Jack Shares Graps
banner
jacksharesgraps.bsky.social
Jack Shares Graps
@jacksharesgraps.bsky.social
290 followers 220 following 620 posts
One day, life will settle down and I can get back to uploading archive wrestling to YouTube. He/Him
Posts Media Videos Starter Packs
Whenever speculation of a Labour leadership contest increases, Wes Streeting starts paying a bit more lip service to progressivism than usual. Of course, he has no intention of following this up with any material action if he does become leader. He will always be a right wing licksplittle cunt.
Striking to hear a senior Government minister in Wes Streeting clearly condemning Sarah Pochin's racism and the wider spread of racism across the UK, while defending the contribution of migrants to our country. Feels like a long time since we've heard a government minister speak like that
Night 25 was Michael Haneke's postmodern home invasion satire that probes our desire to seek out horror and screen violence and challenges its limits. A smug, nihilistic and difficult watch, Funny Games (1997).
Night 24 and a magnificently crafted French thriller adapted from a Pierre Boileau and Thomas Narcejac novel, filled with gripping Hitchcockian style suspense, plot twists and a finale that takes a turn decisively towards horror, Les Diaboliques (1955).
Night 23 and Guillermo del Toro makes his excellent directorial debut with an original reworking of vampire mythology. Far removed from the usual gothic glamour, this gives us horrific transformation and the folly of the desire to totally control life, Cronos (1992).
Worth noting that most asylum are also legal migrants as entering the country via irregular means in order to claim asylum is legally permitted under the terms of the Refugee Convention.
You don't have to be Jeremy Corbyn to recognise that Keir Starmer is a morally corrupt serial liar. You just have to have read and listened to the things he has said.
Night 22 was Brian Yuzna's directorial masterpiece. A striking blend of class based social satire, conspiracy thriller and grotesque body horror. Suspicions of murder and bizarre ritualistic orgies among wealthy Beverley Hills elites lead to one of the most extreme climaxes in film, Society (1989).
YouGov poll yesterday put the Greens on 15% nationally with an estimated 31 seats. This is part of pattern of steadily rising figures.
bsky.app/profile/elec...
Seat Projection from this Poll:

RFM: 294
LAB: 118
LDM: 88
SNP: 47
CON: 36
GRN: 31
Others: 10
PLC: 7

[Just as FindOutNow are an outlier in one direction, YouGov are in another. Outliers aren't necessarily wrong, but it's worth noting that they are].
Night 21 and the first colour version of one of horror's classic staples is a pretty run of the mill Hammer production with Peter Cushing and Christopher Lee. Entertaining enough but nothing special and with unfortunately predictable doses of brownface and Orientalism, The Mummy (1959).
Night 20 was arguably the greatest horror sequel ever made. James Whale's direction brings camp joy and a heightened gothic atmosphere, with Boris Karloff bringing fear and pathos to his monster in equal measure such a star turn that he is billed by surname only, Bride of Frankenstein (1935).
Night 19 was Hammer Film Productions' successful first foray into horror. A remake of Nigel Kneale's highly influential and largely lost BBC science fiction alien mutation horror serial from two years prior, The Quatermass Xperiment (1955).
Reposted by Jack Shares Graps
Decades and decades of "you can't call these people racist, they just have legitimate concerns," and now here we are, at the place we always said this would lead: senior journalists and MPs on the TV every day blaring out their honking racism without even the gossamer veil of liberal respectability.
Sunday Times interview Tory "rising star" Katie Lam

She is clear she wants lots of legal migrants to be told to "go home" so as "to leave a mostly but not entirely culturally coherent group of people"

(The interviewer suggests she is scrapping ILR or stripping people of it)
For night 18 Kaneto Shindō incorporated some of the greatest sound design in cinema history with haunting imagery to create one of the creepiest horror films ever made while also presenting a nuanced critique of society with themes of desire, sin and religion within its reeds, Onibaba (1964).
For night 17 a slow-burn chamber horror in which a socially isolated young woman is recruited into a group of ghost hunters staying in a large and remote haunted house. With themes of psychological torment, anxiety, suspense and lesbian attraction, The Haunting (1963).