The NFL accounted for 75 of the top 100, the Olympics accounted for 10 of the top 100, and College Basketball accounted for 2 of the top 100. Live Sports took 94 of the top 100 spots.
This means that College Football was the 3rd most valuable live sports property of 2021, behind the NFL and the Olympics.
The NBA and other live sports properties did not place on the list.
Source: https://twitter.com/kendallbaker/status/1479452074035318785
This is easily one of the best genres of UK TV, such as QI, Big Fat Quiz, etc., and there are so few examples of an American take on this. If American TV did this, would it work?
What comedians would be the American equivalent of Jimmy Carr, David Mitchell, Sarah Millican, Richard Ayoade, Noel Fielding, etc., regularly appearing on these shows?
Is it that American comedy is less well-suited to this kind of format? If so, why?
There are many parallels to the Simu Liu situation.
John Cho said:
https://www.vulture.com/2016/07/john-cho-star-trek-beyond-c-v-r.html
>Particularly Asian men, I feel, we suffer more than Asian women, because we’re told we’re not worth anything in general.
https://www.avclub.com/john-cho-on-representation-and-his-concerns-with-gay-su-1798249505
>I was concerned [about making Sulu gay] that Asians and Asian Americans might see it as a sort of continuing feminization of Asian men. Asian American men, Asian men have been basically eunuchs in American cinema and television, and I thought maybe it would be seen as a continuation of that.
Cho was accused of misogyny, homophobia, and other issues by asian activists. That asian women suffer more or less than asian men should not be taken out of context to imply that asian women do not suffer, that LGBTQ asians do not suffer, but this is the type of rhetoric that our asian activists love spending their energy on dissecting, to find problems with other asians.
It is arguable that Simu Liu has done more to uplift both asian men AND women in 2021 than John Cho. Simu Liu has indeed explicitly rejected "MRAsian" ideology and talked about unity and less infighting, about uplifting both asian women AND men. John Cho was not "cancelled" for his comments (lately, he is joining Oscar Nominee Erick Oh’s Animated Short ‘Namoo’ As Executive Producer), and neither should Simu.
It is ridiculous to think that either of these men have any association to "MRAsian incels". They came to their conclusions from their own experiences, just like the countless other asians who may talk about legitimate issues online.
But perhaps, it's also time for us to consider how pejoratives like "MRAsians" that get reflexively thrown around each time talk about asian masculinity gains a little bit of attention, shut down valid conversations about the topic.
When many people, in this case asian men, in other cases asian women, or some other marginalized identity, come to similar conclusions about an experience or challenge they have, then we need to address that issue instead of reflexively shutting it down by labeling it as the enemy, as "MRAsians", as "r/aznidentity ringleaders", as "enablers of abusive men". We need to give them the benefit of the doubt, th
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Or what if girls walked around with male nipple pasties/bikini tops in public? Is that okay?
Angela, 11, lives in Secondigliano and has a dream: to become a classical dancer. Daughter of a camorrista (Marco palvetti), the girl is forced to live in hiding and can no longer attend dance school. But Angela and her mother Nunzia (a Christian from Anna) do not give up
If you want to see it portrayed in a horror / drama, check this show out. Season 7. It's about a woman who is gang stalked and her fight against them.
I think the most concrete difference between samurai films and westerns is that samurai films will usually situate their characters in some kind of social structure, whereas the wild west is governed by whoever can draw their gun the fastest. It reflects the difference in identity between Japanese collectivism and American individualism (there’s no bushido code for John Wayne). This is, of course, a generalization, and you will find exceptions in both mediums, but I think it’s a good starting point to understand the philosophy of Cowboy Bebop.
Characters not stuck in the past
Cowboy Bebop is existential. It’s a search for meaning, but a meaning that isn’t derived from personal fulfillment, but rather a social structure that they left behind in the past. The main characters are able to cast doubt on things like the syndicate and the police force, but their identities are hopelessly tied to them. They are left to drift aimlessly, mostly observing the world around them, but every once in a while catching a glimpse of their past - a glimpse of their true selves.
The part that I think American writers don’t understand is how someone can live without a concrete and present identity. In many episodes of the original, Spike and the crew are not only outsider’s in someone else’s story, but their actions aren’t even motivated by a sense of self.
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“Why do Jet and Spike go to such extreme lengths to play Faye’s video tape?”
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“Why are Spike and Jet even friends?”
These are questions the LA needs to interrogate and somehow root back to their present identities. But in the original, the answer to these questions lies in the aimlessness and lack of structure in the characters' lives. Spike and Jet will traverse a flooded building for a VHS player because they have nothing else to do; they are friends because there is nothing meaningful keeping them apart.
The most egregious example of this, for me, is the moment when Faye sees herself in the video tape. In Speak Like a Child, Faye spends the first half of the episode compulsively gambling on horses - it seems that her life is just an endless cycle of debt and violence. When she finally sees the video tape, she can’t even recognize who the person on the screen is. Not only does it demonstrate how far she has fallen, but we also understand that there’s no capacity for the naïve warmth of a child in the world of Cowboy Bebop.
In the LA, Faye gets to explore her sexu
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