-shaven and with a nice, smooth brown complexion. Of course, I could be neurotic, but the booze certainly helped keep me fun and carefree. Less paranoid than normal. Especially tonight. Even Liz was surprised to see me all smiles when we checked into Coconut Hell.
Liz's short black hair and slender frame accompanied a wacky personality. Her poise was always strong. Liz the eccentric writer to my history nerd. Her green eyes beamed any time when we went on an adventure. And they sure as Hell did when we checked into here.
"Michael, put on the T.V.," she told me in a playful demand.
Grinning, I grabbed the remote and followed orders. "A little Snapped to get you hot?" my baritone voice joked.
"Maybe Forensic Files," she teased.
"I like the sound of that."
Like a battle cry, a rock star's scream erupted from the T.V.
And then came an infantry of electric guitars and harmonies. An alt-rock beat straight from 1994.
On screen, a grainy music video played. In the corner, white font spelled it out for us: "New Age Girl" Deadeye Dick
The band's enthusiastic roars grabbed our ears. Liz and I's drunken stupor captivated by this 90s gem.
I flashed her a smile. "You want me to change it?"
"Naw, Hell no!" Liz yelled. Adamant, she knocked the remote out of my hand. "Leave it here!"
Deadeye Dick's harmonies sounded even louder. Like a serenade right above my shoulder. I figured the station was turning it up. Channel 14 ready to get this party started.
Liz turned her sparking emerald eyes toward me. "Didn't Ben play this last time we were here?"
I let out a drunken chuckle. "Yeah, his ass almost got us kicked out!"
I felt a tight grip on my shoulder. With sloppy slowness, I turned but saw no one. Just the bite-sized bathroom behind me. The force of the band's roars must've hit me. But I was too drunk to care. And judging by Liz's cringey sing-along so was she.
"Mary Moooonnn!" she cried. Her voice reminiscent of a Southern banshee... a dying one.
So we let the infomercial play on. Baines Inc.'s 90s Subversive Rock Classics box set. We could get all these goofy, sometimes cheesy 90s hits for only $19.99. Everything from Spacehog's "In The Meantime" to Luscious Jackson's "Naked Eye" to Natalie Imbruglia's "Torn." I gotta say these were some gems... If Liz hadn't reminded me what century I was in, I might've called that toll-free number right then and there.
The commercial was almost five minutes. And completely strange. Outside of baby boomer-targeted local channels, I hadn't seen a CD ad on T.V. in years. Not only that but the commercial itself looked like a relic from the early 2000s. There was no attempt at hi-def, no mention of a web page or social media, and shit, Baines Inc. even offered the set on cassette tape... All while a hypermasculine deep voice kept telling us what a steal this was for twenty dollars...
Then again, the infomercial was about as weird as the channel 14 itself. The Booth Network. The channel's logo nothing more than a pale androgynous face. One with a wicked grin.
I'd never heard of Booth. Nor had a clue where it was being broadcast from...
But still, Liz and I consumed the music like drugs. These forgotten songs sweet nostalgic candy to our ears. The private concert swept us back to the 90s. Back to our childhood.
The narrator announced the reasonable price once more. And them came his barrage of shipping and handling fees. A machine gun of phone numbers and addresses.
"Party on to 90s Subversive Rock Classics!" the enthused voiceover proclaimed.
In a seamless transition, another infomercial appeared. On screen, an older white man stared back at us. He was skinny. Hollow cheekbones. His silver suit somewhere between a spacesuit and a Golden Age tuxedo. With trimmed gray hair and a smooth calm face, this host had the radiance of a bygone movie star. And an ominous voice ripe for black-and-white horror films.
Low-budget sci-fi music played all around him. The type of spooky theremin-made scores not heard in popular culture since the Kennedy administration. Yet the music was even more unsettling here in 2019...
Like a news anchor from the future, the man sat at a bland desk. His backdrop nothing more than a black wall, an empty galaxy. His harsh gaze stayed on Liz and I. His precise delivery said the words of either a madman or televangelist... or Hell, maybe both.
"This isn't just you," he said in a deliberate, gravelly voice. "Your life isn't just here on this Earth, but within layers. Many layers we can't see. Layers we can't understand."
Liz and I exchanged knowing smirks. Oh boy...
The host threw his arms up in righteous frustration. "You think that we're the only ones in the entire galaxy! Of course not. But no, it's not just aliens or extraterrestrials, not just them, but parallel worlds running alongside ours!" In crazy professor mode, the man's hand gestures went wild. "You got us here, but then you also have you hidden from yourself! The other you." He hit the desk for emphasis. "Maybe that's real or maybe it's the duplicate! But it's there. All the different timelines, all the overlaps! They're right here with us!"
Pausing, the man reached under the desk. Not for a cigarette or beer like I figured... but for a small remote.
"He's getting serious," I quipped to Liz.
"Oh yeah," she responded.
On screen, the host waved the remote around. His mannerisms, much like his lecture, long veered out of control. "You can find these alternate worlds if you look hard enough," he said. Discreet, he pressed a button on the remote, making the camera move in a little closer. "Pay attention to where you last placed things, remember the details." The music picking up, the man leaned in closer toward the screen. Closer toward us. "And most importantly, open your eyes!" With a dramatic flourish, he stood up. He now resembled a God in that black backdrop. "Because they're around you! And they've always been!"
Crawling across the screen, spooky yellow font spelled out a toll-free number. $19.99 for Dr. Dourif's Frightening Metaphysics.
"Come to Dr. Dourif," the hypermasculine narrator said, our 90s stoner now emulating a cryptic caretaker. "For the secrets to our world."
Like a preacher confronting his congregation, Dr. Dourif walked toward the camera. "You can see them!" he hollered. "They make mistakes and cross over here! If you pay attention, you can see the mistakes!"
The theremin music rose to a roaring crescendo. A soundtrack for Dr. Dourif's wild highlights.
Of course, the $19.99 and various phone numbers also returned for a curtain call. As did the narrator's speedy rundown of hidden fees.
Liz took a casual sip of booze. "We should buy it."
I nodded. "I bet it'll open our eyes..."
The five minute infomercial faded away. Liz and I now sat in front of a black screen. Everything became so quiet and slow. We heard no one outside, no one behind the thin walls. Even the smell of cigarettes had evaporated. Gone with The Booth Network.
Uneasy, I faced Liz. She was almost done with her Miller Lite. Liz always a faster drinker than me. "You wanna change it?" I asked, hoping my drunkenness kept my voice from sounding too scared.
Liz gave the T.V. a weird look. "There ain't nothing coming on?"
I forced a chuckle. "I think that's it-"
A rebellious scream interrupted me. 90s Subversive Rock Classics had risen from the grave.
Our private concert began once more. The same opening act: Deadeye Dick.
"They're back..." Liz joked.
This drunk, I was even grooving to the song. "Can we leave it here?"
"You read my mind!" Liz beamed. She held her longneck out toward me. "I'm liking that doctor too."
"So am I." I clanged my beer into hers. Cheers to 90s rock.
In an entertaining loop, both infomercials kept playing. Five minutes of cheesy rock followed by five minutes of the deranged Dr. Dourif. It was entertaining enough.
Like obnoxious theater patrons, Liz and I talked back to the screen. A few more beers in and we were even singing along to the music. Not to mention re-enacting the good doctor's many manic tics.
"You can see the mistakes!" Liz yelled in mock fashion.
"That's the greatest nineteen-ninety-nine we'll ever spend," I added.
Laughing, Liz gave me a light shove. "Don't forget shipping and handling!"
After thirty minutes of this infomercial double feature, Liz and I yawned in unison. The drunken karaoke had worn us out until the inevitable morning sex.
"You ready for bed?" she asked me.
"Yeah," I replied.
The booming theremin score drew us both toward the T.V. At all the toll-free numbers being displayed. The many addresses. And at Dr. Dourif in his eccentric element.
"If you pay attention, you can see the mistakes!" he howled.
The camera stayed on the man's fiery face. His wild eyes. His sincerity for the subject...
And then the show faded to black. Back to a brief intermission.
The T.V. cut off. I turned to see a smiling Liz hold the remote.
"Time for bed," she said.
"Gotcha," I said. In a drunken struggle, I managed to turn out the light.
In the quiet darkness, Liz led me to the bathroom. She hurled all our longnecks into the trash bin. A garbage pile of beer.
There the two of us stood in the cramped room. Inches away from each other.
I nodded toward the trash bin. "I'd say we got pretty close to college."
"Mm-hmm," Liz replied. Caressing my arm, she leaned in closer. "Hopefully, that carries over to morning..."
Like an alarm, the rocker's opening scream shattered our intimacy. Somehow, Deadeye Dick found their way back on stage...
"What the fuck!" Liz yelled.
I followed her out the bathroom. "I thought you turned it off!"
"I did!"
"New Age Girl" blanketed whatever silence we had. The glowing T.V. and nightstand lamp destroyed the darkness.
Amidst Deadeye Dick's catchy beat and insistent roars, Liz and I looked on in paralyzing unease.
Yeah, we stood right outside the bathroom. Right here at Coconut Grove. Right here in room number eleven. Our walls were the same putrid yellow. The plastic coconuts still surrounded us. And even the smell of cigarettes had returned.
Only I saw Liz and I lying in bed. Me in my boxers, Liz in her lingerie. Both of us holding Miller Lites. Exactly how we were a mere thirty minutes ago.
On screen, the band's roars continued. Their catchy chorus now hollow to Liz and I's horror. At least to this Liz and I.
In bed, the two of us were still laughing and smiling. Still enjoying the suburbanite spring break.
"You want me to change it?" I heard myself say to Liz number two.
"Naw, Hell no!" the other Liz yelled. We watched her knock the remote out of the other Michael's hand. "Leave it here!" she added.
"Hey!" the real Liz yelled. "Who the fuck are y'all!"
Supportive, I grabbed a hold of her hand. "Yeah, what is this!" I hurled at these... intruders.
But we got no response. Like a disinterested audience, the couple chose to ignore us. Disregard our cries.
Even when Liz reached out and grabbed Michael number two's shoulder, all he did was turn and look right at us. But he had no reaction... as if he saw right through Liz and I.
In a shocking epiphany, I recognized that confused look. The same one I had when I felt someone clutch my shoulder... only I didn't know at the time it was Liz's worried touch.
Drunk and indifferent, the second Michael just turned and looked back at the commercial. Entranced by the 90s-a-thon.
To my horror, I realized the doppelganger couple just didn't care. They were oblivious. Like the infomercials, they just stayed in their loop of drunken bliss. Their eyes glued to the T.V.
In the doorway, the 90s rock washed over Liz and I's ever-growing fear. Sure, our counterparts didn't see us. But we damn sure saw them...
Liz yanked me back toward the bathroom. "Come on!" she said in a trembling voice.
Out of the corner of my eye, I saw the trash bin. The now-empty bin. Our Miller Lite mountain was gone.
Then we came to a terrified stop. Even through the darkness, Liz and I could see the man standing right in front of the shower.
Even without the theremin score, the man was eerie. Like an ominous statue, he stood so quiet and still. His silver suit somehow glistened. His bright eyes laser-focused on us. And in that frightening instant, Dr. Dourif's many mad ideas became all the more clearer to Liz and I. The mistakes and overlaps in our realities all the more noticeable.
Dr. Dourif didn't even have to say a word. Especially not when that knowing smile spread across his lips.
14
submitted by rhonnie14 to foulweather [link] [comments]


2019.04.26 04:37 rhonnie14 Sex mms by hidden camera

We were back for the next party. Just a little later than anticipated. Ten years later. But hey, Elizabeth and I finally made it. We finally made the long-awaited sequel to our favorite spring break in Panama City Beach, Florida.
Only now we weren't hard-partying FSU students. Instead, we were twenty-nine and settled down in the suburbs. Married with full-time teaching jobs. And parents as well.
Yeah, we loved Sam and Carol. And raising them proved far more rewarding than any of the binge drinking and wild nights spent during yesteryear. But like a tantalizing time machine, the allure of reliving our youth came calling from time to time. If only for a weekend at least. A one-off shot at traveling back to 2012...
So, Liz and I set aside the time. We let the kids stay with my folks. And on a Friday in April, we left our home in pleasant Tallahassee for the decadent debauchery of PCB.
Maybe you'd call us sad. Two adult losers trying to re-capture a bygone era of blackouts and irresponsibility. But hey, you try dealing with kids every day. Both at work and home. Like an eternal rehab, family life had forced Elizabeth and I into stilted sobriety. Just a little bit of wine and beer on the weekends, our steamy sex only in spurts. I mean shit, sometimes you had to cut loose. And for one weekend, why couldn't Liz and I purge off our nostalgic sins? After all, what better place to do it than Panama City Beach?
So like a couple of overeager college students, we descended upon the beach. The water was still cold, but spring break was still going strong for all the waves of college kids. And us hard-partying parents.
Even commercialized by snowbirds, PCB was still a party destination. One chock-full of alcoholics, diners, and cheesy putt-putt golf courses and amusement parks that'd been there since the glory days of 1960s surf culture.
Noise was everywhere. During prime time, you'd hear obnoxious screams, incessant chit-chat, and a never-ending soundtrack that coasted from The Beach Boys to Nicki Minaj. Even in the still of the night, you'd hear stray stragglers and the peaceful lullaby of crashing waves.
Together, Liz and I got drunk on the beach. Indulged at Captain Jack's seafood buffet. Made an intoxicated investigation through the Ripley's Believe It Or Not! museum. And then we made our midnight rounds through the local Walmart.
The only problem was I'd forgotten to book a motel room. Honestly, I wasn't aware just how much the condominiums had conquered our college escape... The mom-and-pop motels of yore now gone with our early-20s. Needless to say, Liz and I couldn't get an oceanfront view. Instead, we ended up at the notorious Coconut Grove. Or Nut Ove as the roach motel's broken neon sign proclaimed...
Coconut Grove was two stories of a yellow eyesore. Like a stage full of Florida cliches, the motel featured skinny palm trees and a modest swimming pool out front. The bare minimum to attract desperate tourists.
Being a few miles away from the actual beach also meant cheaper rates. And cheaper rates meant more unsavory neighbors. With no shoreline breeze, their collective cigarette smoke dominated the motel's seedy atmosphere.
Around one A.M., Liz and I crashed in room number eleven. Needless to say, it was ugly as shit. The room only had one bed, a coffee maker, and a bulky T.V. I didn't even see a Bible in the dresser. Not that Sin City, Florida needed it. Or that Coconut Grove could even afford one for every room.
In the corner was a cramped bathroom unsuitable for anyone over two-hundred pounds. Apparently, Nut Ove had put all its money into nurturing those palm trees.
Every few feet, plastic coconuts broke up the monotony of our hideous yellow walls. The weak A/C unit did its best to stifle the room's cigarette smell. Our walls no match for the loud shouting and Jimmy Buffet soundtrack outside... To top it all off, this shithole wasn't even that cheap. We still had to pay the beach premium even when the swimming pool was the closest thing we had to an ocean view.
But Liz and I didn't complain. We'd stayed in far nastier places during the FSU days. And now for the first time in months, we had real privacy. A suburbanite spring break.
Together, we laid out on the stiff bed. Intoxicated and relaxed. A nightstand lamp our only light.
Both of us held a Miller Lite. Me in my boxers, Elizabeth in her lingerie.
I wasn't very tall but stayed in good shape. Handsome even with the large glasses. Clean-shaven and with a nice, smooth brown complexion. Of course, I could be neurotic, but the booze certainly helped keep me fun and carefree. Less paranoid than normal. Especially tonight. Even Liz was surprised to see me all smiles when we checked into Coconut Hell.
Liz's short black hair and slender frame accompanied a wacky personality. Her poise was always strong. Liz the eccentric writer to my history nerd. Her green eyes beamed any time when we went on an adventure. And they sure as Hell did when we checked into here.
"Michael, put on the T.V.," she told me in a playful demand.
Grinning, I grabbed the remote and followed orders. "A little Snapped to get you hot?" my baritone voice joked.
"Maybe Forensic Files," she teased.
"I like the sound of that."
Like a battle cry, a rock star's scream erupted from the T.V.
And then came an infantry of electric guitars and harmonies. An alt-rock beat straight from 1994.
On screen, a grainy music video played. In the corner, white font spelled it out for us: "New Age Girl" Deadeye Dick
The band's enthusiastic roars grabbed our ears. Liz and I's drunken stupor captivated by this 90s gem.
I flashed her a smile. "You want me to change it?"
"Naw, Hell no!" Liz yelled. Adamant, she knocked the remote out of my hand. "Leave it here!"
Deadeye Dick's harmonies sounded even louder. Like a serenade right above my shoulder. I figured the station was turning it up. Channel 14 ready to get this party started.
Liz turned her sparking emerald eyes toward me. "Didn't Ben play this last time we were here?"
I let out a drunken chuckle. "Yeah, his ass almost got us kicked out!"
I felt a tight grip on my shoulder. With sloppy slowness, I turned but saw no one. Just the bite-sized bathroom behind me. The force of the band's roars must've hit me. But I was too drunk to care. And judging by Liz's cringey sing-along so was she.
"Mary Moooonnn!" she cried. Her voice reminiscent of a Southern banshee... a dying one.
So we let the infomercial play on. Baines Inc.'s 90s Subversive Rock Classics box set. We could get all these goofy, sometimes cheesy 90s hits for only $19.99. Everything from Spacehog's "In The Meantime" to Luscious Jackson's "Naked Eye" to Natalie Imbruglia's "Torn." I gotta say these were some gems... If Liz hadn't reminded me what century I was in, I might've called that toll-free number right then and there.
The commercial was almost five minutes. And completely strange. Outside of baby boomer-targeted local channels, I hadn't seen a CD ad on T.V. in years. Not only that but the commercial itself looked like a relic from the early 2000s. There was no attempt at hi-def, no mention of a web page or social media, and shit, Baines Inc. even offered the set on cassette tape... All while a hypermasculine deep voice kept telling us what a steal this was for twenty dollars...
Then again, the infomercial was about as weird as the channel 14 itself. The Booth Network. The channel's logo nothing more than a pale androgynous face. One with a wicked grin.
I'd never heard of Booth. Nor had a clue where it was being broadcast from...
But still, Liz and I consumed the music like drugs. These forgotten songs sweet nostalgic candy to our ears. The private concert swept us back to the 90s. Back to our childhood.
The narrator announced the reasonable price once more. And them came his barrage of shipping and handling fees. A machine gun of phone numbers and addresses.
"Party on to 90s Subversive Rock Classics!" the enthused voiceover proclaimed.
In a seamless transition, another infomercial appeared. On screen, an older white man stared back at us. He was skinny. Hollow cheekbones. His silver suit somewhere between a spacesuit and a Golden Age tuxedo. With trimmed gray hair and a smooth calm face, this host had the radiance of a bygone movie star. And an ominous voice ripe for black-and-white horror films.
Low-budget sci-fi music played all around him. The type of spooky theremin-made scores not heard in popular culture since the Kennedy administration. Yet the music was even more unsettling here in 2019...
Like a news anchor from the future, the man sat at a bland desk. His backdrop nothing more than a black wall, an empty galaxy. His harsh gaze stayed on Liz and I. His precise delivery said the words of either a madman or televangelist... or Hell, maybe both.
"This isn't just you," he said in a deliberate, gravelly voice. "Your life isn't just here on this Earth, but within layers. Many layers we can't see. Layers we can't understand."
Liz and I exchanged knowing smirks. Oh boy...
The host threw his arms up in righteous frustration. "You think that we're the only ones in the entire galaxy! Of course not. But no, it's not just aliens or extraterrestrials, not just them, but parallel worlds running alongside ours!" In crazy professor mode, the man's hand gestures went wild. "You got us here, but then you also have you hidden from yourself! The other you." He hit the desk for emphasis. "Maybe that's real or maybe it's the duplicate! But it's there. All the different timelines, all the overlaps! They're right here with us!"
Pausing, the man reached under the desk. Not for a cigarette or beer like I figured... but for a small remote.
"He's getting serious," I quipped to Liz.
"Oh yeah," she responded.
On screen, the host waved the remote around. His mannerisms, much like his lecture, long veered out of control. "You can find these alternate worlds if you look hard enough," he said. Discreet, he pressed a button on the remote, making the camera move in a little closer. "Pay attention to where you last placed things, remember the details." The music picking up, the man leaned in closer toward the screen. Closer toward us. "And most importantly, open your eyes!" With a dramatic flourish, he stood up. He now resembled a God in that black backdrop. "Because they're around you! And they've always been!"
Crawling across the screen, spooky yellow font spelled out a toll-free number. $19.99 for Dr. Dourif's Frightening Metaphysics.
"Come to Dr. Dourif," the hypermasculine narrator said, our 90s stoner now emulating a cryptic caretaker. "For the secrets to our world."
Like a preacher confronting his congregation, Dr. Dourif walked toward the camera. "You can see them!" he hollered. "They make mistakes and cross over here! If you pay attention, you can see the mistakes!"
The theremin music rose to a roaring crescendo. A soundtrack for Dr. Dourif's wild highlights.
Of course, the $19.99 and various phone numbers also returned for a curtain call. As did the narrator's speedy rundown of hidden fees.
Liz took a casual sip of booze. "We should buy it."
I nodded. "I bet it'll open our eyes..."
The five minute infomercial faded away. Liz and I now sat in front of a black screen. Everything became so quiet and slow. We heard no one outside, no one behind the thin walls. Even the smell of cigarettes had evaporated. Gone with The Booth Network.
Uneasy, I faced Liz. She was almost done with her Miller Lite. Liz always a faster drinker than me. "You wanna change it?" I asked, hoping my drunkenness kept my voice from sounding too scared.
Liz gave the T.V. a weird look. "There ain't nothing coming on?"
I forced a chuckle. "I think that's it-"
A rebellious scream interrupted me. 90s Subversive Rock Classics had risen from the grave.
Our private concert began once more. The same opening act: Deadeye Dick.
"They're back..." Liz joked.
This drunk, I was even grooving to the song. "Can we leave it here?"
"You read my mind!" Liz beamed. She held her longneck out toward me. "I'm liking that doctor too."
"So am I." I clanged my beer into hers. Cheers to 90s rock.
In an entertaining loop, both infomercials kept playing. Five minutes of cheesy rock followed by five minutes of the deranged Dr. Dourif. It was entertaining enough.
Like obnoxious theater patrons, Liz and I talked back to the screen. A few more beers in and we were even singing along to the music. Not to mention re-enacting the good doctor's many manic tics.
"You can see the mistakes!" Liz yelled in mock fashion.
"That's the greatest nineteen-ninety-nine we'll ever spend," I added.
Laughing, Liz gave me a light shove. "Don't forget shipping and handling!"
After thirty minutes of this infomercial double feature, Liz and I yawned in unison. The drunken karaoke had worn us out until the inevitable morning sex.
"You ready for bed?" she asked me.
"Yeah," I replied.
The booming theremin score drew us both toward the T.V. At all the toll-free numbers being displayed. The many addresses. And at Dr. Dourif in his eccentric element.
"If you pay attention, you can see the mistakes!" he howled.
The camera stayed on the man's fiery face. His wild eyes. His sincerity for the subject...
And then the show faded to black. Back to a brief intermission.
The T.V. cut off. I turned to see a smiling Liz hold the remote.
"Time for bed," she said.
"Gotcha," I said. In a drunken struggle, I managed to turn out the light.
In the quiet darkness, Liz led me to the bathroom. She hurled all our longnecks into the trash bin. A garbage pile of beer.
There the two of us stood in the cramped room. Inches away from each other.
I nodded toward the trash bin. "I'd say we got pretty close to college."
"Mm-hmm," Liz replied. Caressing my arm, she leaned in closer. "Hopefully, that carries over to morning..."
Like an alarm, the rocker's opening scream shattered our intimacy. Somehow, Deadeye Dick found their way back on stage...
"What the fuck!" Liz yelled.
I followed her out the bathroom. "I thought you turned it off!"
"I did!"
"New Age Girl" blanketed whatever silence we had. The glowing T.V. and nightstand lamp destroyed the darkness.
Amidst Deadeye Dick's catchy beat and insistent roars, Liz and I looked on in paralyzing unease.
Yeah, we stood right outside the bathroom. Right here at Coconut Grove. Right here in room number eleven. Our walls were the same putrid yellow. The plastic coconuts still surrounded us. And even the smell of cigarettes had returned.
Only I saw Liz and I lying in bed. Me in my boxers, Liz in her lingerie. Both of us holding Miller Lites. Exactly how we were a mere thirty minutes ago.
On screen, the band's roars continued. Their catchy chorus now hollow to Liz and I's horror. At least to this Liz and I.
In bed, the two of us were still laughing and smiling. Still enjoying the suburbanite spring break.
"You want me to change it?" I heard myself say to Liz number two.
"Naw, Hell no!" the other Liz yelled. We watched her knock the remote out of the other Michael's hand. "Leave it here!" she added.
"Hey!" the real Liz yelled. "Who the fuck are y'all!"
Supportive, I grabbed a hold of her hand. "Yeah, what is this!" I hurled at these... intruders.
But we got no response. Like a disinterested audience, the couple chose to ignore us. Disregard our cries.
Even when Liz reached out and grabbed Michael number two's shoulder, all he did was turn and look right at us. But he had no reaction... as if he saw right through Liz and I.
In a shocking epiphany, I recognized that confused look. The same one I had when I felt someone clutch my shoulder... only I didn't know at the time it was Liz's worried touch.
Drunk and indifferent, the second Michael just turned and looked back at the commercial. Entranced by the 90s-a-thon.
To my horror, I realized the doppelganger couple just didn't care. They were oblivious. Like the infomercials, they just stayed in their loop of drunken bliss. Their eyes glued to the T.V.
In the doorway, the 90s rock washed over Liz and I's ever-growing fear. Sure, our counterparts didn't see us. But we damn sure saw them...
Liz yanked me back toward the bathroom. "Come on!" she said in a trembling voice.
Out of the corner of my eye, I saw the trash bin. The now-empty bin. Our Miller Lite mountain was gone.
Then we came to a terrified stop. Even through the darkness, Liz and I could see the man standing right in front of the shower.
Even without the theremin score, the man was eerie. Like an ominous statue, he stood so quiet and still. His silver suit somehow glistened. His bright eyes laser-focused on us. And in that frightening instant, Dr. Dourif's many mad ideas became all the more clearer to Liz and I. The mistakes and overlaps in our realities all the more noticeable.
Dr. Dourif didn't even have to say a word. Especially not when that knowing smile spread across his lips.
14
submitted by rhonnie14 to Horror_stories [link] [comments]


2019.04.26 04:36 rhonnie14 We Watched Weird Infomercials On A Local Channel

We were back for the next party. Just a little later than anticipated. Ten years later. But hey, Elizabeth and I finally made it. We finally made the long-awaited sequel to our favorite spring break in Panama City Beach, Florida.
Only now we weren't hard-partying FSU students. Instead, we were twenty-nine and settled down in the suburbs. Married with full-time teaching jobs. And parents as well.
Yeah, we loved Sam and Carol. And raising them proved far more rewarding than any of the binge drinking and wild nights spent during yesteryear. But like a tantalizing time machine, the allure of reliving our youth came calling from time to time. If only for a weekend at least. A one-off shot at traveling back to 2012...
So, Liz and I set aside the time. We let the kids stay with my folks. And on a Friday in April, we left our home in pleasant Tallahassee for the decadent debauchery of PCB.
Maybe you'd call us sad. Two adult losers trying to re-capture a bygone era of blackouts and irresponsibility. But hey, you try dealing with kids every day. Both at work and home. Like an eternal rehab, family life had forced Elizabeth and I into stilted sobriety. Just a little bit of wine and beer on the weekends, our steamy sex only in spurts. I mean shit, sometimes you had to cut loose. And for one weekend, why couldn't Liz and I purge off our nostalgic sins? After all, what better place to do it than Panama City Beach?
So like a couple of overeager college students, we descended upon the beach. The water was still cold, but spring break was still going strong for all the waves of college kids. And us hard-partying parents.
Even commercialized by snowbirds, PCB was still a party destination. One chock-full of alcoholics, diners, and cheesy putt-putt golf courses and amusement parks that'd been there since the glory days of 1960s surf culture.
Noise was everywhere. During prime time, you'd hear obnoxious screams, incessant chit-chat, and a never-ending soundtrack that coasted from The Beach Boys to Nicki Minaj. Even in the still of the night, you'd hear stray stragglers and the peaceful lullaby of crashing waves.
Together, Liz and I got drunk on the beach. Indulged at Captain Jack's seafood buffet. Made an intoxicated investigation through the Ripley's Believe It Or Not! museum. And then we made our midnight rounds through the local Walmart.
The only problem was I'd forgotten to book a motel room. Honestly, I wasn't aware just how much the condominiums had conquered our college escape... The mom-and-pop motels of yore now gone with our early-20s. Needless to say, Liz and I couldn't get an oceanfront view. Instead, we ended up at the notorious Coconut Grove. Or Nut Ove as the roach motel's broken neon sign proclaimed...
Coconut Grove was two stories of a yellow eyesore. Like a stage full of Florida cliches, the motel featured skinny palm trees and a modest swimming pool out front. The bare minimum to attract desperate tourists.
Being a few miles away from the actual beach also meant cheaper rates. And cheaper rates meant more unsavory neighbors. With no shoreline breeze, their collective cigarette smoke dominated the motel's seedy atmosphere.
Around one A.M., Liz and I crashed in room number eleven. Needless to say, it was ugly as shit. The room only had one bed, a coffee maker, and a bulky T.V. I didn't even see a Bible in the dresser. Not that Sin City, Florida needed it. Or that Coconut Grove could even afford one for every room.
In the corner was a cramped bathroom unsuitable for anyone over two-hundred pounds. Apparently, Nut Ove had put all its money into nurturing those palm trees.
Every few feet, plastic coconuts broke up the monotony of our hideous yellow walls. The weak A/C unit did its best to stifle the room's cigarette smell. Our walls no match for the loud shouting and Jimmy Buffet soundtrack outside... To top it all off, this shithole wasn't even that cheap. We still had to pay the beach premium even when the swimming pool was the closest thing we had to an ocean view.
But Liz and I didn't complain. We'd stayed in far nastier places during the FSU days. And now for the first time in months, we had real privacy. A suburbanite spring break.
Together, we laid out on the stiff bed. Intoxicated and relaxed. A nightstand lamp our only light.
Both of us held a Miller Lite. Me in my boxers, Elizabeth in her lingerie.
I wasn't very tall but stayed in good shape. Handsome even with the large glasses. Clean-shaven and with a nice, smooth brown complexion. Of course, I could be neurotic, but the booze certainly helped keep me fun and carefree. Less paranoid than normal. Especially tonight. Even Liz was surprised to see me all smiles when we checked into Coconut Hell.
Liz's short black hair and slender frame accompanied a wacky personality. Her poise was always strong. Liz the eccentric writer to my history nerd. Her green eyes beamed any time when we went on an adventure. And they sure as Hell did when we checked into here.
"Michael, put on the T.V.," she told me in a playful demand.
Grinning, I grabbed the remote and followed orders. "A little Snapped to get you hot?" my baritone voice joked.
"Maybe Forensic Files," she teased.
"I like the sound of that."
Like a battle cry, a rock star's scream erupted from the T.V.
And then came an infantry of electric guitars and harmonies. An alt-rock beat straight from 1994.
On screen, a grainy music video played. In the corner, white font spelled it out for us: "New Age Girl" Deadeye Dick
The band's enthusiastic roars grabbed our ears. Liz and I's drunken stupor captivated by this 90s gem.
I flashed her a smile. "You want me to change it?"
"Naw, Hell no!" Liz yelled. Adamant, she knocked the remote out of my hand. "Leave it here!"
Deadeye Dick's harmonies sounded even louder. Like a serenade right above my shoulder. I figured the station was turning it up. Channel 14 ready to get this party started.
Liz turned her sparking emerald eyes toward me. "Didn't Ben play this last time we were here?"
I let out a drunken chuckle. "Yeah, his ass almost got us kicked out!"
I felt a tight grip on my shoulder. With sloppy slowness, I turned but saw no one. Just the bite-sized bathroom behind me. The force of the band's roars must've hit me. But I was too drunk to care. And judging by Liz's cringey sing-along so was she.
"Mary Moooonnn!" she cried. Her voice reminiscent of a Southern banshee... a dying one.
So we let the infomercial play on. Baines Inc.'s 90s Subversive Rock Classics box set. We could get all these goofy, sometimes cheesy 90s hits for only $19.99. Everything from Spacehog's "In The Meantime" to Luscious Jackson's "Naked Eye" to Natalie Imbruglia's "Torn." I gotta say these were some gems... If Liz hadn't reminded me what century I was in, I might've called that toll-free number right then and there.
The commercial was almost five minutes. And completely strange. Outside of baby boomer-targeted local channels, I hadn't seen a CD ad on T.V. in years. Not only that but the commercial itself looked like a relic from the early 2000s. There was no attempt at hi-def, no mention of a web page or social media, and shit, Baines Inc. even offered the set on cassette tape... All while a hypermasculine deep voice kept telling us what a steal this was for twenty dollars...
Then again, the infomercial was about as weird as the channel 14 itself. The Booth Network. The channel's logo nothing more than a pale androgynous face. One with a wicked grin.
I'd never heard of Booth. Nor had a clue where it was being broadcast from...
But still, Liz and I consumed the music like drugs. These forgotten songs sweet nostalgic candy to our ears. The private concert swept us back to the 90s. Back to our childhood.
The narrator announced the reasonable price once more. And them came his barrage of shipping and handling fees. A machine gun of phone numbers and addresses.
"Party on to 90s Subversive Rock Classics!" the enthused voiceover proclaimed.
In a seamless transition, another infomercial appeared. On screen, an older white man stared back at us. He was skinny. Hollow cheekbones. His silver suit somewhere between a spacesuit and a Golden Age tuxedo. With trimmed gray hair and a smooth calm face, this host had the radiance of a bygone movie star. And an ominous voice ripe for black-and-white horror films.
Low-budget sci-fi music played all around him. The type of spooky theremin-made scores not heard in popular culture since the Kennedy administration. Yet the music was even more unsettling here in 2019...
Like a news anchor from the future, the man sat at a bland desk. His backdrop nothing more than a black wall, an empty galaxy. His harsh gaze stayed on Liz and I. His precise delivery said the words of either a madman or televangelist... or Hell, maybe both.
"This isn't just you," he said in a deliberate, gravelly voice. "Your life isn't just here on this Earth, but within layers. Many layers we can't see. Layers we can't understand."
Liz and I exchanged knowing smirks. Oh boy...
The host threw his arms up in righteous frustration. "You think that we're the only ones in the entire galaxy! Of course not. But no, it's not just aliens or extraterrestrials, not just them, but parallel worlds running alongside ours!" In crazy professor mode, the man's hand gestures went wild. "You got us here, but then you also have you hidden from yourself! The other you." He hit the desk for emphasis. "Maybe that's real or maybe it's the duplicate! But it's there. All the different timelines, all the overlaps! They're right here with us!"
Pausing, the man reached under the desk. Not for a cigarette or beer like I figured... but for a small remote.
"He's getting serious," I quipped to Liz.
"Oh yeah," she responded.
On screen, the host waved the remote around. His mannerisms, much like his lecture, long veered out of control. "You can find these alternate worlds if you look hard enough," he said. Discreet, he pressed a button on the remote, making the camera move in a little closer. "Pay attention to where you last placed things, remember the details." The music picking up, the man leaned in closer toward the screen. Closer toward us. "And most importantly, open your eyes!" With a dramatic flourish, he stood up. He now resembled a God in that black backdrop. "Because they're around you! And they've always been!"
Crawling across the screen, spooky yellow font spelled out a toll-free number. $19.99 for Dr. Dourif's Frightening Metaphysics.
"Come to Dr. Dourif," the hypermasculine narrator said, our 90s stoner now emulating a cryptic caretaker. "For the secrets to our world."
Like a preacher confronting his congregation, Dr. Dourif walked toward the camera. "You can see them!" he hollered. "They make mistakes and cross over here! If you pay attention, you can see the mistakes!"
The theremin music rose to a roaring crescendo. A soundtrack for Dr. Dourif's wild highlights.
Of course, the $19.99 and various phone numbers also returned for a curtain call. As did the narrator's speedy rundown of hidden fees.
Liz took a casual sip of booze. "We should buy it."
I nodded. "I bet it'll open our eyes..."
The five minute infomercial faded away. Liz and I now sat in front of a black screen. Everything became so quiet and slow. We heard no one outside, no one behind the thin walls. Even the smell of cigarettes had evaporated. Gone with The Booth Network.
Uneasy, I faced Liz. She was almost done with her Miller Lite. Liz always a faster drinker than me. "You wanna change it?" I asked, hoping my drunkenness kept my voice from sounding too scared.
Liz gave the T.V. a weird look. "There ain't nothing coming on?"
I forced a chuckle. "I think that's it-"
A rebellious scream interrupted me. 90s Subversive Rock Classics had risen from the grave.
Our private concert began once more. The same opening act: Deadeye Dick.
"They're back..." Liz joked.
This drunk, I was even grooving to the song. "Can we leave it here?"
"You read my mind!" Liz beamed. She held her longneck out toward me. "I'm liking that doctor too."
"So am I." I clanged my beer into hers. Cheers to 90s rock.
In an entertaining loop, both infomercials kept playing. Five minutes of cheesy rock followed by five minutes of the deranged Dr. Dourif. It was entertaining enough.
Like obnoxious theater patrons, Liz and I talked back to the screen. A few more beers in and we were even singing along to the music. Not to mention re-enacting the good doctor's many manic tics.
"You can see the mistakes!" Liz yelled in mock fashion.
"That's the greatest nineteen-ninety-nine we'll ever spend," I added.
Laughing, Liz gave me a light shove. "Don't forget shipping and handling!"
After thirty minutes of this infomercial double feature, Liz and I yawned in unison. The drunken karaoke had worn us out until the inevitable morning sex.
"You ready for bed?" she asked me.
"Yeah," I replied.
The booming theremin score drew us both toward the T.V. At all the toll-free numbers being displayed. The many addresses. And at Dr. Dourif in his eccentric element.
"If you pay attention, you can see the mistakes!" he howled.
The camera stayed on the man's fiery face. His wild eyes. His sincerity for the subject...
And then the show faded to black. Back to a brief intermission.
The T.V. cut off. I turned to see a smiling Liz hold the remote.
"Time for bed," she said.
"Gotcha," I said. In a drunken struggle, I managed to turn out the light.
In the quiet darkness, Liz led me to the bathroom. She hurled all our longnecks into the trash bin. A garbage pile of beer.
There the two of us stood in the cramped room. Inches away from each other.
I nodded toward the trash bin. "I'd say we got pretty close to college."
"Mm-hmm," Liz replied. Caressing my arm, she leaned in closer. "Hopefully, that carries over to morning..."
Like an alarm, the rocker's opening scream shattered our intimacy. Somehow, Deadeye Dick found their way back on stage...
"What the fuck!" Liz yelled.
I followed her out the bathroom. "I thought you turned it off!"
"I did!"
"New Age Girl" blanketed whatever silence we had. The glowing T.V. and nightstand lamp destroyed the darkness.
Amidst Deadeye Dick's catchy beat and insistent roars, Liz and I looked on in paralyzing unease.
Yeah, we stood right outside the bathroom. Right here at Coconut Grove. Right here in room number eleven. Our walls were the same putrid yellow. The plastic coconuts still surrounded us. And even the smell of cigarettes had returned.
Only I saw Liz and I lying in bed. Me in my boxers, Liz in her lingerie. Both of us holding Miller Lites. Exactly how we were a mere thirty minutes ago.
On screen, the band's roars continued. Their catchy chorus now hollow to Liz and I's horror. At least to this Liz and I.
In bed, the two of us were still laughing and smiling. Still enjoying the suburbanite spring break.
"You want me to change it?" I heard myself say to Liz number two.
"Naw, Hell no!" the other Liz yelled. We watched her knock the remote out of the other Michael's hand. "Leave it here!" she added.
"Hey!" the real Liz yelled. "Who the fuck are y'all!"
Supportive, I grabbed a hold of her hand. "Yeah, what is this!" I hurled at these... intruders.
But we got no response. Like a disinterested audience, the couple chose to ignore us. Disregard our cries.
Even when Liz reached out and grabbed Michael number two's shoulder, all he did was turn and look right at us. But he had no reaction... as if he saw right through Liz and I.
In a shocking epiphany, I recognized that confused look. The same one I had when I felt someone clutch my shoulder... only I didn't know at the time it was Liz's worried touch.
Drunk and indifferent, the second Michael just turned and looked back at the commercial. Entranced by the 90s-a-thon.
To my horror, I realized the doppelganger couple just didn't care. They were oblivious. Like the infomercials, they just stayed in their loop of drunken bliss. Their eyes glued to the T.V.
In the doorway, the 90s rock washed over Liz and I's ever-growing fear. Sure, our counterparts didn't see us. But we damn sure saw them...
Liz yanked me back toward the bathroom. "Come on!" she said in a trembling voice.
Out of the corner of my eye, I saw the trash bin. The now-empty bin. Our Miller Lite mountain was gone.
Then we came to a terrified stop. Even through the darkness, Liz and I could see the man standing right in front of the shower.
Even without the theremin score, the man was eerie. Like an ominous statue, he stood so quiet and still. His silver suit somehow glistened. His bright eyes laser-focused on us. And in that frightening instant, Dr. Dourif's many mad ideas became all the more clearer to Liz and I. The mistakes and overlaps in our realities all the more noticeable.
Dr. Dourif didn't even have to say a word. Especially not when that knowing smile spread across his lips.
14
submitted by rhonnie14 to creepypasta [link] [comments]


2019.04.26 04:35 rhonnie14 PREMIERE: We Watched Weird Infomercials On A Local Channel

We were back for the next party. Just a little later than anticipated. Ten years later. But hey, Elizabeth and I finally made it. We finally made the long-awaited sequel to our favorite spring break in Panama City Beach, Florida.
Only now we weren't hard-partying FSU students. Instead, we were twenty-nine and settled down in the suburbs. Married with full-time teaching jobs. And parents as well.
Yeah, we loved Sam and Carol. And raising them proved far more rewarding than any of the binge drinking and wild nights spent during yesteryear. But like a tantalizing time machine, the allure of reliving our youth came calling from time to time. If only for a weekend at least. A one-off shot at traveling back to 2012...
So, Liz and I set aside the time. We let the kids stay with my folks. And on a Friday in April, we left our home in pleasant Tallahassee for the decadent debauchery of PCB.
Maybe you'd call us sad. Two adult losers trying to re-capture a bygone era of blackouts and irresponsibility. But hey, you try dealing with kids every day. Both at work and home. Like an eternal rehab, family life had forced Elizabeth and I into stilted sobriety. Just a little bit of wine and beer on the weekends, our steamy sex only in spurts. I mean shit, sometimes you had to cut loose. And for one weekend, why couldn't Liz and I purge off our nostalgic sins? After all, what better place to do it than Panama City Beach?
So like a couple of overeager college students, we descended upon the beach. The water was still cold, but spring break was still going strong for all the waves of college kids. And us hard-partying parents.
Even commercialized by snowbirds, PCB was still a party destination. One chock-full of alcoholics, diners, and cheesy putt-putt golf courses and amusement parks that'd been there since the glory days of 1960s surf culture.
Noise was everywhere. During prime time, you'd hear obnoxious screams, incessant chit-chat, and a never-ending soundtrack that coasted from The Beach Boys to Nicki Minaj. Even in the still of the night, you'd hear stray stragglers and the peaceful lullaby of crashing waves.
Together, Liz and I got drunk on the beach. Indulged at Captain Jack's seafood buffet. Made an intoxicated investigation through the Ripley's Believe It Or Not! museum. And then we made our midnight rounds through the local Walmart.
The only problem was I'd forgotten to book a motel room. Honestly, I wasn't aware just how much the condominiums had conquered our college escape... The mom-and-pop motels of yore now gone with our early-20s. Needless to say, Liz and I couldn't get an oceanfront view. Instead, we ended up at the notorious Coconut Grove. Or Nut Ove as the roach motel's broken neon sign proclaimed...
Coconut Grove was two stories of a yellow eyesore. Like a stage full of Florida cliches, the motel featured skinny palm trees and a modest swimming pool out front. The bare minimum to attract desperate tourists.
Being a few miles away from the actual beach also meant cheaper rates. And cheaper rates meant more unsavory neighbors. With no shoreline breeze, their collective cigarette smoke dominated the motel's seedy atmosphere.
Around one A.M., Liz and I crashed in room number eleven. Needless to say, it was ugly as shit. The room only had one bed, a coffee maker, and a bulky T.V. I didn't even see a Bible in the dresser. Not that Sin City, Florida needed it. Or that Coconut Grove could even afford one for every room.
In the corner was a cramped bathroom unsuitable for anyone over two-hundred pounds. Apparently, Nut Ove had put all its money into nurturing those palm trees.
Every few feet, plastic coconuts broke up the monotony of our hideous yellow walls. The weak A/C unit did its best to stifle the room's cigarette smell. Our walls no match for the loud shouting and Jimmy Buffet soundtrack outside... To top it all off, this shithole wasn't even that cheap. We still had to pay the beach premium even when the swimming pool was the closest thing we had to an ocean view.
But Liz and I didn't complain. We'd stayed in far nastier places during the FSU days. And now for the first time in months, we had real privacy. A suburbanite spring break.
Together, we laid out on the stiff bed. Intoxicated and relaxed. A nightstand lamp our only light.
Both of us held a Miller Lite. Me in my boxers, Elizabeth in her lingerie.
I wasn't very tall but stayed in good shape. Handsome even with the large glasses. Clean-shaven and with a nice, smooth brown complexion. Of course, I could be neurotic, but the booze certainly helped keep me fun and carefree. Less paranoid than normal. Especially tonight. Even Liz was surprised to see me all smiles when we checked into Coconut Hell.
Liz's short black hair and slender frame accompanied a wacky personality. Her poise was always strong. Liz the eccentric writer to my history nerd. Her green eyes beamed any time when we went on an adventure. And they sure as Hell did when we checked into here.
"Michael, put on the T.V.," she told me in a playful demand.
Grinning, I grabbed the remote and followed orders. "A little Snapped to get you hot?" my baritone voice joked.
"Maybe Forensic Files," she teased.
"I like the sound of that."
Like a battle cry, a rock star's scream erupted from the T.V.
And then came an infantry of electric guitars and harmonies. An alt-rock beat straight from 1994.
On screen, a grainy music video played. In the corner, white font spelled it out for us: "New Age Girl" Deadeye Dick
The band's enthusiastic roars grabbed our ears. Liz and I's drunken stupor captivated by this 90s gem.
I flashed her a smile. "You want me to change it?"
"Naw, Hell no!" Liz yelled. Adamant, she knocked the remote out of my hand. "Leave it here!"
Deadeye Dick's harmonies sounded even louder. Like a serenade right above my shoulder. I figured the station was turning it up. Channel 14 ready to get this party started.
Liz turned her sparking emerald eyes toward me. "Didn't Ben play this last time we were here?"
I let out a drunken chuckle. "Yeah, his ass almost got us kicked out!"
I felt a tight grip on my shoulder. With sloppy slowness, I turned but saw no one. Just the bite-sized bathroom behind me. The force of the band's roars must've hit me. But I was too drunk to care. And judging by Liz's cringey sing-along so was she.
"Mary Moooonnn!" she cried. Her voice reminiscent of a Southern banshee... a dying one.
So we let the infomercial play on. Baines Inc.'s 90s Subversive Rock Classics box set. We could get all these goofy, sometimes cheesy 90s hits for only $19.99. Everything from Spacehog's "In The Meantime" to Luscious Jackson's "Naked Eye" to Natalie Imbruglia's "Torn." I gotta say these were some gems... If Liz hadn't reminded me what century I was in, I might've called that toll-free number right then and there.
The commercial was almost five minutes. And completely strange. Outside of baby boomer-targeted local channels, I hadn't seen a CD ad on T.V. in years. Not only that but the commercial itself looked like a relic from the early 2000s. There was no attempt at hi-def, no mention of a web page or social media, and shit, Baines Inc. even offered the set on cassette tape... All while a hypermasculine deep voice kept telling us what a steal this was for twenty dollars...
Then again, the infomercial was about as weird as the channel 14 itself. The Booth Network. The channel's logo nothing more than a pale androgynous face. One with a wicked grin.
I'd never heard of Booth. Nor had a clue where it was being broadcast from...
But still, Liz and I consumed the music like drugs. These forgotten songs sweet nostalgic candy to our ears. The private concert swept us back to the 90s. Back to our childhood.
The narrator announced the reasonable price once more. And them came his barrage of shipping and handling fees. A machine gun of phone numbers and addresses.
"Party on to 90s Subversive Rock Classics!" the enthused voiceover proclaimed.
In a seamless transition, another infomercial appeared. On screen, an older white man stared back at us. He was skinny. Hollow cheekbones. His silver suit somewhere between a spacesuit and a Golden Age tuxedo. With trimmed gray hair and a smooth calm face, this host had the radiance of a bygone movie star. And an ominous voice ripe for black-and-white horror films.
Low-budget sci-fi music played all around him. The type of spooky theremin-made scores not heard in popular culture since the Kennedy administration. Yet the music was even more unsettling here in 2019...
Like a news anchor from the future, the man sat at a bland desk. His backdrop nothing more than a black wall, an empty galaxy. His harsh gaze stayed on Liz and I. His precise delivery said the words of either a madman or televangelist... or Hell, maybe both.
"This isn't just you," he said in a deliberate, gravelly voice. "Your life isn't just here on this Earth, but within layers. Many layers we can't see. Layers we can't understand."
Liz and I exchanged knowing smirks. Oh boy...
The host threw his arms up in righteous frustration. "You think that we're the only ones in the entire galaxy! Of course not. But no, it's not just aliens or extraterrestrials, not just them, but parallel worlds running alongside ours!" In crazy professor mode, the man's hand gestures went wild. "You got us here, but then you also have you hidden from yourself! The other you." He hit the desk for emphasis. "Maybe that's real or maybe it's the duplicate! But it's there. All the different timelines, all the overlaps! They're right here with us!"
Pausing, the man reached under the desk. Not for a cigarette or beer like I figured... but for a small remote.
"He's getting serious," I quipped to Liz.
"Oh yeah," she responded.
On screen, the host waved the remote around. His mannerisms, much like his lecture, long veered out of control. "You can find these alternate worlds if you look hard enough," he said. Discreet, he pressed a button on the remote, making the camera move in a little closer. "Pay attention to where you last placed things, remember the details." The music picking up, the man leaned in closer toward the screen. Closer toward us. "And most importantly, open your eyes!" With a dramatic flourish, he stood up. He now resembled a God in that black backdrop. "Because they're around you! And they've always been!"
Crawling across the screen, spooky yellow font spelled out a toll-free number. $19.99 for Dr. Dourif's Frightening Metaphysics.
"Come to Dr. Dourif," the hypermasculine narrator said, our 90s stoner now emulating a cryptic caretaker. "For the secrets to our world."
Like a preacher confronting his congregation, Dr. Dourif walked toward the camera. "You can see them!" he hollered. "They make mistakes and cross over here! If you pay attention, you can see the mistakes!"
The theremin music rose to a roaring crescendo. A soundtrack for Dr. Dourif's wild highlights.
Of course, the $19.99 and various phone numbers also returned for a curtain call. As did the narrator's speedy rundown of hidden fees.
Liz took a casual sip of booze. "We should buy it."
I nodded. "I bet it'll open our eyes..."
The five minute infomercial faded away. Liz and I now sat in front of a black screen. Everything became so quiet and slow. We heard no one outside, no one behind the thin walls. Even the smell of cigarettes had evaporated. Gone with The Booth Network.
Uneasy, I faced Liz. She was almost done with her Miller Lite. Liz always a faster drinker than me. "You wanna change it?" I asked, hoping my drunkenness kept my voice from sounding too scared.
Liz gave the T.V. a weird look. "There ain't nothing coming on?"
I forced a chuckle. "I think that's it-"
A rebellious scream interrupted me. 90s Subversive Rock Classics had risen from the grave.
Our private concert began once more. The same opening act: Deadeye Dick.
"They're back..." Liz joked.
This drunk, I was even grooving to the song. "Can we leave it here?"
"You read my mind!" Liz beamed. She held her longneck out toward me. "I'm liking that doctor too."
"So am I." I clanged my beer into hers. Cheers to 90s rock.
In an entertaining loop, both infomercials kept playing. Five minutes of cheesy rock followed by five minutes of the deranged Dr. Dourif. It was entertaining enough.
Like obnoxious theater patrons, Liz and I talked back to the screen. A few more beers in and we were even singing along to the music. Not to mention re-enacting the good doctor's many manic tics.
"You can see the mistakes!" Liz yelled in mock fashion.
"That's the greatest nineteen-ninety-nine we'll ever spend," I added.
Laughing, Liz gave me a light shove. "Don't forget shipping and handling!"
After thirty minutes of this infomercial double feature, Liz and I yawned in unison. The drunken karaoke had worn us out until the inevitable morning sex.
"You ready for bed?" she asked me.
"Yeah," I replied.
The booming theremin score drew us both toward the T.V. At all the toll-free numbers being displayed. The many addresses. And at Dr. Dourif in his eccentric element.
"If you pay attention, you can see the mistakes!" he howled.
The camera stayed on the man's fiery face. His wild eyes. His sincerity for the subject...
And then the show faded to black. Back to a brief intermission.
The T.V. cut off. I turned to see a smiling Liz hold the remote.
"Time for bed," she said.
"Gotcha," I said. In a drunken struggle, I managed to turn out the light.
In the quiet darkness, Liz led me to the bathroom. She hurled all our longnecks into the trash bin. A garbage pile of beer.
There the two of us stood in the cramped room. Inches away from each other.
I nodded toward the trash bin. "I'd say we got pretty close to college."
"Mm-hmm," Liz replied. Caressing my arm, she leaned in closer. "Hopefully, that carries over to morning..."
Like an alarm, the rocker's opening scream shattered our intimacy. Somehow, Deadeye Dick found their way back on stage...
"What the fuck!" Liz yelled.
I followed her out the bathroom. "I thought you turned it off!"
"I did!"
"New Age Girl" blanketed whatever silence we had. The glowing T.V. and nightstand lamp destroyed the darkness.
Amidst Deadeye Dick's catchy beat and insistent roars, Liz and I looked on in paralyzing unease.
Yeah, we stood right outside the bathroom. Right here at Coconut Grove. Right here in room number eleven. Our walls were the same putrid yellow. The plastic coconuts still surrounded us. And even the smell of cigarettes had returned.
Only I saw Liz and I lying in bed. Me in my boxers, Liz in her lingerie. Both of us holding Miller Lites. Exactly how we were a mere thirty minutes ago.
On screen, the band's roars continued. Their catchy chorus now hollow to Liz and I's horror. At least to this Liz and I.
In bed, the two of us were still laughing and smiling. Still enjoying the suburbanite spring break.
"You want me to change it?" I heard myself say to Liz number two.
"Naw, Hell no!" the other Liz yelled. We watched her knock the remote out of the other Michael's hand. "Leave it here!" she added.
"Hey!" the real Liz yelled. "Who the fuck are y'all!"
Supportive, I grabbed a hold of her hand. "Yeah, what is this!" I hurled at these... intruders.
But we got no response. Like a disinterested audience, the couple chose to ignore us. Disregard our cries.
Even when Liz reached out and grabbed Michael number two's shoulder, all he did was turn and look right at us. But he had no reaction... as if he saw right through Liz and I.
In a shocking epiphany, I recognized that confused look. The same one I had when I felt someone clutch my shoulder... only I didn't know at the time it was Liz's worried touch.
Drunk and indifferent, the second Michael just turned and looked back at the commercial. Entranced by the 90s-a-thon.
To my horror, I realized the doppelganger couple just didn't care. They were oblivious. Like the infomercials, they just stayed in their loop of drunken bliss. Their eyes glued to the T.V.
In the doorway, the 90s rock washed over Liz and I's ever-growing fear. Sure, our counterparts didn't see us. But we damn sure saw them...
Liz yanked me back toward the bathroom. "Come on!" she said in a trembling voice.
Out of the corner of my eye, I saw the trash bin. The now-empty bin. Our Miller Lite mountain was gone.
Then we came to a terrified stop. Even through the darkness, Liz and I could see the man standing right in front of the shower.
Even without the theremin score, the man was eerie. Like an ominous statue, he stood so quiet and still. His silver suit somehow glistened. His bright eyes laser-focused on us. And in that frightening instant, Dr. Dourif's many mad ideas became all the more clearer to Liz and I. The mistakes and overlaps in our realities all the more noticeable.
Dr. Dourif didn't even have to say a word. Especially not when that knowing smile spread across his lips.
submitted by rhonnie14 to rhonnie14 [link] [comments]


2014.10.27 21:16 KimmoTargaryen Sex mms by hidden camera

Jean Cocteau's BEAUTY AND THE BEAST JEAN MARAIS -- JOSETTE DAY
Spine #6, Available on Blu-Ray and DVD
France
1946
93 Minutes (1 Hour, 33 Minutes)
Black & White
Monaural
35 mm
1.33:1 Aspect Ratio
MEDIA Theatrical trailer seen on the Criterion edition of Beauty and the Beast
BFI's 2013 trailer for the 4K restoration of Beauty and the Beast
Jean Cocteau's handwritten opening titles and credits
Artwork
Original Criterion cover
Criterion Blu-ray cover
French theatrical posters by Jean-Dennis Malcles
Write-ups
Roger Ebert's 4-star review of the film
The New York Times' review by Bosley Crowther in 1947.
Ratings & Accolades
IMDb: 8.0/10
Rotten Tomatoes: 94% Certified Fresh (Avg. Rating 8.9/10)
Metacritic: 92/100 based on critic reviews (8.3/10 User Score)
Ranked #26 in Empire magazines "100 Best Films of World Cinema" in 2010
Jean Marais won 2nd place for "Best Actor" at the 1948 Bambi Awards
Jean Cocteau won the Prix Louis Delluc French award for Direction in 1946
The film was nominated for the Grand Prix at the 1946 Cannes Film Festival.
FILM LINKS Criterion
Wikipedia
IMDb
Rotten Tomatoes
FILM ESSAY By Geoffrey O'Brien
Out of the extravagant variety of Jean Cocteau’s work—the paintings and drawings, the poems, the plays and novels and memoirs, the opera librettos and ballet scenarios—it is likely his films that will have the most enduring influence, and among those, Beauty and the Beast (1946) will have the most pervasive effect. When it comes to “fairy-tale movies”—if such a genre exists as something other than a profit center for the Disney corporation—there is Cocteau’s Beauty and the Beast and then there is everything else. It is a safe bet that no one who surrenders to it at an impressionable age ever quite escapes the distinct and disturbing enchantments it sets in motion.
It is also perhaps the most self-effacing of Cocteau’s works. His flamboyance and wit are placed at the service of the old folkloric tale by Mme Leprince de Beaumont; even as he adds his characteristic complications to the tale—giving the Beast a thoroughly earthly and unenchanted doppelgänger, Avenant, and adding a mythic dimension by means of a secret temple to Diana—he allows the pure force of the narrative to assert itself, as if he were content for once to figure as a kind of medieval artisan. An artisan among artisans: the film is virtually a showcase for the best in French production design (Christian Bérard), music (Georges Auric), cinematography (Henri Alekan), and costuming (Marcel Escoffier). Yet the net effect is, if anything, austere rather than lush, a tribute to Cocteau’s unerring sense that here the tale, with its mysterious imperatives, is everything.
The film is inescapably tied up with the war during which it was planned. Shooting began four months after the German surrender. The deprivations of the period account for the fact that it was not filmed in color, as Cocteau had wished—hard as it is to imagine the movie apart from Alekan’s black-and-white palette, with its careful distinction between a deceptively sunny ordinary reality and the Beast’s domain of night. This harshness in the background is perceptible in other ways as well. The storybook setting of a seventeenth-century farmhouse, into which we are ushered with the phrase “once upon a time,” is revealed within a few moments as a place of vanity and venality, cowardice and petty-minded squabbling, slaps and insults. It is a fallen world, in which Belle (Josette Day) seems to withdraw into a hermetic suffering amid the meanness of her elder sisters, the feckless opportunism of her brother, the moral weakness of her father, and the overtures of Jean Marais’ handsome and empty Avenant. The hellishness of this pictorially elegant but resolutely unmagical reality, further amplified by the implied rapacity of encircling creditors and moneylenders, makes it an unlikely setting for any conceivable “happy ever after.”
By establishing how truly oppressive is the world that Belle and her father inhabit, Cocteau makes all the more uncanny the discovery, by the harried merchant, of a passageway out of it, into the Beast’s realm. It is like the breaching of a seam, and we are carried through every part of the process: through the misty forest and up a deserted staircase, through the great door and, in the most otherworldly of camera movements, down the hall of human arms extending candelabra whose flames spontaneously flare up—a rite of initiation that loses none of its power from learning that it was achieved by filming the action backward, and that it was shot not by Cocteau but by his assistant, René Clément. You can play it back time and again without exhausting the sense of shock at having passed through some ordinary, invisible portal.
If this is magic, it is a shaggy, palpable sort of magic. As a true poet—whether writing verse or otherwise—Cocteau had a poet’s hard-earned mistrust of the merely atmospheric, decorative vagueness misnamed “poetic”: “My method,” he wrote at the outset of his journal of the shooting of Beauty and the Beast, “is simple: not to aim at poetry. That must come of its own accord. The mere whispered mention of its name frightens it away.” The result, of course, was a film that, as much as any other, has been praised as lyrical, almost unbearable in its ethereal gorgeousness, a triumph of the imagination—even when it may just as accurately be described as tough-minded, down-to-earth, ferociously unsentimental. If Cocteau’s film continues to breathe, as few have done, the air of the fantastic, it is because we sense at each moment that we are caught up in a process governed by laws, laws that may be difficult to explain or even articulate but that express themselves by the most concrete means: “Fantasy has its own laws, which are like those of perspective. You may not bring what is distant into the foreground nor render fuzzily what is near.” Like a ritual performed in order to produce results, not just to make the participants feel good, Beauty and the Beast moves through its phases undistracted by anything, focused only on the business at hand.
Any prettiness is incidental, mere drapery over darker and more archaic imperatives. The underlying structure is nearly pitiless, an intricately intermeshing machinery loaded with hidden traps. Cocteau has a logician’s respect for the orders of ritual and the cruel demands of ritual sacrifice. His “magic” has, from certain angles, the paranoid efficiency of a cosmic prison house in which miracles exist but only at a rigorously exacted price. The weightless happiness that is the perennial promise of both fairy tales and movies is to be attained at a cost measured out frame by frame, in a story more full of suffering than of wish fulfillment—and in which, indeed, the promise of ecstasy embraced in the moment of final metamorphosis quickly threatens to become a more banal contentment. Even as Belle and her prince (the Beast transformed into the double of the unreliable Avenant) soar into the sky, she seems already to realize that this is not exactly what she wanted. The instant reaction attributed to Greta Garbo captures perfectly the strange disappointment of the “happy” ending: “Give me back my Beast!”
In Beauty and the Beast, as previously in The Blood of a Poet (1930) and later in Orpheus (1950), Cocteau was able to realize the fantastic not as an escape from the real but as an extension of it, as its reverse side. He has no interest in Neverlands or Wonderlands. He approaches the paraphernalia of the fairy tale—those enchanted mirrors, keys, gloves—with a technician’s dispassion, no more taken aback by their existence than by the existence of trees or streams or horses or rose gardens, but endlessly curious about how they function. For Cocteau, “movie magic” is not a glib catchphrase. As a science of transformation, cinema becomes true alchemy. The mirror in The Blood of a Poet that becomes a splashing pool as one passes through it is not an illusion but an achieved reality; in Orpheus, the comings and goings between the realms of the living and the dead are rendered in a deadpan spirit of documentary observation. If magic requires the use of specialized equipment, for Cocteau that equipment includes the whole somnambulistic repertoire of the movies’ night side, from Meliès on out. When in watching Beauty and the Beast we think at one moment or another of Nosferatu or Metropolis or Dracula or King Kong, it is not with the sense that they have been imitated or self-consciously alluded to but as if their effective elements have been incorporated wholesale, as needed, by the resident shaman.
The magic is sexual throughout—a fantastic, but not in the least morbid or phantasmal, sex magic. What could be more direct and free of coyness than the image of the Beast drinking water from Belle’s hands, although it is so chaste that no censor could have ever assailed it? It is matched by the tactile immediacy of the moment when the grieving Beast presses his furry face against the fur coverlet of Belle’s empty bed. The irresistible effect of everything that happens after Belle enters the castle is tied to the pair’s aura of forbidden intimacy: her slow-motion advance into the Beast’s great hall, as she moves past the billowing white curtains and Auric’s music bursts out in choral ululations; her passage through the talking door, into the privacies of mirror and bed; the night wanderings in which she spies on the Beast in the aftermath of his nocturnal slaughters, while he stares in horror at his smoking hands.
The extraordinarily beautiful shot in which we see the Beast from behind, his head haloed in light, as he ascends the stairs with Belle in his arms, while on the other side of the screen, light streams through dungeonlike grillwork, conjures with gothic intensity the imminence of a sexual fantasy fulfilled, in a setting made for such fulfillment—a bedroom hidden within a castle hidden within a forest—and with Beauty delivered defenseless into the embrace of a Beast manifestly able to sweep away all resistance. The erotic force of the episode that follows is outdone only by the even greater emotional force of the restraint that stops him in his tracks and sends him rushing out of the room, saying, “You mustn’t look into my eyes.”
It is, of course, his eyes that we look at, glistening from within the multilayered makeup that cost Marais five hours of application each day, makeup so expressive that Marais’ real face seems a blank by comparison. We cannot shake the certainty that an actual creature has been introduced into the world, and the sorrow provoked by his disappearance recurs anew on each viewing. I doubt whether so solitary and tragic a figure has ever been so fully realized in movies before or since, and realized here not only through Hagop Arakelian’s makeup skills and Marais’ performance but through the universe created to form a context around him, made out of Cocteau’s words, Auric’s music, Alekan’s images.
As for Belle, she is, finally, almost as much of a cipher as the statue of Diana that breaks the spell by shooting an arrow into the rascally Avenant. When the Beast tells her, “You are the only master here,” he underscores the cruelty at the heart of Cocteau’s fable. Beauty is indeed the master of all the craftsmanlike skills brought to their highest pitch to realize this singular vision: a Beauty who may offer love or capriciously withhold it, a Beauty who wants only a rose—even if that rose may threaten death to anyone who gives it to her—a Beauty who may, after all, know herself least well and therefore never fully grasp her own all-determining power. Only in the mirror world of art can Beauty and Beast truly cohabit. And even for Cocteau, master of such a range of arts, what art but cinema—the magic mirror itself—could ever realize that cohabitation so persuasively?
WHERE TO WATCH & BUY Criterion
Amazon
Amazon Instant Video
Hulu Plus
iTunes
Barnes & Noble
DISCUSS
la belle et la bête
submitted by KimmoTargaryen to criterion [link] [comments]


2013.02.12 19:31 Ferrisuk The hidden gems of British comedy

Last year i took a trip across the pond to go to a Dropkick Murphys gig in Boston as well as see a little of the north east coast.
Whilst in Providence RI i got talking to a Canadian who mentioned that he loved a british comedy called 'Saxondale' (A sit-com staring Steve Coogan based on a former 'roadie to the stars' turned pest controller).
This came as a shock to me as this program did not do very well over here and upon telling this story to my friends they remarked they had not even heard of the show.
Although i personally think that the show is far weaker than what i regard to be his best work 'I'm Alan Partridge', i was intrigued by his appetite for British comedy and have often wondered if i had met him again what other shows i would suggest he try.
As i am neither likely nor bothered enough to try to meet him again, here, for you, is that list.

  1. Im Alan Partridge
Steve Coogan plays a failed TV turned radio host (Alan Partridge) who, following the cancellation of his tv show and divorce from his wife, is reduced to living in a travel tavern and working 'the graveyard shift' at a local radio station.
http://www.youtube.com/watch?v=k_IoPAd_Yw0
  1. Peep Show
Peep Show follows the lives of two men (Mark and Jez) from their twenties to thirties who share a flat in South London. Mark is financially secure, but awkward and socially inept, with a pessimistic and cynical attitude. Jeremy, having split up with his girlfriend now lives in Mark's spare room. He usually has a much more optimistic and energetic outlook on the world than Mark, yet his self-proclaimed talent as a musician has yet to be recognized, and he is not as popular or attractive as he would like to think himself, although he is more successful with the opposite sex than Mark.
http://www.youtube.com/watch?v=GCC5lYl6bxg
  1. Phoenix Nights
Starring Pete Kay 'phoenix nights' is based on a group of people who work at a small community club in north England.
http://www.youtube.com/watch?v=8xkRSuAPDdw
  1. Father Ted
Father Ted is based on two vicars living on a small remote island off Ireland (not technically a British show but was shown on British TV).
http://www.youtube.com/watch?v=_L6K6SM5sq0
  1. Big Train
Starring Simon Pegg and following in the tradition of Monty Python, the comedy of Big Train is based on the subversion of ordinary situations by the surreal or macabre.
http://www.youtube.com/watch?v=5JQ8fun0jUA
  1. The Fast Show
A Sketch show that aired in the US as 'Brilliant'.
http://www.youtube.com/watch?v=i6FXb3GKDHs
  1. League of Gentlemen
The League of Gentlemen follows the lives of dozens of a small town's bizarre inhabitants, played mainly by 3 actors in a number of different guises and make-up.
http://www.youtube.com/watch?v=DGntH-aOlWU
  1. Trigger Happy TV
Trigger Happy TV is a hidden camera/practical joke reality television series.
http://www.youtube.com/watch?v=RyeiMYDRbsI
  1. Phonejacker
A telephone based prank show
http://www.youtube.com/watch?v=MmJvujHG5DM
I hope you will find as much humor from any one of these shows as they have brought me.
I would in turn be grateful of any comical hidden gem your country may have produced that didn't get the worldwide recognition you feel it deserved.
submitted by Ferrisuk to comedy [link] [comments]