References to actors will refer to the specific casting I saw on stage at the Theatre Royal in Hobart, Tasmania.
In terms of plot, Trophy Boys is a play about four Australian private school boys who are prepping for a debate. Thematically, it’s about patriarchy; all four characters are played by female or nonbinary actors, and they play up the drag aspect as much as possible (my favourite part: at least three of them have weedy teenage boy moustaches, although the constant air-humping and air-jacking-off was also very funny). They discover the debate topic is “Feminism Has Failed Women”, with them being assigned the affirmative side (and the rival girls school they’re debating taking the negative). Each, in different ways, loudly proclaims his feminism and affection for women in ways that are immediately, obviously, and amusingly hypocritical.
And then, when they decide to indulge in some mild cheating, they discover one of them has been accused of sexual assault by a member of the girls team.
The extraordinary thing about Trophy Boys is how it manages to make both a plot and a single coherent and complex argument. At first, the jokes have that shallowness that comes with topicality; some of the same jokes I’ve been hearing (and even making) since about 2009. The sexual assault plot forces the story to become more specific; not only do the characters have the goal of protecting their egos and reputations, they also have the very specific and material goal of winning the debate. One very funny and wince-inducing moment is when a character points out it’s not impossible that the girls released this statement purely to psyche the boys out and win the debate by default.
One of the interesting things about the play is how the boys end up representing Patriarchy, individual types of boys, and specific characters all at once. Owen (Myfanwy Hocking) is a nerd virgin who aspires to politics, and has memorized not only statistics and jargon, but the exact order of words of things he needs to say to sound feminist. Scott (Tahlia Jamieson) is a sports-mad (and sports-incompetent) man’s boy with a rich lawyer father who has the crudest sense of humour (he’s the one air-jerking-off the most, at least from my memory). Jared (Fran Sweeney-Nash) is the class clown. David (Kidaan Zielleke) strikes me as the one masking most, doing what every other boy is doing to fit in.
Most contemporary comedy plays I’ve seen in the last five or six years tend to feel like The Breakfast Club with a splash of genre on it; a group of people who slowly open up to each other in therapy-as-storytelling. This feels closer to Reservoir Dogs, as the four boys start off in a shaky harmony and masculine posturing, only for a plot to set them all against each other; you’re not literally expecting them to turn guns on each other, but they do end up in a kind of Mexican standoff as pretense falls away and the stakes rise higher and higher.
I’m going to cover the specifics of the production I saw, then jump into analysing the main meat of the play. I’ll put that under a spoiler section on the offchance someone wants to see the play fresh. The production gleefully embraces the drag aspect; literally, in that the early silent brainstorming is represented through an abstract dance sequence, but also generally in that the characters strut and preen and look towards the audience as they speak (though only one character ever breaks the fourth wall directly). Like many gimmicky elements of great stories, this slows down considerably as the story gets more serious, with the sole exception of a moment at the climax where the actors drop their characters to convey famous moments of women not being believed.
SPOILERS
While the mystery is never revealed, each boy eventually uncovers a specific incident in their past that may explain the accusation. A canny (as well as handsome and comedically brilliant) viewer may correctly guess that Owen is going to have the worst incident, given that he’s presented as the most clean-cut and sincere feminist of the group, but none of them come out clean. There are two very clever parts of the climax here: the first is the specific characterisation of Owen.
As I said, he’s played as the virgin nerd who cares deeply about Getting It Right. He’s spent the whole play correcting both others and himself when misspeaking, and when David tells the story of seeing Owen at a party with a falling-down-drunk girl, taking her upstairs to a bedroom for half an hour, Owen’s first response is to ask for a moment to think about he wants to respond. In a play filled with masculine posturing, this is a moment of chilling self-control. This doesn’t necessarily make someone guilty, but it’s definitely something that’ll make you listen carefully to what they say next.
When he does choose to speak, Owen spills out an Alan Shore-like monologue in which he outlines not just the known facts and not even a convincing speculation about how the various possibilities of what would happen if the other boys were to throw him under the bus, but a convincing narrative about how it would turn out and a more helpful one to hold themselves to. This is one of those extraordinary moments in fiction where a single action inspires so many conflicting emotions in me. On one level, I’m in awe of the ownage; Owen’s intelligence in weaving together language he’s picked up into a coherent and logical whole (which is really being impressed by playwright Emmanuel Mattana’s intelligence).
On another, being horrified at what this says about Owen; the monstrous self-preservation he’s engaging in and the way he’s reducing human beings – real people with real feelings – into building blocks he’s playing with. On a third level, seeing this through the boys’s eyes – all of them do realize, in some way, how monstrous and weak this makes them and what they’ll be complicit in. This is a Pyrric victory, in which they’ll save their own asses but lose the false images they held of themselves at the start.
And finally: the intellectual level. Before the sexual assault comes in, the boys are bouncing around ideas for the debate, and one idea is tackling how patriarchy hurts men, which Owen dismisses on the basis that it can be easily attacked and destroyed. This final turn, as they all come together to work out how to get away with this, suggests something even more horrifying: patriarchy is held up by men because it’s mutually assured destruction.
About the writer
Tristan J. Nankervis
Tristan J Nankervis (aka Drunk Napoleon) has been a writer, pop culture critic, dishwasher, standup comedian, waiter, potato cake factory worker, gamer, TV worker, and various other things. You can find him in Hobart, Tasmania.
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Department of
Conversation
What did we watch?
Happy Endings, Season One, Episode Five, “The Quicksand Girlfriend”
You can really see where Zachary Knighton wants to take Dave; you may recall that I initially said hot actors tend to love playing clowns, and he goes in on this more than anyone.
“I mean, she’s totally lame but really hot, right?”
“I do not understand people who need to express themselves through touching.”
“Are you trying to get sold into white slavery?”
“This is Zane! He’s introducing himself to all the neighbours.”
“Legally, I have to.”
“You know what sounds more fun? Being in wet clothes and watching Schindler’s List.”
“Raise your hand if you got laid last night!”
[everyone raises their hands]
“… Really?”
“She wore her fedora in bed.”
What is with Americans and being guilty about entirely consensual and adequately understood one-night-stands?
You can see Knighton really pushing to clown up his character when he describes his day with Ahndrea with such agonising pain.
“I see how you got from quicksand to chicksand. You’re an idiot.”
“Judging people comes so easy to me.”
I generally don’t expect much from the plots, at least yet, but Max having a stereotypical gay friend to unleash on his friends is great. It also brings out Max’s exasperation, which is a great new angle – Cliffy remarked that he felt Adam Pally never dials it back, but this feels dialled back. Jane helping Alex get a roommate is also good because it brings out her desperate control freak attitude, which Eliza Coupe does unsettlingly well.
“He’s the gay of my dreams!”
“First of all, stop calling it the game.”
“Perfect. Text her, change it to Wednesday, the least sexy day of the week.”
“Submitted it to the dictionary.”
“Heard back?”
“Almost.”
“Almost heard back?”
“Are you sure you’re gay?”
“Are you sure you’re not gay?”
“I’m very happy for you, Kathy Griffin.”
“Who’s Kathy Griffin?”
“Okay, so you’re not gay.”
“You are a clumsy bitch.”
At the moment, Alex is also a bit of a Generic Sitcom Chick Lead, where she’s mainly exasperatedly telling her friends to be nice, so I’m looking forward to seeing what they do with her.
I’ve been hit by a bike before. Didn’t even fall over.
“Oh my god! That’s why she wanted to eat popsicles after our cream cheese fight the other night!”
“My disgustingly fat manicurist is like, literally trying to kill me!”
“You don’t need a gay husband. Because you’re my gay husband.”
“Put this thing back in the fridge, take your bra off, and let’s make a salad.”
Hacks, Season Five
Caught up on this. I think it’s a bit weaker but not because it’s a victory lap – that’s only a minor aspect of the season – it’s that a few too many of the premises are a bit too conventional for this show, like the AI episode. But it’s not a killer; it’s still far funnier than most other shows, and it still has a great central hook of Ava and Deb getting ready to step up their game for their most ambitious career stuff yet.
Jimmy had better get a really happy ending where he’s never annoyed again, though.
As you will see, Eliza Cuthbert soon becomes the hot one willing to totally clown it up once they really lean into Alex being the dumbest of dumb blondes.
Pally dialing it back? Musta missed this one. (I mean, I probably literally missed this one — I started watching this in the second season I tho I and only sporadically caught earlier eps in reruns.)
I think most of Jane’s mode in the show is extreme control freak.
The Naked Gun – a solid update with some killer gags. I’m not sure the overall effect has quite the same charm as the Leslie Nielsen version but I only really found myself with doubts a couple of times, and a lot of it is probably just nostalgia. Neeson and Anderson are great, I guess maybe the supporting cast felt just a little bland, maybe? Although Paul Walter Hauser does get to be part of one of my favourite jokes:
“I guess you really can’t fight City Hall”
“I know, it’s a building.”
The moment where Frank kicks out the windshield of his self-driving car only to drive into a replacement windshield, also impeccable. And, since I missed this at the cinema and ended up waiting for a physical release, I got the fun of watching the outtakes too – one of the jokes there made me laugh as much as anything in the film (“Can I be Frank?” “sure, and I’ll be Beth! It’ll be our little secret!”)
Live Music – a rare miss, this was an event put on by a local record label and it was just all a bit too safe and a little smug. They conveyed the vibe that they were the only people putting on REALLY SPECIAL events like this, even though they’re happening constantly, I just never see those guys in attendance. The music was a mix of folky and electronic stuff that topped out at pleasant.
I Think You Should Leave, S2 E3 – the most consistently funny episode of the season so far, I loved the awkward dinner with an old professor and Santa: action star.
The dinner with the professor is one I really like too, and it hits at something I tend to find where Robinson is usually so much funnier to me as the comic foil rather than the most insane man in the room (which is probably partly why I like The Chair Company so much, where he’s weirdly competent for a Robinson character). Crazy Robinson is usually better for me when he’s talking directly to the camera, like Coffin Flop.
Yeah I did think after this episode that it works really well when he lets a guest star be the crazy one – I guess a lot of the time Crazy Robinson is doing a variation on the same character but it feels like each time there’s a Crazy Outsider they really put their own spin on it.
“They conveyed the vibe that they were the only people putting on REALLY SPECIAL events like this, even though they’re happening constantly, I just never see those guys in attendance” — live music, OWWWWWWWWWWWWWWWNED
Interesting about the Naked Gun supporting cast, I love Pounder but wish she had a bit more to do. But the snowman killed it in his scenes.
Haha the snowman was definitely the breakout star. I guess I just felt like there were a few members of the ensemble who didn’t really get a chance to shine but maybe that’s the downside to keeping things to such a tight 80 minutes or whatever it is.
Little Man Tate – A seven year old super-genius copes with anxiety, ulcers, a lack of friends, a working class single mom who loves him but has no idea how to nurture his gifts, and a child psychologist who thinks she knows best how to nurture his gifts but doesn’t understand kids. Jodie Foster’s directorial debut shows promise but doesn’t do a lot to lift a somewhat episodic script that loses its way a few times. (There is a happy ending that I don’t think is earned.) Foster also plays the mom a bit too broadly, leaning hard into a stereotype lower class accent. Dianne Wiest is just okay as the psychologist. What carries the film is child actor Adam Hann-Byrd, who plays the brilliant but sensitive Fred Tate incredibly well. It’s that sensitivity to the world and to feeling alone that resonates since I think a lot of us were (and are) like that, with or without genius intellects. Worth noting that Hann-Byrd went on to be the kid who grew up to be Robin Williams in the original Jumanji, and is now a successful video game writer.
Frasier, “Roz’s New Position” – It’s bad enough Bulldog made jokes like that about Roz at her farewell dinner. Does the title have to do that too? Anyway, Roz is on the cusp of leaving KACL and changes her mind because she’s happy there. But when she discovers Frasier is dating Julia, and tells him he really should not be, they get into a fight and as the tenth season ends, she is gone. Meanwhile, Niles and Daphne are ready to have kids, and have to find a way to get Daphne’s mom to move out. Some good moments here, but this feels like it’s setting the stage for the next season. Which was not announced as the last season till later, but I have to wonder if everyone was already planning for it. Overall, the tenth season was good if only occasionally great, and weakened by the addtion of Felicity Huffman’s unlikable Julia and the presence of Daphne’s unfunny mother.
Elementary, “Step Nine” – The title refers to one of the steps in the Twelve-Step Program: make amends to people you wronged. The person Sherlock wronged was the show’s version of Inspector Lestrade, a decent Scotland Yard detective who Sherlock let lean on his way too much. And so when Holmes and Watson are called to London to find Lestrade, missing since making a scene at a funeral attended by a man Lestrade is sure is a murderer, it’s our man’s chance. The second season premiere heads across the pond and makes good use of London (though the best shot scene of the episode is shot in NYC’s Washington Square Park). There is a great scene where Holmes gets in touch with someone in the British surveillance community by holding up two cardboard signs in a plaza. Sean Pertwee is lots of fun as Lestrade. And while in London, we also get to meet Mycroft Holmes, here not the secret hand behind the Empire but a successful restaurateur played by Rhys Ifans, and on bad terms with his brother. The scenes between the brothers are also fun. Lestrade will be back two more times, Mycroft six.
I love Foster but rarely get the sense that she can play a truly day to day working class person. (Clarice is “white trash” yet the whole idea is she’s been trying to bury that part of her past.)
One of David Fincher’s filmmaking philosophies is that actors shouldn’t get too far out of their wheelhouse, and one of his most interesting observations is that Foster is incapable of playing someone dumb.
The mom isn’t dumb exactly. But the movie does kind of equate lower class and dumb. (Thinking what sort of movie this would have been if the mom were intelligent but never got a good education. Would she bend over backward to give the kid what she didn’t have, or resent teachers and do gooders for abandoning her?)
This is something Toni Collette is rightfully praised for in The Sixth Sense — she plays someone who can recognize her son has certain abilities that are beyond her but never condescends to the character’s limitations.
DTF St. Louis – This definitely has HBO Prestige Syndrome, including presenting scenes in non-chronological order mostly without enough reason beyond “this looks cool”, being ten minutes too long, and wordless montages. That being said, I am intrigued enough by the characterization to keep watching, and I enjoyed how pathetic Bateman and Harbour are willing to go here, with Bateman’s put-together smarm and Harbour’s heart-on-sleeve need to be liked on full display. (Cardinelli has the least to do in the first episode and her character comes off less sympathetic as a result, for better or worse.) My mom and stepdad confirmed that the Midwestern affect here is pretty accurate, especially the passive-aggressive, awkward behavior.
Also showed them The Chair Company pilot. My stepdad, who revived an antique style of chairs years ago, was mildly disappointed this was not really about making furniture but they both laughed a lot and I think enjoyed the Tim Robinson character type, who they hadn’t really seen before. On rewatch Ron’s behavior comes off even more insane and yet totally understandable. I am almost this petty and obsessive myself!
Hacks, “QuickScribbl” and “Montecito”
I agree with Tristan that bits of this season feel more conventional than what the show has done to this point, and I’ve felt that more with these last two episodes. Still, there’s a lot of winning specificity here, both in terms of character work–Deb’s exact point of turn-off with the AI pitch rings true, for example–and the absurdity of the exact beats–the hit-and-run confession, for example, or Ava’s exuberant fake dating claims about Deb constantly wanting to eat her ass. Though my absolute favorite joke from both episodes was Jimmy wearily conceding that he was wearing the choker because it completed the look.
DTF St. Louis, “Cornhole,” “Snag It,” and “The Go Getter”
As recommended by Bridgett! Really vibing with this so far, and I’m going to make a weird comparison: like Weapons, this is using the structure of a mystery (especially drawing from the better variety of true crime journalism) as a way in to a story that’s ultimately in a different genre, and so far, I think this is doing it more effectively and movingly, because the unearthing, multivalent POV style is also tied to what it genuinely does want to talk about. Lots of fantastic bits here–the reveal of how long Carol sat in the Jamba Juice is both funny and tragic–and I like how knotty and textured and real the emotional connections are. Floyd and Clark are the highlight there, really, but there’s also a lot of lovely weirdness and vulnerability to Clark and Carol’s “dream meetings,” where the sexual fantasies are individual and revealing.
Actually, yeah, I’ll give the show that Deb would be indifferent about the environmental costs, the losses to jobs, and the general sleaziness of the concept of LLMs, but would be immediately insulted and disgusted by the idea that she would use it.
Also, this is only loosely related, but out of curiosity I just looked it up and Bateman is almost as old now as Jeffrey Tambor was in Arrested Development.
Putting this up there with your point about JD being as old at the start of the Scrubs revival as John C. McGinley was at the end of the original run for facts that have messed with my brain.
Will watch more as I want to see what Cardinelli brings to the character. (Highlight of “Cornhole” was Carol’s sheer exasperation when Floyd comes in weeping that “Batman lived.”)
She gets a lot more to do in the next few episodes!
Having also watched the two Hacks episodes since Friday, “Montecito” is the funniest episode of television I’ve seen in weeks.
Come Drink With Me – Early and influential wuxia from the Shaw Bros and King Hu. It has so many groundbreaking tropes which solidified the wuxia genre – the first female action hero, the drunken master, and the nimble and balletic fights – leading directly to the kung fu craze of the 70s, Kill Bill, Crouching Tiger, Hero and The House Of Flying Daggers. Cheng Pei-Pei has instant charisma as Golden Sparrow, a feminist icon if there ever was one. A part of Yueh Hua as Drunken Cat is in every drunken hero that follows. Cat’s act of mercy near the end instead of seeking revenge seems to have been lost as the genre went on. King Hu’s direction is better than a lot of later films. The direction and editing flows in a simple and straight forward plot that makes sense. So many of these films seem to stumble from one fight set piece to the next. Intelligent and well-crafted while still having the requisite arterial sprays.
Live music — hit up the annual Porchfest for a bit and saw some good tunes, multiple Black Sabbath covers from neighboring bands was a nice bonus. One of the many Zoomer bands (Snappy Pappy, solid indie-ish rock) dedicated a song to the Millennials in the crowd, it was “Baby One More Time,” damn whippersnappers. Tried to find a band I’d heard good things about and went down the wrong street, but stumbled across Yurrn and their excellent cover of Morphine’s “Good,” and they’re a band I will now keep an eye out for. Hooray live local music!
Homicide — as noted, into the third season, in which the network unceremoniously fired Jon Polito and brought in Isabella Hoffman, an attractive woman. Hoffman is fine so far but her character is 1. a woman who has been promoted and is trying to deal with difficult responsibilities and 2. a woman who is fucking one of the other detectives in the squad, this is not exactly deep shit. And the three-parter to open the season resolves its serial killer plot with multiple personality disorder, all of this is generally executed at the show’s high level (although guest director Keith Gordon goes apeshit with zooms and whip pans, very distracting) but it feels very much like network bullshit, notes on making this show more like others. But the following episode addresses Polito’s absence by killing his character off via suicide, which is a death the brass wants to keep quiet and not honor the way it normally would a dead cop. It’s not hard to read this as commentary on Polito’s exit* and it is the show righting itself, with Ned Beatty in particular doing great work as the lead investigator. Beatty clumsily fucks up an interview with Polito’s daughter but he resists pressure to categorize this as something it is not, especially when that pressure is well meaning (Clark Johnson, Polito’s partner, is great in this regard). This was the last thing Polito did, Beatty said, we should not lie about it and deny him this statement. Hoping things move on in this vein.
Caught Stealing — this has a snazzy poster and was marketed/reviewed as something lighter from Darren Aronofsky and initially appears to be a crazy caper flick, Austin Butler’s former ballplayer/current bartender gets caught up in his neighbor’s criminal shit in late 90s NYC. But things take a turn about a third of the way in and this gets a lot grimmer than I expected. Butler does great work as a guy who has been spiritually running from something for a while and now is running from lots of people in the real world, and has to solve both of these issues, and the cast is absolutely stacked, Regina King and Zoe Kravitz and Liev Schriver and Vincent D’Onofrio. Bad Bunny and Action Bronson! All of these people have real faces and Matthew Libertique shoots this like an actual fucking movie, it looks really good. But it all comes back to Charlie Huston’s script, written from their novel, and this also feels like a real fucking movie in its plotting and characterization. A very solid surprise.
*and apparently Tom Fontana was trying to bring him back but Polito went rogue and shit talked everyone, leading to really bad feelings for a long time
Hell yeah Live Local Music! Porchfest sounds like a good time.
I really enjoyed Caught Stealing (inevitably – it’s a great cat movie) and it’s a shame it seems to have been half-forgotten almost instantly. Darren Aronofsky’s career is in a pretty weird place right now.
Oh yeah, absolutely top tier cat! I think it is weird to consider it as an Aronofsky movie, it covers physical pain/transcendence turf that is very much in his zone but you don’t think of that aspect because of how straightforward the mystery/crime plotting is (complimentary). If you didn’t tell me he made it I don’t think I would’ve guessed his involvement. But yeah, I don’t know why this didn’t have more legs in general.
The Polito bit I love from an earlier season is when they get down to D.C. and he is so excited to see Mrs Surratt’s boarding house, while Lewis is entirely disinterested. I have had the exact same interaction at that exact same address (still home to a Chinese restaurant, albeit now a different one) with my daughter in the Clark Johnson role.
With Ed Lauter as the Fed! Polito’s Lincoln stuff was always fun and it’s funny to think how the writers presumably felt it could go on indefinitely, lot of Lincolnalia out there.
The Devil Wears Prada — This is one of those movies where we are supposed to be horrified by a woman refusing to take shit she doesn’t deserve. (I mean Miranda.) It’s a good flick, but ultimately I’m always wondering what Andy’s problem is. That the woman who pays her to pick up coffee expects her to be on time with the coffee?
The Grifters — Just in time for Mother’s Day!
Frears leans in to the dingy sadness of Los Angeles, the perfect setting for this mean little story. Huston is very good playing Lily as just a little less cool than she wants to be (before an unsparing and breathtaking performance at the climax), but even better is Benning, playing so different than every repressed WASP she portrays in all her other movies. Just havig the time of her life at every moment. (I’d forgotten quite a lot of the movie since I saw it in theaters more than 30 years ago., but I’ve always remembered her cracking herself up “at “broiled hothouse tomato under a generous slice of ripe cheese!”)
Cusack is the weak link here, although he does get a few nice reaction shots. As he moved into adult roles I always thought he was a better reactor than an actor.
Honorable mention goes to Pat Hingle as the mob boss who empathizes with Lily and lets her off the hook — a little.
Hahahaha amazing Mother’s Day pick. Cusack’s relative weakness winds up serving the character very well, although it also helps that the more charismatic guys — Hingle and JT Walsh — are given minimal time to counter him (but make huge impacts). And yeah, Benning is a hoot here, and it contrasts very well with Huston as a person who can’t remember her last hoot, who has been in survival mode for a long time and finds out that mode can get even harder and more ruthless.
What did we play?
Mixtape – hadn’t done much gaming for a while and was feeling under the weather so I decided to treat myself to this new musical coming-of-age game that some friends were getting hyped about. And I loved it! It’s your classic cinematic “vibes over actual gameplay” kinda thing, with three kids spending their last day together before the protagonist heads out to the city to follow her (incredibly unrealistic) dreams. I’m fine with a game that just lets me guide the story along for the most part as long as the writing is good and the actual game stuff it does throw at you doesn’t feel completely arbitrary. This passes with flying colours – the gamey bits are fun (especially skimming stones at a scenic lake) and I loved the characters. The music is fantastic too, the song choices are a little far fetched for a 90s teen perhaps but I’d rather that than completely obvious choices. There are some obvious references here, any number of 80s / 90s teen movies mashed into a little High Fidelity and Guardians of the Galaxy’s soundtrack-as-mixtape, but there are some fun wrinkles in the plot and the video game stuff gets into fun magical-realist territory that really worked for me.
Oh man I just read a brutal review of this game yesterday (which I think focused a lot on the phony nostalgia and that the protagonist is pretty shitty).
The protagonist is extremely flawed, she’s a 90s teenager and it would feel strange if she wasn’t!
My stepdad made a carved wooden puzzle where you put together the word THINK out of shapes. Not shockingly to anyone who knows me, I was very bad at it. I also, heh, have read that being autistic, my brain doesn’t really find any great rewards in solving puzzles and riddles.
I’ve always been very bad at riddles and puzzles – mostly solving them at this point through sheer intuition that comes from reading so many solutions and working backwards because I was so infuriated as a kid by not understanding it – and I think a lot of it comes down to being able to think inside the box so well.
Yeah, I don’t really think that logically so I get stumped by the rules I am dealing in.
Into the Breach
It’s been almost two years since I last played this, so my once-polished skills are rusty enough that there’s a learning curve again. This is a tactical game where you command three mechs on a grid, trying to keep invading, bug-like aliens, the Vek, from destroying any of the area’s major resources or civilian-filled buildings; each of your mechs has specific skills and its own field of movement, which can be somewhat upgraded as you go along; you also have particular bonus goals to accomplish for each section. This is one of my favorite games–I love the turn-based tactical stuff–so it’s been nice to spend some time with it again.
This sounds fantastic, and I’m annoyed to see that I can’t find it anywhere near me. I can’t even order the script! My inability to see this play is one of the injustices to women that I’m sure the play itself would represent in a smart, acerbic, funny, dramatic way.
Year of the Month update!
This May, we’ll be opening the doors for your writing on any movies, albums, books, etc. from 2014!
TBD: Cori Domschot: Earth to Echo
TBD: Cori Domschot: Jack Ryan
May. 17th: Tristan Nankervis: Whiplash
May 23rd: Ben Hohenstatt: Plowing Into the Field of Love
May 31st: Tristan Nankervis: The Imitation Game
And in. June, you can write up any of these movies, albums, books, etc. from 1958.
Jun. 5th: Gillian Nelson: Paul Bunyan
Jun. 12th: Gillian Nelson: Grand Canyon
Jun. 14th: Tristan Nankervis: Vertigo
Jun. 19th: Gillian Nelson: Elfego Banca
Jun. 26th: Gillian Nelson: Disneyland Gay Days
Jun. 28th: Tristan Nankervis: Touch of Evil