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It has arrived: The somber discovery-of-the-void-within-all-of-us podcast about the electrifying thrill ride of a sequel, 2 Fast 2 Furious. Robert, Mike and Jack buckle up again, but not before checking the pressure in their tires. All four of em. #Newsletter #Podcasts #QuarterMileataTime #QMAAT #2Fast2Furious #LUDA #RobertAnderson #MikeBurdge #JackKolodziejski

Jack and Robert, with guest Mike Burdge, look upon the latest (and final?) X-Men film spin-off of Wolverine and see that it is good. But are they left wanting and what for? #Newsletter #Podcasts #Logan #HotTakes #JackKolodziejski #RobertAnderson #MikeBurdge

Jack and Robert get down with Get Out and discuss just exactly what the hell is going on in their freshest Hot Take. #Newsletter #Podcasts #RobertAnderson #JackKolodziejski #GetOut #HotTakes

Fuck Shakespeare. Haddaway (one of the greatest philosophers of the 1990’s) posed the question best: what is love? To this, you’ll get a variety of answers: a chemical reaction in the brain, compassion without judgment, finding someone you can’t live without, etc. Finding love seems to be the ultimate quest in life, to the point where it drives people mad, so it’s really no wonder we as a society love to watch movies about love. In fact, my mom is such a fan of the movie Ghost, she scarred my sister and I for life by giving us both the haircut Demi Moore’s character Molly has in the film: If asked to rattle off the names of ten Rom Coms (Romantic Comedies), odds are most of us could do it without even thinking about it. But to name ten good Rom Coms proves to be a more difficult task. We, as viewers are repeatedly subjected to the same over-used tropes and poor character stereotypes, which are subsequently leading to the death of the film genre as a whole. How many times can we see the frigid bitch? The gold-digger? The aloof, cool, hipster Manic Pixie Dream Girl? The desperate one? The cool, successful career guy? The rich dude? There are so many films that fall into the shitty, boring, deja vu void. From 1995 to 2017, there have been 534 Romantic Comedies released, and while many follow the same, tired archetype, every so often we’re blessed with a gem. If I told you The Wedding Singer was one of the best romantic comedies of the last twenty years, would you believe me? Back in 1998, Adam Sandler (RIP his career) and Drew Barrymore starred in the aforementioned film that was virtually ripped to shreds by Roger Ebert. Giving it one measly star, he declared The Wedding Singer as “One of the byproducts of the dumbing down of America.” Don’t get me wrong, the film follows the very typical and expected formulaic guidelines for a romantic comedy: boy meets girl, friendship arises and they secretly pine for one another, love is realized, circumstances tear them apart, turmoil at three quarters, resolution, happily ever after. To be categorized as a Rom Com, there needs to be a few, “he hees” and “ha haas” here and there. What separates this particular film from its genre-mates is that it exists as a parody of itself. Rather than eliciting so many laughs that it errs on the side of comedy alone, the romantic element is still strong and present enough to bring the viewer back to the original storyline without subtracting from its value. The 80’s were clearly an era of excess and bad choices, especially in terms of aesthetics. Everything is so extreme, from the hair to the personalities, to the celebrity cameos (shout out to Jon Lovitz and Billy Idol), that it elevates an ordinary movie into a unique realm of complete absurdity. Even the most hated characters, like Glenn Gulia, the cheating, arrogant rich boy, or Linda, the gold digging runaway bride, are likeable because they become a comedic and ridiculous pastiche of everything we all hate. Most importantly, the lead characters, Robbie and Julia, are equals - a wedding singer and a waitress, a dichotomy often overrun by financial and social status bias. One of the most common issues psychologists and analysts have with Rom Coms is that they fuel unrealistic expectations about love and relationships that ultimately have an unhealthy impact on viewers, with some even arguing that mimicking over-the-top gestures seen in these movies normalizes stalking behavior. Whether you believe that or not, one thing most of us can probably agree on is that those fairy tale endings can piss us off, or make us feel like shit about our own love lives. And my emphasis on The Wedding Singer’s absurdity isn’t unfounded. The whole film is a tongue-in-cheek reference to its genre as a whole, like the scene when Robbie meets Billy Idol in the first class section on a plane, they see Julia and Glenn in coach, and Robbie then serenades her and they live happily ever after. Did I mention how amazing the soundtrack is on it’s own? “Somebody Kill Me” by Robbie Hart is an unforgettable classic that’s unfortunately all too relatable. Rather than leaving the viewer feeling sappy yet self-critical, or envious as many romantic comedies do, The Wedding Singer’s straight up ridiculous and blatantly unrealistic plot makes for a light-hearted, feel good movie that defies expectations and goes beyond the confines of its genre. In layman’s terms, The Wedding Singer is a great movie about love, so fuck you, Roger Ebert. RIP. Amanda Spinosa Amanda is an artist/writer with a degree in visual and critical studies from the School of Visual Arts, though 90% of her day is spent looking at pictures of dogs. Instagram: @spin.osa #Newsletter #Articles #AmandaSpinosa #TheWeddingSinger #RomCom #Love

From Passengers to La La Land, and everything in between, Bernadette, Robert and Mike talk about what they expect from the 89th Oscars and retouch on some of the best films 2016 had to offer. #Newsletter #Podcasts #AcademyAwards #Oscars #BernadetteGorman #RobertAnderson #MikeBurdge

Three geeks (Mike, Jeremy and Brian) attempt to only talk about the love stories in the Star Wars saga and end up not knowing where to draw the line. They even talk about the Ewok movies, for goodness sake... #Newsletter #Podcasts #StarWars #AttackoftheClones #TheEmpireStrikesBack #JeremyKolodziejski #BrianCastellano #MikeBurdge

Robert and Jack venture back into the world of Wick. Can a sequel to lightning-in-a-bottle raise the bar? #Newsletter #Podcasts #JohnWick2 #JackKolodziejski #RobertAnderson #HotTakes

The first time you watched Django Unchained, did you make it all the way through? I didn't. About 44 minutes in, I pressed the pause button on my controller and thought twice. Immediately the sight of Black men and women in chains turned me off, even with the preconceived understanding that this film was about slavery. This led to my thoughts about historical inaccuracies being depicted: like a freed slave bounty hunter, and how it didn't quite make sense. But what I wondered most about, was the film’s over usage of “the N word.” It offended me. Filmmaker Spike Lee was quoted in an interview with Vibe, saying he would not watch the film, explaining, "All I'm going to say is that it's disrespectful to my ancestors. That's just me.... I'm not speaking on behalf of anybody else." Tarantino made sure to accurately depict that part of our ugly history. I remember speaking with Black, Spanish and White friends who loved the movie, who saw it for what it was "meant for:” entertainment. They weren't surprised that I didn't make it through the film, but didn't want to partake in the reasons why. Why saturate the film with such a negative word, taking away from an artform so well written, directed and acted? In this regard, I wondered why Tarantino hadn’t been as creative as he was in Inglorious Basterds? You see, Samuel L. Jackson defended heavy use of “the n word,” stating, "Tarantino using 'nigger' too many times is like complaining they said 'kike' too many times in a movie about Nazis.” However, actor Jesse Williams is noted saying, "These anti-semitic terms were not used nearly as frequently in Tarantino's film about Nazis, Inglorious Basterds.” He was suggesting that the Jewish community would not have accepted it. “The N word,” has been accepted and used as a term of endearment by a growing percentage of African Americans. It's associated with the culture. Some would say it's cool to be able to say the word, that if you're not Black and get away with it, you are given a pass. Now, more than ever, it's become a word that millennials have adopted in similar endearing ways, as well as the original definition of an ignorant or stupid person. Coming from a culture that embraces a word that, when I showed my parents The Chappelle Show for the first time - it was the episode with Clayton Bigsby, the Black white supremacist - they asked me to change the channel. It was more of a demand, actually. More pressing is why is it acceptable to offend one race, even if there has been great efforts to disassociate the word from the African American culture? I couldn't get over this, so I didn't indulge in the movie. The second time I attempted to watch Django Unchained I succeeded in my attempt. I was finally able to get over myself, and watch a lot of my favorite actors perform extremely well in a production by a director whom I don't admire, but give credit where credits due. The set, the red blood splatter on white sheets, roses, and walls. It’s good! They also perfectly captured the institutionalized hatred between slaves and other slaves, the way blacks have treated other blacks systemically, like crabs in a barrel. When our protagonist, Django, is first introduced to Stephen at Candyland, they're immediately combative. Stephen’s view of seeing a slave on a horse was a metaphor for the theme of the movie, like seeing something you've never seen before and being able to achieve that. “Freeman.” Slaves were taught to hate one another based off skin pigmentation. Of course, jobs weren't based solely off of complexion, but it played a significant roll. It became first nature to try and drag the next slave down, which maintained divisions even though there were many efforts to unite as slaves. Django was at odds with Stephen immediately and because this had nothing to do with why he and Schultz were at Candyland, it almost put our heros’ plan at risk. Something else that needs noting: Django’s growing ego. This was a glimpse into what many call nowadays “Black Entitlement.” He was allowing his stature and mission to overcome his humanity, simultaneously forgetting where he came from. According to Bob Hoose, a critic with Plugged In, "This flick is far more concerned with foul-mouthed Grindhouse chatter, revenge-filled rage, skin-tearing bullwhips and bullets, and slow-motion geysers of meat and blood, than in communicating anything truthful and enlightening." Let’s not pretend, this wasn't a film about slavery. It would be dishonest of me to not mention how great of a job Tarantino did recreating our country’s deep horrible history in a Spaghetti Western, not a "big issue" movie. Education through entertainment. What is really meant to entertain us in Django Unchained is violence. Slavery is just the pretext of what is meant to entertain us. Many people appreciate the level of heightened cinematic cruelty and violence Tarantino goes to in most of his films in order to open discussion on very singular concepts: the mentality of criminals in Pulp Fiction and Reservoir Dogs, the passive misogyny in Kill Bill, the morality and immorality of mental illness in Natural Born Killers and the normalization of genocide in Inglorious Basterds. In this regard, I have always admired his consistency to treat slavery with the same pulpy eye he is known for, but whether or not this is disrespectful, is truly in the eye of the beholder. Great controversial movies invite individual perspectives from each viewer to form contrasting opinions. That’s why they’re so controversial! "I want to do them like they're genre films, but they deal with everything that America has never dealt with because it's ashamed of it, and other countries don't really deal with because they don't feel they have the right to." -Quentin Tarantino Richard Brody backed up the director’s claims when he wrote in the New York Times that Tarantino's, "Vision of slavery's monstrosity is historically accurate.... Tarantino rightly depicts slavery as no mere administrative ownership but a grievous and monstrous infliction of cruelty." Django Unchained was released in 2012 as an American revisionist film written and directed by Quentin Tarantino, as a tribute to Spaghetti Westerns: a cheaply produced movie about the American Old West typically made in Europe by an Italian producer and director. In 2007, development of Tarantino's version came about while writing a book on Sergio Corbucci, the director of 1966’s Django. The star-studded cast includes Jamie Foxx, Christoph Waltz, Leonardo DiCaprio, Kerry Washington, and Samuel L. Jackson. The film grossed $425 million worldwide in theaters, tripling their $100 million budget, making it Tarantino's highest grossing theatrical release. Although the movie is depicting slavery - and treading water on introducing a fictional Black superhero to mainstream audiences - the irony is: the White director and actor were winning the film industry awards. Waltz, who did a tremendous job, won several awards for his performance, among them Best Supporting Actor at the BAFTAs, Golden Globes, and the Academy Awards. Tarantino won an Academy Award, a Golden Globe, and a BAFTA Award for writing the film's original screenplay. Having given the movie 1 1/2 chances, I figured it would make sense to watch it again with some friends, and discuss the movie afterwards to capture some real life reactions and commentary. Invoke real emotion. A close friend asked if I viewed the main character as a superhero? It hadn't occurred to me that Jamie Foxx's performance transcended the role that he was playing. A free man on a horse that looked like the Black boy in chains. The free man on a horse wielding a gun and killing outlaw White men for fun, while receiving a profit to do so. It hit home, especially at the end, when you see how empowered he makes the other slaves feel. A Black superhero slave who would do anything for his Black slave wife. A Black man standing up for his Black woman, and going to the world’s end to protect her, in a time when that beautiful kind of love was being customarily destroyed. Reality check: filmmaker Michael Moore praised Django Unchained, tweeting that the movie, "is one of the best film satires ever. A rare American movie on slavery and the origins of our sick racist history." And still, in reality, I see no changes. All I see is Leonardo DiCaprio, Christoph Waltz and Quentin Tarantino receiving awards and accolades. It's not surprising that a film on "slavery," or anything else I've touched on in this review, or any other critic has for that matter, that the two African American leads didn't receive any awards for their roles in what was arguably the best film of the year, and one that made millions think twice. The film grossed almost 4x as much as it was budgeted for, which leads me to my last question: Who exactly was this movie made for: Black people or White people? Off first glance, and even after the first time watching Django Unchained in its entirety, the case could be easy to make that this was for White America, those willing to view something graphically entertaining. After analyzing and rewatching this film, speaking and listening to others who have taken similar actions, I've come to believe that this movie was made for Black America. Black love. Black superhero. Black history. Black excellence, which is quite marginalized throughout world media. What do you think? Ali T. Muhammad Watching movies is one of the few moments that he's able to get out of his own head and into someone else's. He believes that there is a serious educational proponent used in making and watching films. As an avid reader, he's learned to appreciate what one can get from reading books and watching movies. Westerns, suspense thrillers and sci-fi are his favorite genres, but Legends of the Falls is his favorite movie of all time, followed by Pulp Fiction, The Usual Suspects, Interview with the Vampire and Malcolm X. #Newsletter #Articles #DjangoUnchained #Love #BlackHistoryMonth #February #AliTMuhammad

Jack, Robert and Mike take on the "Fast and Furious" franchise, one film at a time, leading up to the release of the newest installment, "The Fate of the Furious." Join them for the ride, but buckle up or something. Make sure you have enough gas. Double check your windshield wiper fluid. Come to full stops. #Newsletter #Podcasts #TheFastandtheFurious #QuarterMileataTime #VinDiesel #PaulWalker #RobertAnderson #JackKolodziejski #MikeBurdge

(Warning: This article contains spoilers for The Lobster.) Movies can be fairly easy to categorize and label. Writers and directors in the movie biz often stay warm and cozy in their lucrative little genre homes. Quentin Tarantino has a pulpy, revenge story mansion, JJ Abrams has a few old sci-fi homes that he’s flipped using lens flare and M. Night Shyamalan owns a little horror cabin that constantly drips "twists" from its ceiling into a little bucket. Though these creators are masters of their genres, (and even stray outside of them from time to time), we as audience members perpetuate the constant categorization of this visual medium. Filmmakers may set out to make a genre specific flick, but in most cases they are just creating something and we as the audience try to make sense of it by shoving it into various boxes. Every once in a while there are films that come along that are deep and complex, taking from multiple genres that cannot necessarily be put into just one box. Usually for those we label the flick as a “drama” and throw an Oscar at it. In the case of a little darling called The Lobster, this is a film that maybe fits into many genre boxes, as well as none of them at all. The Lobster, directed by Yorgos Lanthimos, is a story that follows the newly single David, played by Colin Farrell, as he is sent to a hotel where if you don’t find a suitable mate by the end of your forty-five day stay, you are turned into an animal of your choosing. The film’s world is a strange future or side step from our own. The way characters speak to each other is dry and monotone, devoid of exclamations or emotion. They usually state exactly how they feel, not having the luxury of being coy. These characters are not self-aware. No one questions the strange logic of, “Well, if you can’t fall in love you should probably be a horse or something.” They all appear to understand this consequence as a necessary evil, regardless of some character’s rejection of the hotel and its practices. Value isn’t something that can be achieved by the individual; instead you are only deemed fit for society once you are coupled with another person. The film has a cruel caste system of only two classes: humans and animals. Humanity isn’t something you’re entitled to, and the most humane way to deal with those who can’t be rehabilitated from bachelor life is to turn them into animals. One of the many genres attached to this film is that of a “dystopia.” Though the film never indicates any big fallout of the previous society or explanation of how things became the way they are, the film’s IMDB page states the synopsis as, “In a dystopian near future…” However, there are references to our actual world. On the eve of a character’s last day in the hotel, she is asked what she’d like to do, and she responds, “I want to watch the movie Stand by Me.” Her logic being that she won’t be able to watch it as an animal. The ingredients of your sci-fi dystopia are all there. Scenes in the world’s major city, only ominously referred to as The City, feature a police force whose sole purpose is to find single citizens and ask if they have their relationship status papers. In the beginning of the film we see David being screened before getting sent to The Hotel. They ask him questions like: how long was his last relationship, clothing size and sexual preference. In this scene, we learn there are no half steps. David asks if they have his shoe size in a half size, or if he could choose a bisexual option before getting sent to the hotel, and we learn that he cannot; he must make choices and choose binaries. Clearly there is some kind of regime in this film. And what kind of dystopia would it be if we didn’t have a rebel sect? The Loners, escapees from The Hotel who live in the woods, are the other major “faction” in this film. Hotel guests are forced to hunt these Loners with tranquilizer rifles, and for every Loner they catch, they earn an extra day’s stay at The Hotel. David eventually defects to The Loners, only to learn that love is simply not allowed within their little community. These characters are also dry and emotionless. They just don’t want to be turned into animals and this is literally their only other choice. The Loner’s leader, played by Lea Seydoux, seeks to not only exist outside of The Hotel, but to also play devil’s advocate to its philosophy. In the later portion of the film The Loners go on a mission to break up the various couples in The Hotel, either by revealing their harsh personal truths, or making them prove that one could live without their spouse. The world of The Lobster can be viewed as a dystopian binary where love doesn’t exist. Coupling is made efficient by the world’s regime, and those who reject that regime choose to live without coupling all together. There is no room for love or emotion in this world. Though this film can be viewed as a dystopian film, its Wikipedia summary adds an extra word to the synopsis that most accurately describes the film; the website refers to it as “an absurdist dystopia.” Absurdism is a philosophical school of thought that began to come into existence in Post-World War II Europe. Absurdism states that humanity’s inherent search for meaning is useless; there is too much unknown, making any sense of certainty impossible. This school of thought also permeated the world of theatre during the same time, and is simply referred to as, “Theatre of the Absurd.” In 1960, Martin Esslin coined, “Theatre of the Absurd” in his essay of the same name. This term was a designation for a series of plays written in the 1950’s that were considered Absurdist fiction. The authors of some of these plays are Samuel Beckett and Eugene Ionesco. Their plays feature characters with no backgrounds, and dialogue that appears broken, often not achieving complete coherency. The plays are impossible to predict because they have no concrete destination. You are left with a sense of disorientation, watching a world that doesn’t make sense through the lens of characters that have no meaning. This is Theatre of the Absurd. Esslin states in his essay: “The dissolution, devaluation, and relativization of language is, after all, also the theme of much of present-day depth psychology, which has shown what in former times was regarded as a rational expression of logically arrived at conclusions to be the mere rationalization of subconscious emotional impulses. Not everything that we say means what we intend it to mean.” Absurdism deems language as a tool no longer able to actually express meaning. As much as Theatre of the Absurd is about the devaluation of language, The Lobster seems to be about the devaluation of love. The film may be able to fit into another box: a love story. When characters are sent to The Hotel, the phrase “love” or “romance” doesn’t seem to be in any of the character’s vocabulary. They are instead replaced with words like “match.” During the film’s latter half, David falls for a woman in The Loner group, who is only referred to as “The Short Sighted Woman,” played by Rachel Weisz. Both she and David are short sighted, which becomes the groundwork for their love. They are the first and only characters that have any chemistry in the film. When The Loner leader catches wind of their love, she blinds The Short Sighted Woman, trying perhaps to challenge David’s love for her, or to eliminate it all together. The film ends with David leaving The Short Sighted Woman at a table in a diner to go blind himself, hopefully reestablishing their connection. The last scene of the movie we see is David never returning to the table. The Lobster is trying to say something about the way we love one another, the way we seek relationships. Love is a devalued idea in the world of this movie, if it even exists at all. At The Hotel, people are shoved into dances and romantic situations like cattle. They seek to find their mate as a survival tactic, not because they actually like the person. We view romance like puppets pantomiming the act of being in love. Even when we witness characters whom might actually love each other, (no matter what the status of their eyesight), that proves to be false. Perhaps the film is trying to tell us that love is an absurd notion all in and of itself. People search for love as much as they search for the meaning of life, and if we use the absurdist definition in the same way, then the search for love is quite the fruitless endeavor. Albert Camus, a founding father of absurdist philosophy, wrote about a figure in Greek mythology known as Sisyphus. Sisyphus is doomed to roll a boulder up a hill for eternity, just for the boulder to keep rolling back down the hill. He is trapped in a loop. Camus states, “The struggle itself […] is enough to fill a man’s heart. One must imagine Sisyphus to be happy.” Is The Lobster saying that love is a boulder we constantly attempt to push up a hill? Do we as humans get the same fulfillment searching for love rather than actually finding it? To that point, is love even real at all? The film functions on many levels, and this is only one interpretation. It is indeed one part dystopia, one part absurd-drama. Another quote from Esslin’s article speaks to the audience of Absurdist Theatre: “The spectators of the Theatre of the Absurd are thus confronted with a grotesquely heightened picture of their own world: A world without faith, meaning and genuine freedom of will.” This statement rings true with how we, the audience, watch The Lobster; we are given a heightened world where the characters fight for their own agency, but even they themselves don’t fully grasp the concept. I don’t fully buy into the absurdist philosophy. I see Theatre of the Absurd and The Lobster as warnings of what our lives could become: cold and meaningless. I think it’s an admiral endeavor to search for meaning and love. So, try to live a little more like Sisyphus, because you just might actually get that boulder to the top of something. Robert Anderson Robert has a degree in Screenwriting and Playwriting and works in multiple genres. He's just your typical man-child who enjoys most things nerd culture. You can follow him on Twitter @RoBaeBae #RobertAnderson #Review #TheLobster #Newsletter

Mike and Stamper discuss the underrated/overrated modern romantic classic from Nick Cassevettes. They also discover they are both obsessed with James Marsden in slightly unhealthy ways. #Overdrinkers #TheNotebook #KatelynStamper #MikeBurdge #BabyGoose

With our 2nd SHH event happening this weekend, what better time to share with you exactly what the hell goes down at one of these events! But first a little backstory: over the past two years, Story Screen has worked as a pop-up exhibitor, showing several films at our secret outdoor location in Beacon, including: First Blood, Predator, Legend and even an Evil Dead 2/Army of Darkness double-feature, all utilizing local businesses and friends to create our Beacon Backyard BBQ Bash series. Live DJ’s and tasty burgers, as well as kegs donated by local bars and restaurants kept us going all night at these events until the bonfires died down. We want to build off these successful outdoor occasions and start incorporating local businesses from Beacon with unique spaces, molding them to create different atmospheres. We want to take the film experience off the screen, surrounding everyone in the audience with the movie itself - whether through props, staging, food, drink and a host of other special surprises - throughout the entire evening’s screening. So we created SHH (Something’s Happening Here), the special exhibition arm of Story Screen. Our staff has been working hard to make sure our guests get the very best experience out of each and every SHH event. The lovely people at Denning’s Point Distillery joined our family, as we turned their once-car-garage-now-liquor-distillery into the warehouse from Reservoir Dogs, complete with bloody aftermath. We created the setting of the film’s location AFTER the events of the film had occurred, showing the warehouse, as it would now be considered a crime scene. Harry’s Hot Sandwiches delivered fast food style burgers and fries for our 50+ audience members, and More Good supplied us with all the delicious craft syrup sodas we could ask for. And of course, delicious brews and cocktails from Denning’s Point never went out of style the whole night, as we projected the Quentin Tarantino classic directly onto the white brick wall of the warehouse. Afterward the film finished, we raffled-off gifts, such as: unique posters designed by local artists just for the event, as well as vinyl records, books, movies and other fun surprises. Everyone walked away happy though, as each and every guest was awarded a Story Screen Playbill, complete with an article written by Story Screen Writer, Robert Anderson (which you can read here), as well as a pair of black sunglasses and a Story Screen keychain made by FabHaus, connected to a black, 3-D printed ear, made especially for us by our friends at Hatch Abstraction. It was a monumental night. Our next screening will turn Oak Vino Wine Bar into a speakeasy for our presentation of Casablanca. Our guests will be treated to amazing wine, live music, delicious food and treats, as well as gifts and several surprises throughout the night. For more information on that screening, check out Casablanca SHH Event Page. Tickets are going fast! Included below are some photos taken by our very own Jordan Roque, throughout the night at our Reservoir Dogs screening, where you can see just how crazy cool the evening really was. We hope to catch you at any of our upcoming screenings in and around Beacon, NY in the upcoming months. So to make sure you never miss out on a Story Screen event, sign up for our Newsletter (you can do so at the bottom of this page!) Thanks again! -The Story Screen Family #Articles #Newsletter #ReservoirDogs #SHH #RobertAnderson #HarrysHotSandwiches #DenningsPoint #MoreGood #JordanRoque