This post contains bad, foul, filthy and unacceptable language - the words that “will curve your spine, grow hair on your hands and maybe, even bring us, God help us, peace without honor.”
This is not a post for children. Kids, take a hike.
This is also not a post for those adults who are offended by this type of language. Do yourself a favor, and go read some of my cute stuff before moral outrage can kick in.
Just about everything else on this blog is clean…Stupid sometimes, but clean.
End of Warning.
This is not a post for children. Kids, take a hike.
This is also not a post for those adults who are offended by this type of language. Do yourself a favor, and go read some of my cute stuff before moral outrage can kick in.
Just about everything else on this blog is clean…Stupid sometimes, but clean.
End of Warning.
The movie portion of the Eleventh George Awards for Profanity in Film is done...
Which means it's time to unveil the Dana Awards for Profanity in Television!
Especially since on the George 10th Anniversary last year, they got the short end of the stick.
Yes, I now need to use quotes from Dana Delorenzo interviews instead of only Kelly Maxwell lines. Luckily, she is as awesome in real life as she is on screen.
With Neil Gaiman hands on and heavily involved-
and Alan Heinberg as show runner, having excellent writing was to be expected and delivered.
There is profanity all throughout the shows, as to be expected for this material, and it is used exceptionally well. However, there are several moments which stand out as specifically Dana Award worthy.
The first swear that needs to be pointed out is a counter example. It is a magnificent demonstration of the fact that any use of a profane word is will not carry the weight and power those words have earned if not used correctly.
Kerry Shale plays "Nimrod," one of the organizers of the "Cereal Convention." As is revealed about all the serial killers at this gathering, he imagines himself a powerful force in the universe, when in reality he is a sad, weak little man.
In his opening speech at the convention, he includes profanity expecting to make him sound tough and in charge. But instead it sounds pathetic and like he's trying too hard. It provides a clear lesson in that it isn't the words that give profanity its power, it is the delivery:
Firstly,
use the sobriquet you provided which has been printed on your name tag.
No
civilian names.
Secondly,
uh, *nervous pause*
we don't shit where we eat.
So
nobody does any collecting until the convention's over
and you're at least 200
miles away.”
Speaking of delivery- Patton Oswald is a master of it. Whether it be his own words in his stand-up, or the writing of others in his acting roles, the man knows how to present language.
In both cases this includes expletives.
His terrified respect of the location the word "Hell" implies is clear throughout this speech, but its the final punctuation of the F-bomb at the end that brings home a combination of how terrified Matthew the Raven is at this prospect, and how completely loyal he is to Morpheus meaning he would brave even the worst place in the universe.
Morpheus- *quiet and matter of fact* "Hell."
Mathew- "Hell?
As in Hell-Hell, or were you being metaphorical?
Because
either way, we should probably check in with Lucienne first, right?
See
how she's feeling about it.
I'm
gonna go out on a limb
*pause*
which
is something birds actually do
*pause*
and
say she will not be in favor of Hell-going."
Morpheus- *Silent and clearly thinking of other things*
Mathew- "But
I don't get a sense you're listening,
So…
FUCK IT!
let's go to Hell!”
This is followed up in the very next episode, with a pep talk as Morpheus is losing "the oldest game" against Lucifer. This time, while the fear is still there in Mathew's voice, that word brings the power his boss needs to remember a path to victory:
You know what can survive the Anti-Life?
You.
Dreams don't
FUCKING die.
Not if you believe in them.
And I believe Dream of the Endless
would never leave his raven
here,
alone,
in Hell with Lucifer."
It made their combined power walk out of the gate of hell all the more sweet.
One final citation for Sandman, when Rose Walker (Kyo Ra) was discussing giving up dreams but finding one's place. Hal Carter's answer, as masterfully delivered by John Cameron Mitchel, is filled with kindness and compassion for Rose. However, the hard accent on the profanity shows just how much disdain he has for where his current lot is compared to his life goals:
Rose- "But
maybe it's like you and New York."
Hal- *scoff* "God. *pause* I hope not."
Rose- "No,
I mean, your life is here.
You
have this house. People who love you. You've got Dolly."
do you think I wanna be here?
Cleaning
up after Barbie and Ken?
*thoughtful pause at her reaction*
Don't
get me wrong, I love them, they're great.
But
if Broadway called tomorrow, I would sell this fucking house.
And
I would never think about any of these people ever again.
*kind smile*
Go
to grad school, write a novel about me,
*mischievous smile*
but
do it now while I'm still cute enough to play myself in the movie.
*really serious expression*
'Cause
this was never my dream."
Next week the George Awards attack a new medium, an audio book.
However, since its based on a television show...
It will still be under the umbrella of a Dana Awards to finish out this year.
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