Gene Wilder (1933-2016)








the private journal of aaron burr

Me after the weekend.

like honestly what kind of #relatable feelings FROM 1812

He bought a coconut in case any of you were wondering

Even more relatable

I looked up how much this would be in today’s money and Burr spent over $40 on a coconut



“After reading the script, Gene Wilder said he would make the film under one condition: that he would be allowed to somersault in the scene when he first meets the children. When asked why, Gene Wilder replied that having Willy Wonka start out limping and end up somersaulting would set the tone for that character. He wanted to portray him as someone whose actions were completely unpredictable. His request to somersault was granted.” 

Willy Wonka & the Chocolate Factory (1971) dir. Mel Stuart


Before the show was picked up by AMC for domestic and Fox for international, its creator Frank Darabont presented the first version of the script to NBC, with whom he had an overall deal. According to Hurd, their response was, “Do there have to be zombies [in it].” NBC then asked Darabont if the show could be a procedural in which the two main protagonists would “solve a zombie crime of the week,” she said.

NBC wanted The Walking Dead, but without the zombies.

In case you were wondering why there’s almost nothing new and interesting on the broadcast networks, and why so much of it is derivative crime procedurals.

(via wilwheaton)

This fall, Detective Jack Witt needs to get his life together, but only his job as an LAPD homicide detective makes any sense to him since his wife disappeared. Now Walker has a new partner: the rotting shambles of his old rival, Detective Richard Walker, who is back from the dead and out to bring down the zombie crime ring that had him whacked. Together, they investigate the murders of the dead and chase down fugitives on the lam from Death itself. One cop on the brink of death, the other on the brink of life, bringing justice to the City of Angels. Fridays at 10/9c on NBC.

(via wordstudio)

Or, they could just reboot “Dead Heat.” 

Wait, don’t give them any ideas.


Shows like these, Tannahill writes, constitute a “Theatre of Failure”—work in which “artistic risk and its attendant failures dismantle the status quo of artistic and political thought.” It is “Beckett’s Theatre of the Absurd for the Western internet generation, raised on the fragmented narratives of YouTube and Vine loops.” It is “not only a refusal of the ideal of the well-made, but nothing less than a renunciation of perfection as a tyranny imposed not only upon theatre, but upon society at large by capitalist hegemony.” Ideas like these are what make us feel that Tannahill’s book needs a wide audience. Right now.