Hollywoke -- A thread for Tinseltown's Tailspin into Televangelism

[B-Man]

13 hours ago, B-Man said:

 

 

Geez @Deranged Rhino,

 

How quickly can they get a script out, filmed and put on the air ?

 

The horrible left wing Law and Order remake is on right now and it is ALL ABOUT how a terrible right wing radio spokesman murdered a nice liberal man running for congress, but first he put out misinformation that he was a pedophile.

 

It is just what you would expect. All the good looking, diverse intelligent people are the left and all the white unshaven men are the bad conservatives.

 

 

 

 

 

12 hours ago, B-Man said:

OMG !!

 

Now they just had the white hispanic subject hang himself in his cell !!

 

 

It's like they are trying to jerk us around.

 

Surely most of the viewers can see thru this excrement.

 

 

 

 

Okay they really have hit the wall running now............

 

Female D.A. : "You're trying to convict a man for murder for spreading lies on the internet. It's groundbreaking"

 

It's like convicting Trump for the murders committed on January 6th"

 

 

 

I am really starting to dislike leftists.

 

If you can't convince people that your POV is correct without lying, then I don't want to know you.

 

 

 

[Deranged Rhino]

4 hours ago, B-Man said:

 

 

 

 

Okay they really have hit the wall running now............

 

Female D.A. : "You're trying to convict a man for murder for spreading lies on the internet. It's groundbreaking"

 

It's like convicting Trump for the murders committed on January 6th"

 

 

 

I am really starting to dislike leftists.

 

If you can't convince people that your POV is correct without lying, then I don't want to know you.

 

 

 

 

It's gotten exponentially worse over the past 4 years. 

 

I'm currently working in what's now called a "mini-room", which is the new industry slang for a writer's room that only exists to write or develop a show/premise/IP to a certain point before handing it back to the studio/creators. It's a new racket for screwing with writers, imo, likely created by Tony Shaloub's character from Barton Fink (20 second clip): https://clip.cafe/barton-fink-1991/you-need-guidance/  

When the room started, it was the first week of the Russian invasion. And while the guy running the room didn't show up in full military dress like this clip below, his energy at the end of every meeting was the same as the guy playing Louie Meyer - especially the very end of the clip. Everything we discussed came back to, "well, we're at war now." 

 

 

Most of the room is sane, rational, and realizes what our job is. But things got heated between two writers - both progs who were arguing over which of their story points was more important to society. I mean they were arguing full throated over it, as if lives were at stake. We had to break up the room twice to let them cool off. 

 

This is when I point out that the project we're adapting is comic book that no one has heard of, is unlikely to ever get made, and whose main character is a talking marijuana plant who enjoys smoking himself, watching TV, and whose best friend is a roach. The target audience for this thing, which will never see the light of day, is adult stoners and the tone is supposed to be "irreverent satire".  So of course these two came to blows over something so crazy that I would assume it's satire if either of these two dunderheads knew the meaning of the word. The storyline they nearly came to blows over was whether or not the main character and roach are "sexually fluid/poly/bi or just boring and straight". None of it was relevant to the story, there's no romance in the episode plot at all, not even any jokes that involve sexual preference - but they felt it was "important to the character's foundation" and "important for conventions when we're talking about the show on stage so we can show how inclusive we are". 

 

Mind you, this show is never going to go to a convention, will likely never get made, definitely won't get seen by more than a handful of executives - and even if it does, our names aren't on it, and we wouldn't be involved in any of that press. And yet, these two felt strongly enough about trying to force this character point into the show that they threatened to quit if the other wasn't fired (again, they BOTH wanted to add sexual identity stuff into the show, and their beef was that the other person didn't go far enough)  

 

I asked one of them later, after they'd cooled off, why they were fighting so hard for a project that is destined for obscurity. The response? "So I can tell my kid I'm one of the good guys". His kid is 3.

 

I don't know what you say to that. I just nodded and felt really sad for the guy. It's all performative. It matters more to these people that they SHOW they're a good guy than to be an actual good guy. Some fear the public shaming more than they support the causes - which makes them hostages.

 

There are still sane people working in this business, but they're getting drowned out. 

[B-Man]

7 minutes ago, Deranged Rhino said:

 

This is when I point out that the project we're adapting is comic book that no one has heard of, is unlikely to ever get made, and whose main character is a talking marijuana plant who enjoys smoking himself, watching TV, and whose best friend is a roach.

 

 

 

Max Bialystock: Ah. 'Gregor Samsa awoke one morning to discover that he had been transformed into a giant cockroach.'

 

[thinks]

 

Max Bialystock: It's too good.

 

[Crap Throwing Clavin]

43 minutes ago, Deranged Rhino said:

 

It's gotten exponentially worse over the past 4 years. 

 

I'm currently working in what's now called a "mini-room", which is the new industry slang for a writer's room that only exists to write or develop a show/premise/IP to a certain point before handing it back to the studio/creators. It's a new racket for screwing with writers, imo, likely created by Tony Shaloub's character from Barton Fink (20 second clip): https://clip.cafe/barton-fink-1991/you-need-guidance/  

When the room started, it was the first week of the Russian invasion. And while the guy running the room didn't show up in full military dress like this clip below, his energy at the end of every meeting was the same as the guy playing Louie Meyer - especially the very end of the clip. Everything we discussed came back to, "well, we're at war now." 

 

 

Most of the room is sane, rational, and realizes what our job is. But things got heated between two writers - both progs who were arguing over which of their story points was more important to society. I mean they were arguing full throated over it, as if lives were at stake. We had to break up the room twice to let them cool off. 

 

This is when I point out that the project we're adapting is comic book that no one has heard of, is unlikely to ever get made, and whose main character is a talking marijuana plant who enjoys smoking himself, watching TV, and whose best friend is a roach. The target audience for this thing, which will never see the light of day, is adult stoners and the tone is supposed to be "irreverent satire".  So of course these two came to blows over something so crazy that I would assume it's satire if either of these two dunderheads knew the meaning of the word. The storyline they nearly came to blows over was whether or not the main character and roach are "sexually fluid/poly/bi or just boring and straight". None of it was relevant to the story, there's no romance in the episode plot at all, not even any jokes that involve sexual preference - but they felt it was "important to the character's foundation" and "important for conventions when we're talking about the show on stage so we can show how inclusive we are". 

 

Mind you, this show is never going to go to a convention, will likely never get made, definitely won't get seen by more than a handful of executives - and even if it does, our names aren't on it, and we wouldn't be involved in any of that press. And yet, these two felt strongly enough about trying to force this character point into the show that they threatened to quit if the other wasn't fired (again, they BOTH wanted to add sexual identity stuff into the show, and their beef was that the other person didn't go far enough)  

 

I asked one of them later, after they'd cooled off, why they were fighting so hard for a project that is destined for obscurity. The response? "So I can tell my kid I'm one of the good guys". His kid is 3.

 

I don't know what you say to that. I just nodded and felt really sad for the guy. It's all performative. It matters more to these people that they SHOW they're a good guy than to be an actual good guy. Some fear the public shaming more than they support the causes - which makes them hostages.

 

There are still sane people working in this business, but they're getting drowned out. 

 

 

Really...if the networks want the next big hit, they should do reality TV about writer's rooms.  I'd sooner watch a show where two idiots come to blows over the gender identity of a auto-stoning pot plant than I would a show about the plant itself.

[Crap Throwing Clavin]

37 minutes ago, B-Man said:

 

 

Max Bialystock: Ah. 'Gregor Samsa awoke one morning to discover that he had been transformed into a giant cockroach.'

 

[thinks]

 

Max Bialystock: It's too good.

 

 

DR's industry is meta-kafkaesque.  

[Crap Throwing Clavin]

47 minutes ago, Deranged Rhino said:

 

I asked one of them later, after they'd cooled off, why they were fighting so hard for a project that is destined for obscurity. The response? "So I can tell my kid I'm one of the good guys". His kid is 3.

 

I don't know what you say to that.

 

"If you were really one of the good guys, your kid would already be on gender transformation hormones."

 

Because &#%$ these idiots.  &#%$ them hard.

[Koko]

47 minutes ago, Deranged Rhino said:

This is when I point out that the project we're adapting is comic book that no one has heard of, is unlikely to ever get made, and whose main character is a talking marijuana plant who enjoys smoking himself, watching TV, and whose best friend is a roach.

 

At least you're (presumably) getting paid...

 

48 minutes ago, Deranged Rhino said:

The storyline they nearly came to blows over was whether or not the main character and roach are "sexually fluid/poly/bi or just boring and straight". None of it was relevant to the story, there's no romance in the episode plot at all, not even any jokes that involve sexual preference - but they felt it was "important to the character's foundation" and "important for conventions when we're talking about the show on stage so we can show how inclusive we are". 

 

If these two weren't &#%$ing morons, they'd write running jokes into the scripts leaving it ambiguous.

[Crap Throwing Clavin]

49 minutes ago, Deranged Rhino said:

"important for conventions when we're talking about the show on stage so we can show how inclusive we are". 

 

 

"I go to Comic Con International for the gender identity discussions!"

 

What &#%$ing conventions are these @$$h@l&s attending?  Convention nerds don't care.  NOBODY &#%$ING CARES!   

[Deranged Rhino]

12 minutes ago, Koko said:

 

At least you're (presumably) getting paid...

 

 

If these two weren't &#%$ing morons, they'd write running jokes into the scripts leaving it ambiguous.

 

9 minutes ago, Crap Throwing Monkey said:

 

"I go to Comic Con International for the gender identity discussions!"

 

What &#%$ing conventions are these @$$h@l&s attending?  Convention nerds don't care.  NOBODY &#%$ING CARES!   

EXACTLY! 😂😂
 

That was the best part of the whole thing, if they had any notion of satire or comedy, that whole two day slog could have been a gold mine for running jokes throughout the show. 

[Crap Throwing Clavin]

27 minutes ago, Deranged Rhino said:

 

EXACTLY! 😂😂
 

That was the best part of the whole thing, if they had any notion of satire or comedy, that whole two day slog could have been a gold mine for running jokes throughout the show. 

 

Seriously...a reality show where you have a camera in a writer's room.  Can even call it The Writer's Room.  Some good editing to get hour-long episodes.  Live-action with real discussions and narration over it, Deadliest Catch style.  I'll write th narration.  And maybe we can sell it to Discover Networks and get Mike Rowe to narrate.

 

How epic would that be?

 

Writer: "So I can tell my kid I'm one of the good guys!"

Mike Rowe: If he were really one of the good guys, his kid would already be in a gender transformation program.

 

Edit: or even better, do it MST3K style.  With me, an auto-stoning pot plant, and a sasquatch.  Tell me that wouldn't be a Youtube smash hit.

Edited April 8, 2022 by Crap Throwing Monkey

[Deranged Rhino]

3 hours ago, Crap Throwing Monkey said:

 

Seriously...a reality show where you have a camera in a writer's room.  Can even call it The Writer's Room.  Some good editing to get hour-long episodes.  Live-action with real discussions and narration over it, Deadliest Catch style.  I'll write th narration.  And maybe we can sell it to Discover Networks and get Mike Rowe to narrate.

 

How epic would that be?

 

Writer: "So I can tell my kid I'm one of the good guys!"

Mike Rowe: If he were really one of the good guys, his kid would already be in a gender transformation program.

 

Edit: or even better, do it MST3K style.  With me, an auto-stoning pot plant, and a sasquatch.  Tell me that wouldn't be a Youtube smash hit.

You’re not lying, it would make a great show. Too bad my old boss isn’t running a show right now or he’d be perfect. An ex Air Force/ex cop who came to Hollywood late and has made enough money for his &#%$-you-money to have &#%$-you-money. Best boss to work for, but man he would eviscerate people who didn’t understand the assignment in the most hilarious of ways.  
 

This is a story better told in person, but I’ll try: One of the best moments was in this particular show’s first season. My boss had been brought in to run the show because the creator was a new/young writer with no experience. He “created” the show, but had no idea how anything worked in terms of production, budgets, or writers rooms. Enter my boss - who should have outranked him in any other scenario, but here they were technically both the boss which everyone knows always works out well.  
 

It took about a week for this guy to annoy every other writer in the room to the point of near insanity. He wasn’t just annoying, he was certain he was god’s gift to story. He would constantly pitch impossible or nonsensical ideas, cut off people mid-sentence to pitch the exact same thing they had been trying to say, and he was smug about every bit of it. 
 

And he was the boss. Sort of. 
 

A month and a half into the writing process, my boss gets notified by the network that the creator had lifted the entire concept of the show from a book without telling anyone, and now the network was being sued. They had already started production, so they weren’t going to stop the show even with the lawsuit. Of course, the network told my boss not to tell any of the other writers. Neither my boss, nor the network, could fire the creator until litigation was resolved - so we were stuck with him for the full season - and the network didn’t want any friction among the staff.  
 

So my boss goes right into the room, being all chummy with the creator - leading the guy right into a trap. He starts asking him how he came up with the idea, and then nitpicking inconsistencies while referencing the book he KNEW the guy plagiarized... He started out good cop, and once he tripped the guy up on his own words, he turned on the bad cop vibes and got the dude to confess in front of the whole staff what he had done.
 

Technically it didn’t violate the network orders since he admitted it to us himself, and my boss would later tell me there was no way he was going to let that guy sit in that room without everyone knowing he was not only a dick, but a thief too. 
 

The creator was still an EP and still our (the writing staff’s) boss for months after. He was smart enough to know if he quit he’d lose his residual money (which is still paying him ungodly amounts of money today), so he just spent most days in the room stewing in silence while everyone else worked. 

Until one day.
 

The room has been trying to break a particular episode for almost a full week - which is 2 days longer than most breaks, and they were on a very tight schedule. Everyone was getting tired, they needed to get a script out in a matter of hours the story still wasn’t working. So everyone is trying to crack it, pitching ideas, and after weeks of not talking, this guy suddenly SLAMS his hand down on the table and goes, “I got it. Helicopter chase.” 
 

No one knows what the &#%$ that means, there had been no helicopters at all in the story so far. But he goes on to pitch an entire 2 acts worth of a high speed helicopter chase through some canyons. And when I say pitch, I mean PITCH. He was circling the table, drawing pictures on the white board, I mean really going for it. My boss just lets him go, doesn’t say a word or interrupt. His face a mask, unreadable. The creator finishes, looks to my boss for approval, and my boss stands up and leaves without a word. The rest of the room is very confused while the guy thinks he’s nailed it. He’s doing a victory lap while the boss is gone, thinking he finally won the room and my boss over. It takes no time at all to turn to gloating.
 

Then my boss returns with the Line Producer in tow - something that never had happened before or since... Two things to keep in mind here: 1) the writers room is sacred, meaning non writers aren’t usually allowed in. Certainly not the line producer, as they stymie creativity with their focus on budgets and “realism” - so the line producer walking in w my boss was a huge WTF moment for the whole room. I mean, people literally said what the &#%$. 2) the line producer is the #2 guy in charge on the whole show, line producers are in charge of the entire budget and this one had a deserved reputation as the nicest guy in the world. I mean still one of the nicest people I’ve ever met, never heard him say a bad word about anyone. 
 

My boss and the line producer sit down at the table and my boss asks the creator to pitch his fix again. From the beginning. 
 

And boy did he! He got even more into it, really pitching his heart out, convinced that his two act helicopter chase was going to win awards, that’s how good it was. The longer he goes on, the more the Line Producers face goes agog - but the creator doesn’t seem to notice. He’s too busy imagining his Emmy speech. When he gets to the end, he looks at my boss and the line producer and goes, “you’re welcome for saving the episode”. 
 

To which the Line Producer stands up and unloads a string of expletives that would have made Lenny Bruce blush. I didn’t even know this man knew such vulgarity, let alone heard him scream it at another human being. The show had a healthy budget - somewhere in the mid to high six figures an episode. But the two act helicopter chase would have cost at least seven figures by itself. The line producer - again, the nicest man alive - storms out screaming at my boss and the creator for wasting his time, turning crimson in the process. He even did a move I’ve never seen done outside of a movie - the double door slam! He tried to slam it as he was leaving, but it wasn’t a clean close, so he came back and made sure to slam it! 
 

The room is just silent. The dude is still standing in the front, looking gutted.
 

After what felt like an eternity of awkwardness, my boss just looks at him and goes, “And what’s the lesson?” 
 

The guy blinks, no idea how to answer. 
 

My boss: “The lesson is that when you speak, we get dumber. So shut up and let the real writers figure this out.”

 

Guy never spoke in the room for the rest of the season, and then wasn’t back for season 2 and beyond.  
 

😂

 

[Crap Throwing Clavin]

20 minutes ago, Deranged Rhino said:

You’re not lying, it would make a great show. Too bad my old boss isn’t running a show right now or he’d be perfect. An ex Air Force/ex cop who came to Hollywood late and has made enough money for his &#%$-you-money to have &#%$-you-money. Best boss to work for, but man he would eviscerate people who didn’t understand the assignment in the most hilarious of ways.  
 

This is a story better told in person, but I’ll try: One of the best moments was in this particular show’s first season. My boss had been brought in to run the show because the creator was a new/young writer with no experience. He “created” the show, but had no idea how anything worked in terms of production, budgets, or writers rooms. Enter my boss - who should have outranked him in any other scenario, but here they were technically both the boss which everyone knows always works out well.  
 

It took about a week for this guy to annoy every other writer in the room to the point of near insanity. He wasn’t just annoying, he was certain he was god’s gift to story. He would constantly pitch impossible or nonsensical ideas, cut off people mid-sentence to pitch the exact same thing they had been trying to say, and he was smug about every bit of it. 
 

And he was the boss. Sort of. 
 

A month and a half into the writing process, my boss gets notified by the network that the creator had lifted the entire concept of the show from a book without telling anyone, and now the network was being sued. They had already started production, so they weren’t going to stop the show even with the lawsuit. Of course, the network told my boss not to tell any of the other writers. Neither my boss, nor the network, could fire the creator until litigation was resolved - so we were stuck with him for the full season - and the network didn’t want any friction among the staff.  
 

So my boss goes right into the room, being all chummy with the creator - leading the guy right into a trap. He starts asking him how he came up with the idea, and then nitpicking inconsistencies while referencing the book he KNEW the guy plagiarized... He started out good cop, and once he tripped the guy up on his own words, he turned on the bad cop vibes and got the dude to confess in front of the whole staff what he had done.
 

Technically it didn’t violate the network orders since he admitted it to us himself, and my boss would later tell me there was no way he was going to let that guy sit in that room without everyone knowing he was not only a dick, but a thief too. 
 

The creator was still an EP and still our (the writing staff’s) boss for months after. He was smart enough to know if he quit he’d lose his residual money (which is still paying him ungodly amounts of money today), so he just spent most days in the room stewing in silence while everyone else worked. 

Until one day.
 

The room has been trying to break a particular episode for almost a full week - which is 2 days longer than most breaks, and they were on a very tight schedule. Everyone was getting tired, they needed to get a script out in a matter of hours the story still wasn’t working. So everyone is trying to crack it, pitching ideas, and after weeks of not talking, this guy suddenly SLAMS his hand down on the table and goes, “I got it. Helicopter chase.” 
 

No one knows what the &#%$ that means, there had been no helicopters at all in the story so far. But he goes on to pitch an entire 2 acts worth of a high speed helicopter chase through some canyons. And when I say pitch, I mean PITCH. He was circling the table, drawing pictures on the white board, I mean really going for it. My boss just lets him go, doesn’t say a word or interrupt. His face a mask, unreadable. The creator finishes, looks to my boss for approval, and my boss stands up and leaves without a word. The rest of the room is very confused while the guy thinks he’s nailed it. He’s doing a victory lap while the boss is gone, thinking he finally won the room and my boss over. It takes no time at all to turn to gloating.
 

Then my boss returns with the Line Producer in tow - something that never had happened before or since... Two things to keep in mind here: 1) the writers room is sacred, meaning non writers aren’t usually allowed in. Certainly not the line producer, as they stymie creativity with their focus on budgets and “realism” - so the line producer walking in w my boss was a huge WTF moment for the whole room. I mean, people literally said what the &#%$. 2) the line producer is the #2 guy in charge on the whole show, line producers are in charge of the entire budget and this one had a deserved reputation as the nicest guy in the world. I mean still one of the nicest people I’ve ever met, never heard him say a bad word about anyone. 
 

My boss and the line producer sit down at the table and my boss asks the creator to pitch his fix again. From the beginning. 
 

And boy did he! He got even more into it, really pitching his heart out, convinced that his two act helicopter chase was going to win awards, that’s how good it was. The longer he goes on, the more the Line Producers face goes agog - but the creator doesn’t seem to notice. He’s too busy imagining his Emmy speech. When he gets to the end, he looks at my boss and the line producer and goes, “you’re welcome for saving the episode”. 
 

To which the Line Producer stands up and unloads a string of expletives that would have made Lenny Bruce blush. I didn’t even know this man knew such vulgarity, let alone heard him scream it at another human being. The show had a healthy budget - somewhere in the mid to high six figures an episode. But the two act helicopter chase would have cost at least seven figures by itself. The line producer - again, the nicest man alive - storms out screaming at my boss and the creator for wasting his time, turning crimson in the process. He even did a move I’ve never seen done outside of a movie - the double door slam! He tried to slam it as he was leaving, but it wasn’t a clean close, so he came back and made sure to slam it! 
 

The room is just silent. The dude is still standing in the front, looking gutted.
 

After what felt like an eternity of awkwardness, my boss just looks at him and goes, “And what’s the lesson?” 
 

The guy blinks, no idea how to answer. 
 

My boss: “The lesson is that when you speak, we get dumber. So shut up and let the real writers figure this out.”

 

Guy never spoke in the room for the rest of the season, and then wasn’t back for season 2 and beyond.  
 

😂

 

 

He is my spirit guide.  I know just enough about traditional TV production to know how shocking bringing the line producer in is, and how hilariously clueless that guy had to be to miss the significance.  And "I got it.  Helicopter chase!" is my new response to idiotic ideas from my team.  

 

And that's definitely ex-military.  Probably ex-enlisted.  Though salty for Air Force..."When you speak, we get dumber" sounds more like Parris Island than Lackland AFB.  

 

God, I wish I could use that line in my job.  Best I did today was describing one of my subs as a "pack of rabid wolves."

[4merper4mer]

6 hours ago, Deranged Rhino said:

 

It's gotten exponentially worse over the past 4 years. 

 

I'm currently working in what's now called a "mini-room", which is the new industry slang for a writer's room that only exists to write or develop a show/premise/IP to a certain point before handing it back to the studio/creators. It's a new racket for screwing with writers, imo, likely created by Tony Shaloub's character from Barton Fink (20 second clip): https://clip.cafe/barton-fink-1991/you-need-guidance/  

When the room started, it was the first week of the Russian invasion. And while the guy running the room didn't show up in full military dress like this clip below, his energy at the end of every meeting was the same as the guy playing Louie Meyer - especially the very end of the clip. Everything we discussed came back to, "well, we're at war now." 

 

 

Most of the room is sane, rational, and realizes what our job is. But things got heated between two writers - both progs who were arguing over which of their story points was more important to society. I mean they were arguing full throated over it, as if lives were at stake. We had to break up the room twice to let them cool off. 

 

This is when I point out that the project we're adapting is comic book that no one has heard of, is unlikely to ever get made, and whose main character is a talking marijuana plant who enjoys smoking himself, watching TV, and whose best friend is a roach. The target audience for this thing, which will never see the light of day, is adult stoners and the tone is supposed to be "irreverent satire".  So of course these two came to blows over something so crazy that I would assume it's satire if either of these two dunderheads knew the meaning of the word. The storyline they nearly came to blows over was whether or not the main character and roach are "sexually fluid/poly/bi or just boring and straight". None of it was relevant to the story, there's no romance in the episode plot at all, not even any jokes that involve sexual preference - but they felt it was "important to the character's foundation" and "important for conventions when we're talking about the show on stage so we can show how inclusive we are". 

 

Mind you, this show is never going to go to a convention, will likely never get made, definitely won't get seen by more than a handful of executives - and even if it does, our names aren't on it, and we wouldn't be involved in any of that press. And yet, these two felt strongly enough about trying to force this character point into the show that they threatened to quit if the other wasn't fired (again, they BOTH wanted to add sexual identity stuff into the show, and their beef was that the other person didn't go far enough)  

 

I asked one of them later, after they'd cooled off, why they were fighting so hard for a project that is destined for obscurity. The response? "So I can tell my kid I'm one of the good guys". His kid is 3.

 

I don't know what you say to that. I just nodded and felt really sad for the guy. It's all performative. It matters more to these people that they SHOW they're a good guy than to be an actual good guy. Some fear the public shaming more than they support the causes - which makes them hostages.

 

There are still sane people working in this business, but they're getting drowned out. 

If one of these guys turns a talking hamster into a character that is in any way confused about a single aspect of his own or anyone else’s sexuality, their carotid arteries will be nibbled open by tiny teeth while they sleep and no one will ever know how it happened.  He will not rest until this becomes reality.  
 

Sammy knows who he is and how he goes about his own business.  If it weren’t for Carl he would have no weaknesses.  His gender is superiority.  His sexual preference is mocking everyone else’s sexual preference and their lack of skill in implementation.  His most satisfying sexual experience was the four hours he spent convincing Gene Simmons not only that he was an amateur but that he was also technically a virgin because he had been doing it wrong for his whole life.  Hearing him tell that story and how poor Gene was crying and confused never gets old until Sammy starts explaining his own personal physical satisfaction.  That part is gross.

[devnull]

You know who didn't care about gender fluidity?

 

 

 

 

 

 

Hitler

[Koko]

7 hours ago, devnull said:

You know who didn't care about gender fluidity?

 

 

 

 

 

 

Hitler

 

You mean the same guy who ruled Germany for ~12 years and never once imposed COVID-19 protocols?

[devnull]

3 hours ago, Koko said:

 

You mean the same guy who ruled Germany for ~12 years and never once imposed COVID-19 protocols?

 

You mean like lockdowns, forced medical procedures, or censorship of opposing opinions?

[Koko]

20 minutes ago, devnull said:

 

You mean like lockdowns, forced medical procedures, or censorship of opposing opinions?

 

Masks.

[devnull]

1 minute ago, Koko said:

 

Masks.

arm bands

[Koko]

4 minutes ago, devnull said:

arm bands

 

Well, duh. The Germans had to know who the unvaxxed were.

[Crap Throwing Clavin]

1 hour ago, Koko said:

 

Well, duh. The Germans had to know who the unvaxxed were.

 

Casting the Jews as spreaders of disease is a common theme in Nazi propaganda of the '30s.