STEVEN CROWDER, CONSERVATIVE COMMENATOR & PODCASTER, IS PROVING TO BE ANOTHER MONEY-HUNGRY, NARCISSISTIC IDIOT!

INTERNET NEWS - Not that I followed up on this story because I was a big fan of Steven Crowder's heavy conservative commentary. AS a matter of fact, since I dropped out of the YouTube platform over six years ago, I've found it irrelevant to see the over-produced segments of Crowder's PodCast show, seeing only memes that pop up on Facebook or are text to me through friends that see is "Change My Mind" picture that is photo shopped with some cryptic attack on the Democrats or the woke society. Outside of that, the only reason I started to investigate what had happened recently between Crowder and an Internet Hosting company, The Daily Wire, was because of a small segment of news that popped up on my Rumble.com account and how Crowder alleged that he was being screwed over a contract that was tossed at him by the President of the Wire at the end of his current contract. Obviously, Crowder's complaint against his bosses have come off more as "bitching" than actually having something to complain about.

The Daily Wire [DW] is a proven internet company that has does one hell of a job advertising, promoting and projecting solid content to a large number of people through the use of PodCast's and other internet mediums since it's inception. They're not certainly a juggernaut that has absolute sovereignty over other organized internet companies, but they do have some of the most well known conservative PodCaster's in the business, including Candace Owens, Ben Shapiro [who is a part owner/creator] and others. The team at the DW definitely knows their shit when it comes to working with the right people at the right time and having Crowder in their organization was no exception. Actually, Crowder was one of their biggest names having the highest numbers watching his weekly show and tuning in on his zany antics on making the Left and the woke crowd often look absurd. His ten year friendship with the CEO of DW helped him climb to the top of the companies charter.

But the presumed merits of Crowder's alleged "getting screwed over on" complaint are both pretty simple and silly at the same time. Firstly, the DW offered him $50Million dollars on a four year deal, with another $25Million, if he agreed on a two-year extension to follow that initial contract. The CEO at DW, Jeremy Boreing, openly stated that the first deal sent to Crowder was fully negotiable, but Crowder instantly lost his shit and began to claim that conservative new agencies were conspiring to control how over conservative PodCaster's might be used and controlled through contracts that plan to heavily fine current and potential future platforms for any suspensions of show's or episodes, due to violating platform guidelines on a constant basis. Now, remember that the DW isn't a streaming service, which is hard to comprehend, and mostly all of their clients use YouTube as their primary source for presenting their shows.

Crowder has a clear history of having segments of his show either being muted or shut down on YouTube, due to promoting content that violates YouTube's heavy policies against bullying, passing disinformation on Covid, attacking strong supporters of the Left [Democrats], etc. According to the first contract forwarded to Crowder for review, the DW would fine him $100K for each day his site was shut down or an episode failed to post. The contract further stipulated that Crowder would also be financially responsible to pay his production team out of the $50Million given to him. So, with Crowder expecting to expand his horizons with a new platform called MudBugs program set to launch this year, I guess it was assumed by Crowder that the DW would cover the bills of paying off his employees or add more money to his contract to help him pay for his team. In my opinion that's a little bit much to ask, as Crowder's team are not on a contract basis with the DW.

So what does Crowder do next?...well, he records a phone call with his friend of ten years, Boreing from the DW, and puts him on the spot, and then releases the recordings to prove to his employees and fans that the DW was out to screw him and any future potential team hired to cover his spot or anyone else's spot, if they refuse to sign the contracts that are presented to them. Talk about "who is screwing who" - in my opinion, Crowder has crossed the line and is making an ass of himself, trying to also present himself as "the only Podcast messiah" that can prevent other PodCasters from "falling into the trap" if he doesn't get his way. Candace Owens made a video statement and was also interviewed extensively about this matter. She truly didn't take sides, but she did note that Crowder was over-extending his allegations and that he was only crying out like a disgruntled ex-employee who wasn't fired. She said that there were better ways to confront the DW CEO and work things out and that Crowders impulsive attempts to "draw-the-line" were just for show.

I have a PodCast show called the Q108.1 Internet Radio Show on Rumble.com that has about 2700 followers and growing. I'm sure that with just $1Million that I could present a better show with daily episodes, so I'm not sure why Crowder feels that he needs more than $50million to run his show, pay his employees, and create his content. It sounds more to me that his recent success has gotten to his head and now he thinks he knows everything about being a bonafide PodCast commentator worth $110Million. As PodCasters, we all have a following when we launch, so I'm not sure why one person [like Crowder] believes that his show, with a particular element of dry humor, must be considered the best that the DW has to offer. Everyone presenting some sort of online new coverage has stated that Crowder has made plenty of good money thus far in his tenure as a commentator. If he wants to move on and be on his own, making the type of money that the DW has offered, then why doesn't he just split ways and do it?

Well, there's nothing out there saying that Crowder hasn't pushed onto his new show and is just building hype to completely absolve any chance of the DW trying to hold him to any part of his past contract.  This drama story is pretty silly, but I intend to follow it to see how this thing unfolds with the mainstream press, and of course, the online PodCast world. To be continued...

EVERY GREAT WRITER HAS A BAD BEGINNING, TAYLOR SHERIDAN WAS NO EXEPTION

🎥🎞️Movie Review🎞️🎥 - WIND RIVER - Amazon Prime - [2017] - Written and Directed by Taylor Sheridan. Starring Jeremy Renner, Elizabeth Olson, Jon Bernthal, Graham Greene, and Kelsey Asbille. This movie was billed as an answer to the countless numbers of Indigenous Native American women that are reported missing every year in staggering numbers and mysterious circumstances. This was a planned dramatic feature film with a message to open up the investigations to the many missing women who are still missing to this day. If produced right, this movie seemed like it could make make waves in the history, and now urban legend, of why females are missing in the western regions of the United States.

With the recent successes of all of the current writings created by Taylor Sheridan, I decided to do an in-depth look into his career as a writer and filmmaker. First, I was surprised to learn that Sheridan was a film director and that he had an $11 Million film under his belt with a heavy star studded cast. Even though this film had a tremendously dramatic trailer, the film was anything but dramatic and I'm surprised that Sheridan was able to bounce back from the obvious failure of this film. I have to admit, that after watching all of the recent works written by Sheridan already released through streaming services, I was not completely impressed by this film. I truly expected a far better production and message from this film.

THE GOOD - I mentioned that there's a big lineup of infamous actors in this feature film; the talented Elizabeth Olson from the recent fame of "Wanda Vision," Jeremy Renner from the MCU's "Avengers," and the rugged Jon Bernthal from "The Punisher." There's a slight glimpse of the mountainous beauty and vast landscapes of Utah and Wyoming. The film won an award from the 2017 Cannes Film Festival, but I'm not sure why.

THE BAD - Where dramatic films are concerned, this film drags on and on with sketchy pacing and lackluster cinematography. Most of the actors seem to just be on set to earn a check and put no other energy in performing their roles which makes for a lack luster presentation in the final product of the film. The screenplay and editing of the film are almost horrific, giving an almost amateur pacing to the film and not giving a solid development of worry for the story to make its point. The explanation why the FBI sent an agent to help with the investigation of a body being found on Indian territory was very dry and Olson's part of the film feels a little far fetched. Sheridan tries to develop tension in the film, but his limited skill in directing scenes truly makes RIVER seem like a wasted effort in telling a significant story that needs explaining.

POST MORTEM - This film would have better served as a mini-series or maybe a full series production on a streaming service. Furthermore, the opening credits billed this film was a tiny, little look into the disappearance into local women in the Native American culture, but there was no tie to the actual long list of names that have been abruptly removed from the local communities. Sheridan was smart to leave the directing of his scripted creations to the professionals. His other series work wouldn't have been as successful as films and his writings are proving to work on longer running productions. WIND RIVER might have been the awakening that Sheridan needed to focus more on his writing.

⭐️⭐️💫[2.5 of 5 Stars]

WHY HOLLYWOOD ALLOWED J. J. ABRAMS TO SINGLE-HANDEDLY DESTROY FILMMAKING

In his early years, J. J. Abrams was a brash and creative project director who  brought solid teams together to bring hit shows to TV like Alias, Felicity, and Lost. From 1998 to 2006, world wide audiences were caught up on his shows, which built up a variety of dramatic, spell bounding, plot twisting, story-lines that kept the fans coming back to new seasons of his hit shows. I guess early on it was just something fresh to see, seeing some interesting character build ups, an entertaining variant of casting changes that bulked up the idea that these new shows were going to reveal something BIG in their final season.

Before Abrams began directing, he spent a few years working on movie sets with screenplay and assisting script writers to polish up each new script dropped on his desk. He had a quick wit with just adding those little things to make scripts read better, driving the screenplay to seem more natural to keep each passing scene flow by flawlessly, giving the each new film a realistic feel for the audiences. When he began to produce films and make creations for TV, he seemed ready to deliver the best ideas that could bring a whole new audience to the networks. And for a while, they did. Each new series he brought to the world, brought him a step closer to the ultimate goal of any series producer; the chance to work on big budget films.

When Abrams sold the idea of the film CLOVERFIELD to Paramount in 2008, claiming the film could be produced in twelve weeks, he was more than excited to get the ball rolling on the film and get a chance to go up against some of the other big films being released later that year. He found Matt Reeves to direct the film and commanded him to begin filming sequences to CLOVERFIELD even before the final script was even completed. Even though Reeves admitted that he had never worked in such a "top speed" environment, he did as he was told; producing scenes out of sequence that weren't even put to script, and then adding them to the film and adjusting the scripts afterwards to officially add them successfully to the entire plotline. And don't forget the flashy lighting in the film and the addition of lens flares that follow in all of the films created and produced by Abrams; I'm sure that you're way over tired of seeing them in his films by now.

But there was one BIG problem with the script and production to CLOVERFIELD, something that also plagued those network show's that brought him up to the spotlight of success in the film industry...the movie lacked a solid ending. As a matter of fact, ALL of Abrams film and network creations all had bad endings, many that pissed off fans who watched his network show's for years; trust me, I was one of them! I watched LOST endlessly and in the final season it was revealed that the entire show was just a dream and that all of the passengers and characters had all died in an opening plane crash from season one. The failure of bad endings would [and still do] plague many of the Abrams new movies. But did he try to fix this one bad issue with all of this past films, of course not. He explained to the big wigs in Hollywood that "fans will watch whatever is tossed at them."

So, when Hollywood decided to give Abrams the keys to the Star Trek franchise and launch it with a reboot. The new STAR TREK movie of 2009 also brought with it a slew of creative problems that would also be noted in every new and old movies led by the startling new producer and director. Fans began to learn quickly that Abrams had absolutely no grasp of technical know-how on how things actually work; i.e. he knows that a key turns the ignition to a car, he knows the gas pedal makes the car move, but has no concept of how a car engine works or how combustion leads to the production of carbon, except that when the car is low on gas it needs a fill up. If you're making a movie about car manufactures and designing a new engine for a car, the concept for knowing how a car motor actually works and how to repair it, are vital.

First of all, in the STAR TREK movie alone, the concept of military ranking, officer etiquette, and advancement eluded the storytelling. Even the ship's concept and designs, required for building realistic sets were tossed out of the window. Bit by bit, the STAR TREK movie was filled utterly with "bullshit" technology that fans began to see through the hype and eventually the movie itself proved that Abrams was way out of his league when it came to writing and creating SciFi movies. His reboot of STAR TREK II, entitled "Into Darkness," was also a complete BUST with Star Trek fans. What's a bigger shame is that newer, more popular actors were brought in to try and save the new film, but that idea fell under harsh reviews and a Rotten Tomatoes Rating that even today wouldn't save anyone's career in Hollywood.

So, how could Abrams escape the fracas of ruining a top notch SciFi franchise? Well, Hollywood decided to give him the reigns to the STAR WARS franchise, where the details on knowing "how things work" were never explained in the first six episodes of the franchise and how presenting military etiquette truly never meant a hill of beans. But the writing to the new scripts for this reboot presenting a complete misunderstanding of the force, how light sabers work, ship's designs, and slew of other odds and ends that Star Wars fans first ignored, but then eventually had to acknowledge that Abrams was again far out of his game. His miserable talent for creating series began to rub off on other Hollywood executives, keeping in mind that "fans will watch whatever is tossed at them" on the big screen. I feel that Abram's true failure with the Star Wars Franchise was his decision to release a trailer to the film that had absolutely nothing to do with the true scenes of the film.

And the philosophy built up and openly shared by Abrams has held him in the limelight now for over fifteen years. He is not the authority in SciFi productions, but his long list of films, his staple amplified on IMDB and his name sharing by the plethora of Hollywood elite will not let this jackass fade away. We are surely in for a long ride and in my lifetime we will see a plethora of Abrams wanna-be's who know that its not about how the ending to their films are delivered, but about the money that fans will bring in just to watch another reboot to another old idea that didn't need to be rebooted. Don't spend your money too soon just to see a reboot that [in the end] you won't like.

STALLONE MAKES HIS MARK IN STREAMING WITH "TULSA KING"

🎥🎞️Series Review🎞️🎥 - TULSA KING - Paramount+ - A series written by Taylor Sheridan. Starring Sylvester Stallone, Andrea Savage, and Dana Delany. This is another series created and written brilliantly by Sheridan, creator of YELLOWSTONE, 1883 and 1923, who has gone out of his way in the last three years to release some refreshing new shows on the Paramount network. TULSA KING [TK] is his new installment, and once again, he has a strong cast filled with veteran actors to build up a fantastic first season to the series.

Stallone plays a "General" in the New York Mafia who spent the last 25 years in prison for murder. Upon his release, his "family" of gangsters order him to leave the city of New York and head out west to Tulsa, Oklahoma to start new business ventures. He reluctantly leaves New York and his family for a new start, and upon the first day of arrival, he gets off to a great start spotting crime running free in the streets of Tulsa and making money from side hustles in the legalized marijuana trade. Keep in mind that Stallone does not play a physical monster in this series, instead he's in a role where his leading character is a thinker and planner, outsmarting all of the potential & established criminal competition and law enforcement agencies in the city. To make things even worse, he's pissed off members of his old mafia family back in New York and they want him dead.

THE GOOD - Stallone carries the series well. There are several story arcs in TK that help develop supporting characters and they are performed brilliantly by some talented new actors. Most of the scenes in the series are actually filmed in Tulsa, OK and a tons of scenes are filmed at outside locations, giving the series a broad look at the local territory. Sheridan even takes the time to add a little Native American zest to the series and develop a plotline where [of course] a gambling casino will be eventually involved. I know that none of this sounds brand new or overly interesting, but with the addition of Stallone still settling his feet with the idea of slowly developing characters with patience and precious time on his side, his acting prowess is starting to promote a better way of him delivering his performances.

THE BAD - There are times where the series makes Tulsa seem like a small town, with people who think backward from a time long gone. The addition of Delany was a little weak; her character hasn't developed well and she is mostly seen hanging around the horses at a stable. Giving Delany top billing for a small role seems a little like "big name dropping." She plays her mysterious role well, but he real energy of the show should be spent elsewhere. Action scenes are too sporadic and some of the motions of the story are filled with long speeches and drawn out dialog. Plus it doesn't help that Stallone still mumbles his line from time to time. The final episode of the season was a little too transparent and seemed a little rushed, but I am sure that Sheridan strongly felt that the rushed ending to the first season just meant that a second season was gong to be approved.

POST MORTEM - This is another fantastic edition to the powerful line of Taylor Sheridan writings that are building up an impressive universe of drama, murder, intrigue, and of course, action. The series has already been approved for a second season and I am sure that Stallone is more than happy about that.

⭐️⭐️⭐️⭐️ [4 of 5 Stars]

1923 WILL BECOME AN INSTANT "CULT CLASSIC" FOR SERIES TELEVISION

🎥🎞️Series Review🎥🎞️ - 1923 - Paramount Plus - Starring Harrison Ford and Helen Mirren. Created by Taylor Sheridan, writer and creator of YELLOWSTONE. This mini-series is a fantastic period piece production, taking place shortly after World War I and follows a prequel path [and background] to the Yellowstone Universe. The show takes place in Montana and at the cusp of Cowboy Justice beginning to lose it's flavor as a more civilized America begins to grow.

What you can expect from this mini-series is some true grit, some very valuable dramatic storylines, and of course, some nail biting action sequences that help develop the Dutton Empire which is cursed with outside sources always trying to take their land away. Being a mini-series, the directors have very little time to set forth character development, but it is done with a style all it's own and in my opinion delivers at least two characters [played brilliantly by Brandon Sklenar and Julia Schlaepfer] who dominate the mini-series with a torrent love affair that occurs in the then wild African landscapes that is perfect for the Dutton lore when dealing with passion and love. Mirren performs brilliantly with an Irish accent, that existed heavily during 1920's America when immigrants filled the land with their stubborn pride and need to share their homeland wisdom. She's come a long way once playing the role of "Morgan Le Fay" in 1981's EXCALIBER.

THE GOOD. This series has a superior cast; adding to that the talents of James Badge Dale, Jerome Flynn, and Timothy Dalton, all who are veteran actors and have been part of some previous huge productions. The cinematography is absolutely breathtaking and the detail to bringing back 1923, crossed with a western "cowboy" feel with a touch of the roaring twenties is just a sight to behold in itself...why?...because this is how it actually happened in history; no need to tear it down. At the time, the American culture was taking shape and many people were forced to change their ways to become more civilized. There's a taste of this new way of purging the "old ways" with a side plot concerning how Native American women were sent to schools in an attempt to force them to abandon their on culture and become "American." Sheridan apparently did his study and brought a new insight into U.S. History and the constant struggle to control and maintain what as earned to blood and sweat.

THE BAD. There are just too many plots and stories going on at the same time. Just when your getting the handle on one story, your thrust into another, then back and forth, and then you won't see what's happened with the story you truly want to follow until the next episode. And of course, this being Dutton lore, don't get used to seeing a character you like for far too long...some of them people you like might get killed off.

POST MORTEM. Taylor Sheridan has brought forth a new and fresh breed of scripts to the Hollywood Universe and his “Urban Legend Tall Tales of Yellowstone” are surely the best things being taken from script to screen in a unique, down to earth style, that many have been hoping to see for a long time. 1923 was way better produced, acted, and presented than the 1883 series launched two years ago. There's quality here, not only with big names, but the trust to present good storytelling with veteran actors who actually give a damn about how their performances can make a mini-series show BIG!

⭐️⭐️⭐️⭐️⭐️ [5 of 5 Stars]

TIM BURTON FINDS NEW WINGS DIRECTING "WEDNESDAY"

🎥🎞️Series Review🎞️🎥 - WEDNESDAY - Netflix - This is a fabulously produced 8 part series created and written by Charles Addams, Alfred Gough, Miles Millar, Kayla Alpert, April Blair, and Matt Lambert. The series stars Jenna Ortega, Riki Lindhome, Gwendoline Christie, and guest stars, Catherine Zeta-Jones, Luis Guzman and Christina Ricci. Tim Burton directed several of the episodes, actually opening the director duties in the first few episodes to put his staple on the lead character, played by Ortega. There is some blood and gore in this series, but not enough to spark concern.

This is a dark comedy concerning Wednesday Addams, who after almost killing several high school kids at another school, is transferred to a small town where a little dark mystery is entangled within a private school that was erected in the nearby woods, oh-so-many years ago. Wednesday is forced to adjust her dark, Gothic lifestyle with her new roommate, played brilliantly by Lindhome. The school is filled with a variety of "gifted" students - think of the Harry Potter variety - and the schools once separated inner-school clubs must begin to work together to solve who is killing both the locals and their own classmates, plus save the school from being shut down. This series has it all for the young audiences; romance, drama, comedy, and of course, Gothic tones of dread.

THE GOOD - The casting gives this series a ton of strength; I was particularly shocked to see Christie playing a proverbial rich and powerful principal and doing her job brilliantly with her English accent. The part of "The Thing" - the hand that runs loosely throughout the series as both a confidante and a spy, was wonderfully choreographed to life in a style all its own.  Zeta-Jones played her part brilliantly, the camera loving the closeups of her, but it felt like she didn't go past what was only desired of her performance. Ortega was the prime example of what to expect from today's youthful actor. It is said that she had to learn fencing, boxing and even learning how to play the cello to make her character breath into life. I expect to see more from her in other film and series project. But my heart reached out to Lindhome, who presented her characters emotions through some memorable facial expressions. The two young actors carried this series to the next level, making the show fun, dark, and very mysterious at every turn.

THE BAD - I'm not a huge Tim Burton fan, but with all of the details of costumes and set locations, I wasn't impressed with the CGI in the series. The creature effects seemed a little too animated with an exaggerated "cartoon-like" look and feel to them. Perhaps this was done to keep the younger teens and children involved in trying to solve the mystery with the cast of the series? Either way, the CGI seemed to hurt the production more than help it.

POST MORTEM - Burton should be very proud that this is the BEST series production he's been part of in a long time. I've truly never been impressed with the endings to many of his past films, but this series developed well and delivered an ending that demands some serious attention. There was some fine acting by the young-lings and the veteran actors in the film stepped back and filled in only when needed. I expected a second season, for sure, but I also expect that many of the upstart actors have just kicked the doors open to their new careers as leading actors! 

⭐️⭐️⭐️⭐️⭐️ [5 of 5 Stars]

THE QUANTUM STORM .357 E-MAGAZINE ISSUE 16, THE FIRST PUBLICATION FOR 2023, IS RELEASED!

QSE .357 ISSUE 16 FOR JAN 1, 2023

155 Pages

ON THE COVER - Megan Riser
MAKEUP BY - Terri Taylor
PHOTO BY D. R. Quintana

MAIN ARTICLES

Making The Challenge - Things a camera can do that a cell phone camera lens cannot.

This Years SCAM Alert - Head Shot Scams are starting up for Spring. Don't pay too much for taking a snap of your own image.

Special Look - Winter modeling is here. What you need to know about winter apparel, makeup, and lighting.

Stunt Work - Special stunts require certain protection while on set. An interview with some local Texas Stunt professionals.

Acting Courses - Who to see if you need acting classes and at what level.

Studio Movie Reviews - The studio has
pushed forward with detailed film reviews for
the last few months.

Indie Film News - At what point does your
film need or require a copyright?

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