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The comedy writer must establish the comic world, its characters and their relation to it. While the relentless output of the Hollywood studios still make it the market leader, there are other countries whose films gain a wide audience: there is comedy from Working Title in Britain, Canal Plus in France and from Pedro Almodovar in Spain. Comedy break-out hits have come from Africa (The Gods Must Be Crazy, Uys 1980), Australia (Muriel’s Wedding, Hogan 1994), Japan (Tokyo Gore Police, Nishimura 2008), Korea (Save the Green Planet! Jang 2003) and Hong Kong (Kung Fu Hustle, Chow 2004). Much homegrown comedy contains specific cultural patterns, language, customs and other factors that make it hard to cross international boundaries. At its most parochial, the US will rarely import a subtitled movie, let alone a comedy, but other audiences are equally resistant, meaning a degree of hegemony in comedy product across the world. Current stars such as Cameron Diaz, Sandra Bullock, Reece Witherspoon, Bill Murray, Ben Stiller or Jim Carrey can open a movie in any territory, but only so long as they fit into the rigid parameters of romantic comedy, knockabout caper or high concept. For a movie to gain purchase it needs that elusive concept, that special what if. The conceit may be transient or long lasting, but no one knows the recipe for a classic. There are many examples of movies that did not do well on their first outing: It’s A Wonderful Life took decades to become a Christmas perennial. Withnail and I (1987) disappeared until the 2000s, and now regularly appears in Comedy 21 magazine polls as a favourite comedy. This is Spinal Tap took time to become the greatest, if you will, rockumentary. Conversely, there are breakthrough hits that become culturally significant. The Hangover and Bridesmaids are examples of worldwide box office hits looking to stand the test of time. Harold and Maude is little known and Sullivan’s Travels is a connoisseur’s movie. Four Lions (Morris 2010) is one of the first comedies to address issues of homegrown fundamentalism but it struggled at the box office. Questions of transgression will be dealt with in later chapters but it takes time, sometimes, for a comedy to reach its audience. KEITH GIGLIO On titles Whereas drama and thrillers rely on plot and event, comedy relies on ideas. More than other film genres, the logline needs to sell the movie. Often it is even right there in the title: Dumb and Dumber, Knocked Up, My Big Fat Greek Wedding, Liar, Liar and School of Rock.

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But there are limits obviously we do not condone killing other white men for insufficient reason, all sorts of limits we contract with each other for the convenience and pleasure of life together. reason is one of those limits. Its well understood for humans to live they must cooperate with other humans who and how may vary but treason is well understood crime. his is why i understand why you want to live in our nations but do not understand why rhome is helping you. You’re not actually civilised, Colitis, just a mixed up idiot doing paint-by-numbers, with words you’re unable to perceive the full semantic range of. The only thing you’re interested in is easily tangible forms of power and coercion, which you incessantly repeat the symbolic rhetoric of, in the most tiresome, cliched ways. I guess you want to replay that history, considering your inability to assimilate the more advanced lessons taught by the information gleaned from that history. Some of us don’t need that remedial replay, and have other interests. It’s one in which a harebrained ignorance desperately attempts to project its own limitations onto a screen of the global, in the hope of flattening a three-dimensional reference to a two-dimensional understanding and on to a one-dimensional, private interest. An identifying characteristic of such private mediocrities, is their incessant appeal to the social convention of individualism, without actually being able to produce individual thought or understanding. They attempt to compensate for this lack through simple surface, contrarian extensions, of general, social convention, on which they essentially depend, their powers of invention too weak to penetrate beyond this antithetical plane, merely doubling convention through simple reversal. Such lacks of invention eventually consume themselves in their own banality, exhausted by the labour of their own projections. Never again attempt to civilize animals if you do not need the geography maintain a embargo around them to keep private actors out. f you do need the geography kill them all every last one even a few can cause problems in a hundred years. But looks like china might beat us to it chinese not being cucks liks some whites they will of course not even consider treatinf niogggers like human beings. It really not that hard to kill a few thousand people is it lol. We still here it all every day we get there are outlier minorities we get their are non whites that have traits that could be considered superior to ours. That only a madmen would think about a post multiculti globalist world. And yet here you are trying to argue these madmen out of their delirium, could it be that you see what we see that we are on the cusp of the end, why else do you bother with us. Maybe your ego just can’t stand that someone still thinks you’re a wog and you just can t be at peace until you argue them out of it.

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. In any case, I remember every word of Sansa, Varys and other characters insulting Stannis memory in Season 6. No wonder he said the JB tent scene had them acting out of character. As various people noted, Stannis may have thought these regrets, but being Stannis the Stoic he would not have voiced them, especially to a woman he didn't know, and who was about to take revenge for Renly. Many also gave kudos for Stephen Dillane's acting, saying that all those last emotions came out perfectly in the almost wordless resignation of his portrayal. I agree: you could read so much into that last 'do your duty' remark, and his expression. It didn't need anything about the afterlife or messages to the dead. I certainly never thought that their writing showed only ambition: I thought it clearly showed both his ambition and his sense of 'duty', and the way in which Melisandre's visions and convictions gradually and cleverly played on both those things, eventually corrupting him. I liked the way the show set up the Stannis-Melisandre-Davos contrasts, and the fallout from that in terms of Davos-Melisandre. (There's a reckoning still to come there in S7 or 8). They still don't believe Shireen's death would be in any way Stannis' fault. They don't see imperfection, they see admiration because they conflate themselves with Davos. Davos is a likable character and considered a relatively reliable narrator. Only he's not. Stannis was always destined for a small death. Stannis may have been a good commander, he did hold Storm's End. And he did defeat the Wildlings, but that was sheer numbers and provisions. He lost Blackwater and failed to cut and run when he should have. But Stannis was still a class insecure middle child, outshined by his older brother, the King, and an immensely popular and well-liked younger brother. It's not surprised Stannis is the hero to the Mediocre Guy Club.

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