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2021.12.04 01:34 Semigoodperson201242 Assassin's Creed: Wild West
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2021.12.04 01:34 cynical_bibliophile [Help] How to correctly request SMS permissions for publishing?
I am building an investment tracking app, and have recently added a feature to update balance via SMS. The use of SMS_RECEIVE permissions does qualify for SMS based money management apps.
But, when I publish the app, I keep getting rejected with the following email:
Missing user prompt for permissions access Your app must prompt the user for permission access via a runtime permission. Based on our review, your app doesn’t appear to properly prompt the user to approve related permissions. Please add the appropriate prompt. For additional guidance, please review the documentation on how to request app permissions.
The app does prompt the user for permission access via a runtime permission. It only requests the permission from the user when they interact with the specific feature. I have also added a video of the feature usage with the prompt in the permissions declaration form.
What could I be missing here? Has anyone been able to get through this recently? Any help would be appreciated here!
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2021.12.04 01:34 Puzzleheaded_Disk218 [PS4]H:JE1P gat plasma W:legacy offers (no poons,dragons or radiums)
2021.12.04 01:34 usagi_megi I am lost in studying DS
Hello, I am from Myanmar. I am a CS student and have a little experience in Php, Js, C++, C#, and J2EE. But I want to self-study Data Science with Python because my university doesn't have a lecture about data and python.
The problem is I am a bit lost about where should I start DS. PythonstatisticsDS or StatistcsPythonDS
I don't know where should I start and how should I start. Please can you guys guide and advise me?
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2021.12.04 01:34 Garant26 One year after having entered the hobby, felt confident enough to tackle this monster, and did not regret it. What an awesome model to paint!
2021.12.04 01:34 sonofwar1711 vietnamese gangstar mv starterpack
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2021.12.04 01:34 Cajun_Scalawag First case of omicron variant of coronavirus detected in Louisiana
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2021.12.04 01:34 gotkitkat What's the best way to kill off the bad thoughts when u feel like ur life is irreversibly falling apart and those thoughts/sounds are angry, loud and scary? Do u blame yourself and how do u release anger without hurting anyone, assuming u have nobody to talk to? Is my prefrontal cortex causing this?
2021.12.04 01:34 Successsensei Finally. No more spotlight quests.
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2021.12.04 01:34 Mellevalaconcha Not what you think...
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2021.12.04 01:34 zanzza Aram snowball is bugged AF.Also guardian horn dmg display.
You know what it says under snowball description? Grants TRUE SIGHT.After preaseason patch I had multiple occasions of hitting shaco/talon/akali and not seeing them.Did I miss something in patch notes? Also guardian horn shows 0 dmg reduced all game.
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2021.12.04 01:34 GTSBot [GTS] [no spoilers] how can you watch the show if you hate characters depending on morality? non of the characters was so fucking good and does no wrong not even Ned Stark
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2021.12.04 01:34 Tr1pc3ll So I just came across this article...
The article is from hotcars.com and it made a list of the 10 rarest dodge muscle cars due to their limited production rates. #2 on that list is the 2020 Challenger 50th Anniversary Edition? Something about there only being 70 of each color in each trim being made starting with the GT AWD and going up. Is there any truth to this, or is it just click bait? Here's the article:
Because if there is any truth to it... I saw a 2020 50th anniversary R / T Scat Pack Widebody for sale with less than 10k miles on it not to long ago...
I can't buy it. But if someone is interested, I can point them in the right direction.
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2021.12.04 01:34 jenn1notjenny Never thought I’d be a cat person, but here I am. Here’s a cute photo dump of my kitten I’ve had for a week now 🥺
2021.12.04 01:34 No_Name_584 Loose Kingpin But Tight Trucks?
Hi everyone! I’m a newbie, just got all my gear so I was adjusting my skates. I’m trying to adjust my trucks, for some reason the front kingpin on one skate can be made super loose but the truck barely moves. All the other kingpins/trucks are fine, just loosen them a bit & the trucks have some give. Does anyone have an idea of what the issue could be?
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2021.12.04 01:34 Elmasduro Obama Phone
Phone is 9/10 useless for me, don’t know how to get anything to work. Me @ Walmart won’t sign me in, any other app just gets stuck loading after I attempt to sign in, no point in the phone in all honesty 😡 anyone know maybe how to get it to not load endlessly?
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2021.12.04 01:34 Deaxxx Stuck at CR 302
I haven't played in a couple months, jumping back into the game on my CR 302 character. Doesn't sound like an issue right? Wrong. Solo content, group content, and everything in between requires 316+ and the content that i can actually queue for is 316 and i get killed instantly
Any suggestions on what i should do to raise my Combat Rating?
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2021.12.04 01:34 xandergsen_ What is D?
Okay, I just want to say that the title of chapter 1 in manga is "Romance Dawn." Also, they were using the word "DAWN" to Luffy a lot since Pedro killed himself.
PS Not a manga reader so yeah
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2021.12.04 01:34 Vegeta9001 U.S. Marshals offer rewards of up to $10,000 as manhunt for parents of suspected Michigan school shooter intensifies.
2021.12.04 01:34 ZoolShop Another 75 Omicron cases have been confirmed in England
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2021.12.04 01:34 Mysterious-Wonder315 27 y/o & pregnant after a first date - looking for support and advice
Well the title says most of it, I met a guy through a mutual friend around a month ago. We’ve really hit it off, and have been seeing each other ever since. We hooked up the first night, and while we started out using a condom, we were both very drunk so I’m guessing at some point it came off. I’m not on the pill because I had not been hooking up in the years since my last relationship.
Well today at my gynecologist appointment to get back on birth control I found out I’m pregnant. I’m in shock. I have not told him yet. I do like him a lot & he has his life together, but I barely know him. I can’t believe I let this happen.
I am incredibly pro choice. I had an abortion when I was 18 by a man who I later had to to get a restraining order on due to domestic abuse. I never told him about the pregnancy because I was scared. I have never regretted this abortion a day in my life. I do not feel like women need to ‘justify’ an abortion in any way, and that is just my story for context.
This time around is much different. I have my life much more together & am much older, but I still don’t know what I want to do or what he will say when I tell him. He just left on a two week work trip so I am waiting until he return to say something. I need to sort out my own feelings.
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2021.12.04 01:33 clip_mirror_bot mang0 on the front page
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2021.12.04 01:33 Slim_Thicc_Jesus Does anyone have any memory of a certain NSFW image hidden in the background of the wiki a long time ago?
So I might sound crazy here and there's a good chance that I am but does anyone remember using the original Runescape wiki years and years ago and sometimes being redirected to a page with an image of a woman sticking a sharpie in her butt or something similar? This was back before EOC and there was no OS and RS3. It was just Runescape at the time.
I have a vivid memory of clicking on pages on the wiki and sometimes being randomly directed to (or rather, having the page load incorrectly) a page with what looked like an image of a woman laying on her side with a sharpie sticking out of her ass/vagina. I clearly remember this happening multiple times and recall trying to save the image just because I thought how strange it was that this was occurring. I can't find a single thing online about it and haven't been able to make it happen to this day.
By this point in time, if this was in fact real and not a figment of my imagination, it would most likely be fixed due to the current RS3 wiki having a much different layout than it used to. Does anyone at all have any recollection of this happening at any point in time before RS3 and OSRS split? If not then just ignore me. It could very well be a false memory but I remember it happening extremely clearly and happening more than once.
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2021.12.04 01:33 MooCowLMFAO Damn right we are
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2021.12.04 01:33 MEaganEagan A Very Long Essay on Humor in Films
This is an essay I had to write a month back for my College Composition class. As a fair warning the google doc is just over 15 pages so it's definitely a lengthy read. I feel like after the Heathers section, the essay kind of looses steam, but thoughts and feedback are appreciated!
The Values Of Humor In Teen Movies
George Carlin. Sarah Silverman. Dave Chappelle. Patton Oswalt. Bo Burnham. Big names in the entertainment industry who all have something in common. You may conclude that ‘Of course they do, they’re comedians. They make people laugh.’ While you would not be wrong in that assumption, there is more to the picture. From the backward ridiculousness of current politics and the expression of geek culture to the monotony of celebrity idolization and the commercialization of the arts, the jokes these individuals tell accomplish a very specific goal: to send a message.
These celebrities can all be categorized as comedians, whose acts center around comedy. Comedians tend to embody humor through their comedy with the intent to make their audience laugh. While it may be assumed that humor and comedy are the same, that is not exactly the case. The art of comedy is defined as planned or scripted entertainment to make an audience laugh. Meanwhile, the aspect of humor is defined as the mental act of discovering and/or expressing the absurdities of our world; the key to making things funny. While comedy and humor follow similar structures and tones, they serve entirely different functions. As Jean Wilund aptly puts in her Almost An Author article “The Difference Between Comedy and Humor:”
“Comedy writers write for the sole purpose of getting a laugh—for the reader’s sheer entertainment. Laughter is their objective. Writers who use humor will include funny anecdotes, stories, or phrases, but their true goal is to deliver a message. Laughter is merely one of their tools . . . For the comedy writer, laughter is the point. For the writer who uses humor, laughter reinforces the point.” (par. 13-18)
This explanation, in effect, clearly lays out the differences and utility between comedy and humor. Comedy as a tool has the sole purpose of entertainment and sparking laughter. While comedy certainly embodies humor, humor as a tool makes smart use of laughter to make an audience more inviting or comprehending of the topic at hand. What makes comedians so exceptional is how their humor transcends the art of comedy, bringing deeper meaning to their performance through subtlety and cerebrality.
The art that these comedians produce makes itself worthwhile through the messages that are shared, but what is the point of unearthing this distinction between humor and comedy? As stated by Dave Hood in his blog article “Humor Writing Versus Comedy Writing,” “Humour writing and comedy writing are [an] important part of popular culture. Most magazines and newspapers include humour columns, articles, and essays. There are bestselling books that use humour and comedy to entice readers to buy the book. There are popular TV sitcoms and comedy films” (par. 7). Humor and comedy have infiltrated our cultural sphere, with seemingly every entertainment medium having a comic subgenre.
As Hood hints at, the filmscape has, too, fallen into the rabbit hole of comedy. Even films you would not expect to be considered comedies can be categorized as such. As a result of such a saturation of the comic genre, we see select filmmakers taking on the same role as our aforementioned comedians. They want to send a message while using humor to emphasize that message.
Tucker And Dale vs. Evil (2010) used an absurd series of coincidences and misunderstandings to comment on pre-established biases and how making assumptions can be dangerous in our society. Taika Waititi’s 2019 masterpiece Jojo Rabbit used the perspective of a young German boy in the 1940s with his imaginary friend Adolf Hitler. Along with slapstick and the aggressive stance of the Nazi party, the film spoke to the effect of war on children and how a child’s environment can affect their worldview.
One particular genre which uses both comedy and humor extensively is that of the teen movie. More teen movies than not are classified as comedies, and in most cases, the writers and directors behind them use the humor within them to make a statement. If we were to look back at movies from the past four decades, the subject, content, and source of the jokes within them can serve as an indicator of the values and grievances of the time.
[Absurdism in ‘Heathers’]
The 1980s as a decade was defined by over-the-top absurdity. In 1985, Marty McFly would step back in time right into the middle of a love triangle with his parents. In 1983, The Griswolds would set out on an endless journey to Wally World. 1988 would go as far as seeing Roger Rabbit accompanied by Bob Hoskins being pursued by Christopher Lloyd.
In the middle of this age of absurdist comedy, comes 1988’s Heathers. This cult black comedy sees our protagonist, Veronica Sawyer, naively murdering her group of close friends and those who have wronged her. The film wears its ridiculousness on its sleeve, with the first shot of Veronica being buried up to her neck in her backyard. The lack of a reaction and the trio of Heathers casually using her head as a croquet stake immediately set the tone of the movie, suggesting to the audience that all of the death they are going to see is purely satire.
What is interesting about comedies from the 1980s is the source of the jokes that they tell. While the movies themselves are absurd, this utter lack of sense doesn’t come from the characters. Rather, the jokes spawn from the crazy situations these characters are placed in. An average American family or a skater dude who’s always late for class are not always the most entertaining. What makes them humorous is the road trip hijinks and time-traveling DeLorean.
Examining the characters in Heathers shows that they aren’t exactly the most interesting. All of the students seen in the school fall into very defined cliques. You have the emo kids who wear all black. Then there are the jocks who exclusively wear varsity jackets. You have the ‘geeks’ who don’t know how to talk to girls. And then we follow the popular girls who feel the need to be prim and perfect. These characters we see on the screen do not escape from or subvert these tropes, the jocks forever bully the outcasts and the Heathers seldom escape their inner insecurities.
Even our main characters don’t have the most extravagant personalities. When Veronica, assisted by her partner Jason “J.D.” Dean, accidentally spurs the poisoning of Heather Chandler, her reaction seems fairly mute compared to what you may expect. The most reaction from the revelation that she just murdered her closest ally and biggest obstacle comes in a brief exchange with J.D.:
J.D.: Something tells me you picked up the wrong cup.
VERONICA: No shit, sherlock. I can't believe it. I just killed my best friend.
J.D.: And your worst enemy.
VERONICA: Same difference. Oh Jesus, I'm gonna…
J.D.: What are we going to tell the cops? "Fuck it if she can't take a joke, Sarge."
VERONICA: Stop kidding around. I'm going to have to send my S.A.T. scores to San Quentin instead of Stanford.
Aside from Winona Ryder’s minor hyperventilations, the characters of Veronica and J.D. do not give off the reaction you would expect from two individuals who just murdered their classmate. Rather than the prospect of a dead girl on the floor, our central couple immediately hyperfocus on the rather minute consequences of their crime, as evidenced by Veronica’s comment about SAT scores. The idea of these rather unremarkable characters in a ridiculous situation is further conveyed through their dialogue and drive to act through the writing of a staged suicide note. Rather than frantically trying to cover up their misdeed, the two lovers casually debate the logistics of Heather’s writing style, in particular, whether or not she would use the word ‘myriad.’
The characters within the film showing little reaction to teenagers being murdered both sparks humor from the sheer ridiculousness of that premise while also masking the deeper commentary as something acceptable to laugh at and engage with. Heathers is a film that likely could not be made today. This absurdist nature of films from this era allowed the jokes within them to be a little more “risque” than you would expect. This is likely due to the point in time in which the film was made. There is one point in the film in which J.D. is being harassed by two jocks in the school cafeteria. Out of seemingly nowhere, he pulls out a .357 magnum rifle and fires two blank rounds at his antagonizers. Heathers would release a full 11 years before the infamous Columbine High School Massacre would shock America. With the amount of fear such a tragedy would spur, you would never in a million years expect to see a film mocking and satirizing gun violence within schools. But at the time, school shootings were not as much of a hot-button topic as they are today.
The two jocks, named Kurt and Ram, wind up a further topic of interest through the framing of their murder. In the film, J.D. once more tricks Veronica into offing her classmates with what she believes to be non-lethal rounds. In what she believes to be an epic prank, she tricks the horned-up boys into stripping before being shot. It is at this point that J.D. reveals his true plan for this prank. Similar to Heather Chandler, he plans to stage a suicide, except there has to be a reason. The reason that J.D. and the screenwriters settle on reveals itself as a forbidden romance between two gay men. What makes this joke a joke is the fact that these characters are not actually gay. Rather, the prospect of these characters being gay lovers is what is meant to be funny. Again, Heathers was released at a different time, and in 1988, the LGBT community was not looked at in the most positive light. The AIDS epidemic cast an unflattering light over the gay community, getting to the point where people were assaulted on the street for displaying their homosexuality. Being gay was seen as a taboo, which translated into this joke surrounding Kurt and Ram. Even the funeral, during which Kurt’s father expresses his love for his gay son, is played for laughs. Despite on the surface, these lines seeming accepting and progressive, the visual of the two jocks’ caskets side by side and the father’s delivery are clearly played for laughs, as again, this was taboo.
As we will see in further films, the portrayals and roles of gay characters in the medium will quickly evolve to a more progressive standard. As for Heathers, however, these jokes help indicate the values of its time. Through the film, we can infer that the ’80s was a rather extravagant time in which youths felt unheard and unable to express themselves. The style of comedy reveals the bounds of what was deemed the macabre, and when compared to movies from other times, Heathers certainly stands out.
[Playing Off an Unlikable Protagonist in ‘Clueless’]
Inversely, comedies in the 1990s tended to flip the script (heh). Rather than coming from the environment and events surrounding the characters, the characters themselves are the oddities. The humor, in this case, comes from these oddities being placed in a seemingly normal world. A grown Adam Sandler taking on grade school, the gruesome Addams family, and Adam Sandler as a pro golfer wind up being the unfamiliar within their films. It’s a miracle they cast Paul Rudd as Clueless’ Cher’s older brother instead of Adam Sandler.
These borderline insane characters could indicate grievances with others and the general populace. Evidence of this is the main character Cher in Clueless. Cher is the pure embodiment of a rich entitled daddy’s girl. Her characterization is shallow, centering purely on her physical appearance and how she is perceived by the people around her. It seems like any time she expresses frustration with a particular issue, her grievances quickly devolve into dissatisfaction with her material belongings. Cher throughout the film is shown to have an entire store’s worth of clothes which she picks from through an expensive conveyor belt system, is seen driving recklessly in her expensive car, and manipulates her teachers and her father to make her situation better. And believe it or not, this is the character that writedirector Amy Heckerling expects us to root for.
The film finds its secondary protagonist in Tai Frasier, a new student at Cher’s high school who moved from New Jersey. The idea that Tai is from an unfamiliar place shapes her whole character. She is a counter-culture-skater-type person who comes off crass and improper when compared to the uptight Cher. Tai’s unassuming uniqueness makes her stick out from every other character, and when we follow two absurd leads, the film’s comedy certainly shapes its identity.
Because the characters in Clueless are the oddities rather than the environment, the way that jokes are told changes. Similar to Heathers, Clueless comments on real-world issues such as peer pressure and teen suicide, but in a noticeably different tone. When a classmate attempts to jump out a window in response to a bad grade, this event does not shape the story or the environment. A quick “There will be NO suicide attempts” from the teacher is all the acknowledgment given. When Cher nonchalantly annihilates a mailbox with her expensive car, a quaint “oops'' is all to be added.
In the process of making these characters as ridiculous as they are, some of the more nuanced topics that get joked about are not exactly given the most care or respect. The aforementioned references to suicide don’t exactly spread a message; they more so play into the entitlement of these teenagers. Talks of sex and relationships are not portrayed in the most ‘healthy’ way, with Cher claiming to “technically” be a virgin, and most of the romantic relationships seen throughout the movie are orchestrated for the benefit of another character.
It almost seems that Clueless, through its humor, hyper-focuses on satirizing the stereotype of the spoiled rich girl. Through this tight focus on commenting on one topic, the film misses the opportunity to make a statement about real issues that haunt the high school populace. Issues such as being expected to fit into a certain role, or not being able to be oneself could very easily have been touched upon, but that was not the overall goal of the film. Rather, the film highlights the growth of our flawed protagonist, Cher Horowitz.
Cher’s arc neatly fits into the three-act structure of the film, and, of course, is riddled with humor and satire. In act 1, Cher is established as the innocent entitled rich girl stereotype she embodies. She has a seemingly endless walk-in closet with a fancy electronic outfit organizer. She drives a nice expensive car without a license, taking out shrubbery and mailboxes all the while. And to top it all off, she manipulates the formation of a romantic relationship between two of her teachers for her academic gain. When Cher is introduced to Tai, she immediately takes in the poor girl under her wing, correcting the ‘gross’ New Jersey influence.
In act 2, we see Cher’s noble burden start to blow up in her face as Tai begins to steal attention from her. Tai slowly evolves into the new head honcho of the popular girls, with her ‘near-death experience’ accidentally granting her celebrity status and her infatuation with Cher’s former step-brother Josh especially striking a cord. Accompanied by Tai’s rise to stardom is the beginning of Cher’s streak of spectacular failures. She bombs her driving exam and has a falling out with Tai over her frustrations.
Act 3, however, sees a great change in Cher’s perspective. Since throughout the entire movie to this point Cher has been portrayed as an unrealistic spoiled brat, this change in character shift becomes even more impactful. After reflecting on how she has acted and why she got upset with Tai, Cher finally comes to a conclusion that leads to her becoming a better person: She wants a romantic relationship with her former step-brother! Wait, what? . . . Yeah, that perhaps misses the mark by about a country mile, but hey, whatever floats your boat. Not even getting into the endless debate such a premise can spark, such an absurd finale to a ridiculous character’s arc is certain to stick with a viewer. And thus, Clueless cements its use of humor as a method of emphasizing the impact of a character’s journey. Regardless of some baffling creative decisions, Clueless succeeded in its goal of highlighting character progression. I would now like to move on to Mean Girls so I don’t have to think about the Josh/Cher pairing anymore
[Hyperbolic Satire in ‘Mean Girls’]
2004’s Mean Girls almost serves as a parody of the teen comedy of years past. The title itself, ‘Mean Girls’ is so straightforward and self-aware, yet the film still exists as its entity beyond its predecessors from the 20th century.
Movies from the 2000s as a whole seem to be heavily reliant on parody and nostalgia, so this concept for Mean Girls is not as unique as it may seem. These comedies act as some weird amalgamation of the ideals of comedies from both the 1980s and the 1990s. The unrealistic characterization and the absurd surroundings in one big sphere of chaos.
Surprisingly, though, 2000s comedies end up much more down-to-earth than previous decades. Rather than characters being bastardized to an impossible degree, the characters in these movies could be normal people, with jokes spawning from dialogue rather than the character themselves. Rather than the situations these characters find themselves in being unlikely to impossible, these characters exist in an almost heightened reality.
Mean Girls follows a structure that almost combines the previous two films of discussion. The setting feels snipped right out of Heathers with a small yet powerful clique of girls holding dominion over the social scape of their high school. Similar to Heathers, stereotypes are ever-present, with groups of students defined by one abrasive character trait, and parents play a limited role in their kids’ lives with a simple “how was your day?” being the only interactions we get to see. On the other hand, the plot is essentially a reversal of that in Clueless, where we see a rich popular girl taking on the burden of shaping a new student into a more ‘proper’ individual.
The film somehow adopts the comedy of both Heathers and Clueless while toning elements of each down. The result is a world similar to that of our own, while not quite an accurate portrayal of our reality. For example, in a real high school setting, there aren’t such distinct and exclusive stereotypes of people, but rather circles of friends that intermingle with one another through individual people. This observation of reality, however, is absent out of necessity in the world of Mean Girls for the sake of servicing the message and plot. In this Hollywood high school set, two characters who are clearly shown with counter-culture angst plotting to dismantle a clique of rude popular girls makes sense. The setting never becomes unrecognizable as a high school, however, so the humor serves as an effective portrayal of high school bullying culture.
The scene in which all of the so-called ‘plastics’ switch back and forth between call lines with one another, while being iconic, serves as an excellent example of this film using humor to heighten its message. For a film called ‘Mean Girls,’ this scene delivers, with each of the girls all on call at the same time, switching back and forth between jovially chatting with one person and then talking smack about them with another two seconds later. While most instances of talking behind someone’s back don’t usually play out to this extent, the craziness of this sequence heightens the truth of people simply being mean.
Once again, humor emphasizes a general theme or idea. Through hyperbole, a viewer is exposed to extreme examples of real issues that plague today’s teens, giving these issues greater exposure overall, and the recognizable setting of a high school better contextualizes how these real issues affect real people.
In the coming years, however, appreciation for the arts will influence a whole new generation of viewers. We would begin to see a gradual departure from the traditional tropes of Hollywood teen movies, seemingly epitomized in Mean Girls. This departure from typical Hollywood blockbusters would culminate in one film from the late 2010s, spawned from the mind of an up-and-coming YouTube kid.
[The Power of Relatability in ‘Eighth Grade’]
Bo Burnham is no stranger to comedy, and certainly not the use of humor. Burnham reached stardom from singing about all of the problems he had with the world and the institutions we occupy. Since 2006, he has centered his acts and performances around humor, telling a story through shocking and quotable serenades. This emphasis on Burnham’s humor has remained constant to this day with his recent release of Inside. In 2018, however, Burnham flexed his humorous talent in his directorial debut: Eighth Grade.
The late 2010s was an interesting time for film. Media over the past decade has slowly begun to shift to the online sphere, moving from discs and magazines to streaming services and online blog posts. This shift in how we consume media has had an immense impact on how we perceive the artistry of the medium. With the rise of online content creation, the voices of individuals have become much more significant in swaying what movies people want to see.
Rather than large blockbusters with big celebrity names taking all of the spotlight, a new market spawned for more artsy, personal films. Films such as Moonlight (a film that follows an African American boy through the emotional journeys of three very different stages of life) or Lady Bird (a movie chronicling the turbulent relationship between a high school senior and her mother) would not have received nearly as much wider appreciation and acknowledgment from audiences had it not been for the changing of the online social environment.
Coming to fame from YouTube himself, Bo Burnham understood the significance of this change. Burnham has always shared his passion for the arts through his surprisingly honest rants and comedic melodies. This honestly shines through in his directing and writing of Eighth Grade. Unlike all of the other films, Eighth Grade does not have a particular message to share. It doesn’t have a specific agenda nor does it hyperbolize our world for the sake of making a statement. Rather, the film ties itself firmly to our reality, aiming to do nothing beyond saying ‘middle school is weird and that’s okay because these people are young and dumb.’ The film is allowed to exist as art for art’s sake, which is something that would have been immensely difficult to pull off even ten years earlier.
There is no greater message to be gained from our protagonist, 13-year-old Kayla, trying a bit too hard to impress her crush than just eighth grade is a weird time. Rather than trying to send a message, the humor in the film emphasizes that point of middle school being an uncomfortable time for developing teens through the power of relatability.
Eighth Grade was released in 2018 when I was in eighth grade. For me, seeing all of the topical references of the time makes me think back to how much I sucked at being a normal human being back then. Rather than the humor in this film being very ‘haha funny’ in nature, a viewer may find themself cringing more so than not. Again, humor is separate from comedy, and it just so happens that humor does not always need to be funny to send an effective message. This principle is why Eighth Grade works so well. The infamous banana scene is painfully uncomfortable to sit through, but the filmmaking and comedic timing make us relate to Kayla and feel how mortified and embarrassed she is at that moment. The film stands out from its older siblings in how its humor itself does not send a primary message, but more so emphasizes a secondary message to the more emotional side of the film.
Being a slice-of-life film more than a straight teen comedy, Eighth Grade holds a very strong emotional core amongst its funny bits. Most of the jokes come from Kayla’s social awkwardness and her total inability to be cool, but when a serious topic comes into play, the jokes take a backseat. When Kayla has a panic attack at a pool party, or when she rushes to her room after being harassed by a boy she thought she could trust, everything goes silent. Instead of the films of old cracking jokes about teens ending their lives or about the entitlement of today’s youth, this film strikes a balance. All topics that delve into the realm of seriousness are given their due respect, while the humor acts as a gateway to these uncomfortable topics.
Without these moments of uncomfortable humor, the film would be a complete downer. Through these uncomfortable moments, the audience can relate to Kayla’s plight to a personal degree. The audience is allowed to reflect on their own experience in middle school and the confrontation of the embarrassing past self brings about laughter, but the application of humor, in turn, makes the strong emotional beats even more impactful.
Eighth Grade stands out from other traditional teen comedies by letting its humor take a backseat. Rather than trying to propel a deeper meaning through jokes and satire, the film relies on relatable humor as a holding hand to more nuanced topics. We don’t have some insane plot surrounding the murder of high school students. We don’t have to deal with a bratty lead or a quirky fish-out-of-water conflict, we are just given a girl in a tough situation trying to make it through the school year. It’s a struggle anyone can understand and anyone can look back on in retrospect with laughter. Nothing more, nothing less.
That is the true beauty of film. Throughout just four decades, the medium has changed dramatically. Through changes in the medium itself, the use of certain tools to tell different stories has evolved. Humor is no exception, with each passing decade bringing new ways for filmmakers to make a message resonate with audiences. Whether through borderline insane events and characters, or a more extreme and fantastic reality, or something as simple as an awkward teenage girl, humor is invaluable in the face of storytelling. Whether the overarching goal is comedy or not, humor offers much greater depth of the artists’ message than you could typically reach.
By examining each of these films, we can gain a greater understanding of how we as a society have evolved. Our values are being portrayed through the media we consume, and in a world plagued with illness, drought, and political turmoil, it is more important than ever to have a sense of humor.
submitted by MEaganEagan to Essays [link] [comments]