Scary Movie 6: The Return After Years – A Raunchy, Unapologetic Blast from the Past That Somehow Still Hits in 2026

Scary Movie 6: The Return After Years – A Raunchy, Unapologetic Blast from the Past That Somehow Still Hits in 2026

In the summer of 2026, nearly thirteen years after Scary Movie 5 limped into theaters with diminishing returns and a noticeable lack of the original spark, the Wayans brothers have stormed back to reclaim their franchise. Scary Movie 6 (officially titled just Scary Movie but colloquially Scary Movie 6: The Return) reunites key players like Marlon Wayans, Shawn Wayans, Anna Faris, and Regina Hall, with Keenen Ivory Wayans co-writing and producing. Directed by Michael Tiddes, this 96-minute R-rated fever dream opened to a franchise-record $55 million domestically and over $105 million worldwide, proving that nostalgia for unfiltered, boundary-pushing comedy still sells tickets—even if critics are mixed at best (around 24% on Rotten Tomatoes) while audiences are more forgiving (68-69% Popcornmeter).

It's not a masterpiece, but it's a chaotic, vulgar, mirror-to-society satire that throws punches in every direction. If you're a Millennial who grew up on the first two Scary Movies, buckle up—this one feels like a reunion tour that occasionally nails the high notes while reminding you why the originals were lightning in a bottle.

 Plot and Structure: Requels, Meta, and Mayhem

The story picks up with the "Core Four" (or what's left of them) in a world obsessed with horror requels. Cindy Campbell (Anna Faris, still game for physical comedy) and Brenda Meeks (Regina Hall) are back, now navigating middle age in a culture warped by social media, identity politics, and endless franchise reboots. Ghostface returns, of course, but the killers this time are a mix of supernatural entities, AI-generated horrors, and parodies of recent hits like Scream requels, Smile, M3GAN, The Substance, Terrifier, and even Michael (the horror one, not the singer).

The plot is threadbare by design—it's a vehicle for sketches. Characters stumble through haunted houses, college campuses turned DEI battlegrounds, and viral TikTok challenges that summon demons. There's a lengthy sequence spoofing Final Destination with pronouns and "safe spaces" that escalate into absurd body horror. Marlon Wayans' character (a reimagined Ray or a new chaotic figure) delivers rapid-fire one-liners while dodging everything from possessed sex dolls to "woke" serial killers who pause to check trigger warnings.

Cameos abound. Original franchise favorites pop up in blink-and-you'll-miss-it roles: Dave Sheridan as Doofy (now a conspiracy podcaster), some surprise returns from Scary Movie 1-4 alumni, and even a meta nod to the Wayans' White Chicks with a character (played by a Wayans) in drag infiltrating a "diversity summit" only for the bit to spiral into bathroom humor and identity swap chaos. It's equal parts nostalgic fan service and a reminder that the Wayans haven't lost their knack for broad physical comedy.

 Tone: Campy, Silly, Goofy, and Relentlessly Satirical

Scary Movie 6 leans hard into camp. It's not trying to be clever like Scream; it's embracing the dumb, the crude, and the over-the-top. Sight gags, slapstick, and fart jokes coexist with sharp (if blunt) social commentary. The film mocks Gen Z's obsession with pronouns by having a character introduce themselves as "they/them... but only on Tuesdays" before getting eviscerated in increasingly ridiculous ways. Gender theory gets roasted through a subplot involving a "transitional" ghost who haunts people for misgendering, complete with exaggerated mannerisms and payoff gags that had preview audiences howling but will surely spark thinkpieces.

Political correctness is the biggest target. A university scene features a "DEI hire" slasher who can't be fired because of optics, leading to a chase where the heroes keep apologizing for running. Black victimization tropes are skewered mercilessly: Brenda's character complains about "everything being about Black trauma" while simultaneously weaponizing it for laughs, only for the film to flip it with white characters doing the same in reverse. White guilt, Black entitlement, Gen Z fragility—nothing is sacred.

The movie doesn't spare anyone. Gays and trans characters appear in exaggerated stereotypes for punchlines: flamboyant sidekicks who break into song during horror set pieces, or a pronoun-obsessed antagonist whose "lived experience" monologue gets interrupted by chainsaws. It's the kind of humor that Family Guy or early 2000s comedy thrived on—offensive by today's standards, but delivered with such cartoonish absurdity that it feels like performance art rather than malice. The film knows it's being "problematic" and doubles down, winking at the audience.

Vulgarity is off the charts. Expect extended sequences of sexual imagery: prosthetic penis jokes (including one involving a "gender reveal" party gone wrong), graphic simulated sex acts parodying modern horror's eroticism (think Poor Things meets Terrifier), and toilet humor that rivals the first film's infamous scenes. There's a threesome parody involving a ghost, a robot, and a celebrity impersonator that pushes R-rating boundaries. It's not subtle. Parents, heed this: do not bring kids. This is not Scary Movie lite—it's raunchier than the originals in places, with full-frontal gags and bodily fluid sight gags.

 Strengths: Nostalgia, Performances, and Satirical Wins

Where Scary Movie 6 triumphs is in recapturing the spirit of the early entries. Anna Faris and Regina Hall have insane chemistry; their scenes together feel like no time has passed. Faris throws herself into physical bits—tripping, screaming, accidental exposures—with the same manic energy. Hall steals scenes with deadpan delivery on race and gender lines that land because of her timing.

Marlon Wayans carries much of the male comedy, channeling his White Chicks energy into a character who's constantly code-switching between "woke ally" and street-smart survivor. The White Chicks cameo (or homage) is a highlight: a convoluted plot where characters disguise themselves to expose a "cultural appropriation" scam, leading to runway walks interrupted by killers. It's silly, dated in the best way, and pure Wayans.

The satire on modern norms works more often than not. A sequence mocking "victimhood Olympics" has characters competing over who suffered more—Black trauma, trans struggles, Gen Z anxiety—while Ghostface picks them off. DEI hires get lampooned in a boardroom scene where incompetence is excused by identity checkboxes. Pronoun policing turns lethal. The film argues, through absurdity, that hypersensitivity makes everything worse. Millennials in the audience (myself included) will cackle at the recognition of how far culture has swung since 2000. Gen Z and younger viewers? Many will feel targeted, and that's intentional. The movie positions itself as anti-cancel culture comedy, "edgy as f---" in the words of its cast.

Horror parodies are spot-on. The requel framework lets them riff on legacy sequels, fan service, and studio greed. Jump scares are undercut with goofy sound effects. A Smile parody has the cursed smile turning into a TikTok dance challenge. It's meta without being insufferable.

 Weaknesses: Average Execution, Dated Bits, and Inconsistency

It's not as good as the original Scary Movie or even the second. The first film was a cultural phenomenon because it perfectly timed parodies of Scream, I Know What You Did Last Summer, and early-2000s pop culture. This one feels like a victory lap. Some jokes land flat because they're too on-the-nose or already meme'd to death. The runtime flies by, but pacing drags in the middle when it relies on repetitive chase gags.

Humor is hit-or-miss. For every gut-busting bit (the pronoun ghost, the DEI slasher), there's a groaner relying on celebrity impressions or forced callbacks. Sexual content, while funny in context, sometimes feels like padding—gratuitous rather than integral. The film tries to balance nostalgia with timeliness, but some Gen Z references feel researched rather than lived.

Critics' low scores stem from this: it's "tired" or "regressive." But that's missing the point. The movie knows what it is—a silly, campy satire meant to offend the easily offended and entertain those who miss punch-up/punch-down comedy without apology.

 Cultural Impact and Audience Divide

This film is a litmus test. Millennials who remember sneaking into the first Scary Movie as teens will love the throwbacks and the roasting of today's absurdities. The unapologetic mockery of identity politics, victimization narratives, and performative wokeness feels cathartic after years of sanitized comedy. It's a reminder that the Wayans built their brand on crossing lines.

Gen Z and progressive audiences will likely decry it as transphobic, racist, or whatever -ist is trending. The film anticipates this with in-movie protests and "outrage" montages that mirror real Twitter/X meltdowns. It wins on that aspect: holding a mirror to how quickly offense culture escalates.

Box office success shows demand for this. At $30 million budget, it's profitable and already spawning "Scary Movie 7" teases.

 Final Verdict

Scary Movie 6: The Return After Years is funny—consistently enough to justify a theater trip for fans—but average compared to the franchise's peak. It excels as campy, goofy satire that skewers everyone: gays, straights, trans folks, Black people, white people, Gen Z, Boomers, politicians, and Hollywood. The vulgarity and sexual imagery make it adults-only. Not for kids, not for the humorless.

If you want escapist raunch that punches sacred cows, see it. Score: 6.5/10. Nostalgia boosts it; tighter editing could've made it great. The Wayans are back, unfiltered. In 2026, that's rarer than a good horror requel.

 

Freakier Friday: Movie Review

Freakier Friday (2025): A Heartwarming, Hilarious, and Nostalgic Triumph

I had the absolute pleasure of taking my nephew, Ethan, to the AMC theater to catch Freakier Friday (2025), the long-awaited sequel to the beloved 2003 body-swap comedy Freaky Friday. As we settled into our plush recliner seats with a giant bucket of popcorn and some candy, I wasn’t entirely sure what to expect from a sequel arriving over two decades after the original. Would it recapture the magic of the first film? Could it resonate with both a new generation and fans of the 2003 classic? By the time the credits rolled, I was grinning ear to ear, and Ethan was practically bouncing with excitement. Freakier Friday is a delightful, laugh-out-loud, and surprisingly heartfelt film that not only honors its predecessor but also carves out its own identity as a worthy successor. Directed by Nisha Ganatra and featuring the iconic duo of Jamie Lee Curtis and Lindsay Lohan, alongside a stellar ensemble cast, this film is a testament to the enduring appeal of family-friendly comedy done right.

 A Nostalgic Yet Fresh Storyline

Freakier Friday picks up 22 years after the events of Freaky Friday, where Tess Coleman (Jamie Lee Curtis) and her daughter Anna Coleman (Lindsay Lohan) famously swapped bodies due to a magical fortune cookie. Now, Anna is a single mother in her late thirties, managing the career of a rising pop star, Ella (Maitreyi Ramakrishnan), while raising her teenage daughter, Harper (Julia Butters). Tess, meanwhile, has evolved into a parenting podcaster and remains a vibrant, meddling presence in her family’s life. The story introduces a new layer of complexity with Anna’s engagement to Eric Davies (Manny Jacinto), a charming British restaurateur and single father to Lily (Sophia Hammons), a fashion-obsessed teen who clashes with Harper. The stage is set for a wedding that brings these two families together, but not without tension—Harper and Lily are rivals, and neither is thrilled about becoming stepsisters.

The body-swap premise that made the original so iconic is taken to new heights in Freakier Friday. Instead of a simple mother-daughter swap, the film orchestrates a four-way body switch triggered by a quirky psychic, Madame Jen (Vanessa Bayer), during Anna’s bachelorette party. The result? Harper ends up in Anna’s body, Anna in Harper’s, Lily in Tess’s, and Tess in Lily’s. This intricate setup could have easily become chaotic, but the screenplay by Jordan Weiss and Elyse Hollander, paired with Ganatra’s deft direction, keeps the narrative surprisingly coherent. The complexity of the swaps amplifies the humor and emotional stakes, making every scene a treasure trove of comedic misunderstandings and heartfelt revelations.

As Ethan and I watched, we couldn’t help but laugh at the absurdity of the situation. He leaned over at one point, whispering, “How do they even keep track of who’s who?” It’s a fair question, but the film’s strength lies in its ability to make the convoluted premise accessible. Each character’s distinct personality shines through, even in another’s body, ensuring that the audience can follow along while enjoying the chaos.

 A Cast That Shines Bright

The heart and soul of Freakier Friday is its phenomenal cast, led by the dynamic duo of Jamie Lee Curtis and Lindsay Lohan. Curtis, at 65, brings an infectious energy to her role as Tess, who, when inhabiting Lily’s teenage body, delivers some of the film’s funniest moments. Her portrayal of a grandmother trapped in a teen’s body is nothing short of comedic genius—whether she’s marveling at the spryness of Lily’s limbs or hilariously struggling to navigate high school dynamics. Curtis’s comedic timing is impeccable, and her ability to channel a British teen’s snobbish attitude (without fully committing to an accent, a choice that feels intentional to keep things light) is a highlight. Ethan was in stitches during a scene where Tess-as-Lily tries to play pickleball in a championship match, flailing with exaggerated enthusiasm.

Lindsay Lohan, returning as Anna, delivers a performance that is both nostalgic and refreshingly mature. Now playing the “adult” role, Lohan imbues Anna with a warmth and vulnerability that reflect her character’s journey from rebellious teen to devoted mother. When Anna swaps into Harper’s body, Lohan taps into her Freaky Friday roots, effortlessly recapturing the awkward, rebellious energy of a teenager. There’s a poignant moment where Anna-as-Harper reconnects with her musical past, singing a song she wrote years ago, which brought a lump to my throat. Lohan’s ability to convey both humor and heartache makes her a standout, and it’s clear she’s relishing her return to the big screen. Ethan, who hadn’t seen the original, was captivated by her charisma, asking me afterward if she was “always this cool.”

The younger cast members, Julia Butters and Sophia Hammons, hold their own against these industry veterans. Butters, known for her roles in Once Upon a Time in Hollywood and The Fabelmans, brings a grounded intensity to Harper, a surfer girl with an independent streak. Her performance as Anna-in-Harper’s-body is particularly impressive, as she nails Lohan’s mannerisms while adding her own youthful spin. Hammons, as Lily, brings a delightful snootiness that contrasts perfectly with Harper’s laid-back vibe. Their rivalry-turned-reluctant-bonding is one of the film’s emotional cores, and both actresses shine in scenes where they navigate the challenges of inhabiting older bodies.

Manny Jacinto, as Eric, is a revelation. His charm and comedic timing make him the perfect romantic lead, and his British accent (sprinkled with subtle nods to his Filipino heritage, like a “mano po” gesture) adds depth to the character. Ethan nudged me during a scene where Eric tries to connect with Harper, whispering, “He’s so nice!” Jacinto’s warmth makes Eric’s role as a father and fiancé feel authentic, grounding the film’s zanier moments.

Supporting performances, including Vanessa Bayer as the eccentric psychic and Chad Michael Murray reprising his role as Jake, add to the film’s charm. Murray’s cameo, complete with a nod to the original’s Pink Slip band, elicited cheers from the audience, including a particularly excited squeal from Ethan, who caught the nostalgic reference after I explained it to him on the way home.

 A Perfect Blend of Humor and Heart

Freakier Friday excels at balancing slapstick comedy with genuine emotional resonance. The body-swap antics provide endless opportunities for humor, from Harper-as-Anna fumbling through a wedding dance rehearsal to Lily-as-Tess struggling with “old people things” like arthritis and shopping at Walgreens. These moments are played for laughs but never feel mean-spirited, thanks to the cast’s commitment to their roles. The film also incorporates clever homages to the original, such as a joyride scene reminiscent of Ferris Bueller’s Day Off, which had Ethan and me cracking up.

Yet, what sets Freakier Friday apart is its exploration of family dynamics. The film delves into themes of single motherhood, second-chance romance, and blended families with a light but meaningful touch. Harper’s fear of moving to London and losing her identity as a surfer resonates with anyone who’s faced a big life change, while Lily’s struggle to accept Anna as her stepmother adds depth to her character. The swaps force each character to see the world through another’s perspective, leading to revelations that feel earned rather than contrived. A particularly moving scene involves Harper-as-Anna learning about her mother’s sacrifices, which hit home for me as a parent. I glanced at Ethan during this moment, wondering if he was picking up on the same lessons about appreciating family.

The film’s pacing is brisk, clocking in at 111 minutes, but it never feels rushed. Ganatra’s direction keeps the energy high, and the script weaves in enough nostalgic nods (like the return of Pink Slip) to satisfy longtime fans while introducing fresh elements for newcomers like Ethan. The soundtrack, featuring throwbacks to the 2003 film and new songs, adds to the nostalgic vibe without feeling dated.

 A Memorable Theater Experience

Seeing Freakier Friday at the AMC theater was an experience in itself. The theater was buzzing with families, teens, and millennials like me who grew up with the original. Ethan, at 12, was the perfect age to enjoy the film’s humor and relate to Harper and Lily’s teenage angst. The AMC’s sensory-friendly screening option, which we didn’t need but noticed on the schedule, was a thoughtful touch for families with different needs. The sound system amplified the film’s energetic soundtrack, and the vibrant visuals popped on the big screen, making the theatrical experience well worth it.

Ethan’s reactions were a highlight of the outing. He laughed uproariously at Curtis’s antics, gasped during the chaotic body-swap scenes, and even got a little teary during the film’s emotional climax (though he’d never admit it). After the movie, we spent the car ride home debating who had the hardest body swap (he voted for Tess-in-Lily, I leaned toward Harper-in-Anna). It was one of those rare moviegoing experiences that sparked real conversation and connection, reminding me why I love sharing films with him.

 Why Freakier Friday Works

Freakier Friday succeeds because it knows its audience. It delivers the comfort of nostalgia while pushing the story forward with new characters and themes. The four-way swap could have been overwhelming, but the cast’s chemistry and the script’s clarity make it a joy to follow. The film’s PG rating ensures it’s accessible for families, though it includes enough witty humor and emotional depth to keep adults engaged. Critics have praised its heartfelt approach and the performances of Curtis and Lohan, with a 74% positive score on Rotten Tomatoes and a 94% audience score, reflecting its broad appeal.[](https://www.deseret.com/entertainment/2025/08/08/freakier-friday-reviews-critics/)[](https://www.rottentomatoes.com/m/freakier_friday)

For me, the film was a reminder of the magic of Disney’s early 2000s comedies, updated for 2025 with a modern sheen. It’s not perfect—some critics noted the opening feels rushed, and the logic of the swaps occasionally stretches believability—but these minor flaws are overshadowed by the film’s charm and heart.[](https://film-book.com/film-review-freakier-friday-2025-jamie-lee-curtis-steals-the-show-in-a-nostalgic-sequel-full-of-laughs-and-heart/)[](https://www.upi.com/Entertainment_News/Movies/2025/08/05/Freakier-Friday-movie-review/7931754371941/)

Final Thoughts

Freakier Friday is a triumph of a sequel, blending nostalgia, humor, and heart into a film that’s as fun as it is meaningful. Taking Ethan to see it at the AMC theater was a highlight of my summer, and the film’s ability to entertain both a 12-year-old and a nostalgic adult speaks to its universal appeal. Jamie Lee Curtis and Lindsay Lohan prove they’ve still got it, while Julia Butters, Sophia Hammons, and Manny Jacinto add fresh energy to the mix. Whether you’re a fan of the original or a newcomer, Freakier Friday is a must-see for anyone looking for a good laugh and a warm fuzzy feeling. I can’t wait to rewatch it with Ethan when it hits streaming, but for now, I’m grateful for the shared laughter and memories we made at the theater.[](https://screenrant.com/freakier-friday-movie-review/)

 

Boo! A Madea Halloween

 A Spooky, Hilarious Night Out: My Review of Boo! A Madea Halloween

I’ll never forget the weekend Boo! A Madea Halloween hit theaters back in October 2016. My dad, my nephew, and I piled into the car and headed straight to our local AMC. The lobby was already buzzing with costumed kids and the buttery smell of popcorn, and we snagged three seats right in the middle—perfect for maximum laughs.

From the opening scene, Tyler Perry’s Madea is in rare form: loud, unapologetic, and armed with a purse that doubles as a weapon. The plot is pure Halloween chaos—frat boys, ghosts, and a haunted house that’s more silly than scary—but it’s the perfect setup for Madea to unleash one-liners that had the entire theater howling. My nephew, who was 10 at the time, lost it every time Madea threatened to “beat the devil” out of someone, and even my dad—usually a stoic action-movie guy—couldn’t stop chuckling.

What makes the film work is how it leans into its absurdity without ever taking itself seriously. The supporting cast (especially the college kids and the “ghosts”) plays everything broad and cartoonish, which only amplifies Madea’s larger-than-life presence. Sure, the scares are fake and the plot is paper-thin, but that’s the point: this is comfort-food comedy with a side of holiday spirit.

By the time the credits rolled, we were all wiping tears of laughter and quoting lines on the way to the car. If you’re looking for a feel-good, family-friendly fright fest that’s heavy on heart and heavier on hilarity, grab your crew and catch Boo! A Madea Halloween. Five out of five candy corns.

Pixels the Movie

I just came from the movie theater after watching "Pixels" with my nephew who was anxious and excited to watch this movie since he first saw the commercials on YouTube.  The movie stars funnymen Adam Sandler and Kevin James and involves video games, extraterrestrials and war. The movie begins in the 1980s where Sandler's character (Brenner) and the other main characters spend their youth going to the arcades.

Sandler loses in a arcade tournament against an arrogant gamer (Eddie) who is a dwarf and is portrayed by Peter Dinklage. This character had cheated but we learn about this later on in the movie. Basically, the movie's plot involves the arrival of light-based extraterrestrials who misinterpret data sent from Earth into space, possibly from Voyager. The extraterrestrials see the video games as a threat from Earth and challenge Earthlings to a real life "game" tournament of sort.  They use light and solidify it into pixels which actually generates 1980s classics such as Pacman, Donkey Kong, qbert, duck hunt, Centipede and many others.  These video games appear at set intervals and attack, turning matter into pixels on contact including human beings. Earth has 3 chances or 3 lives to win or face extermination. The light-based aliens send the humans warnings via edited videos from the 1980s. Sandler's character and others are called into action by Keven James' character who is the president of the United States.  They are chosen for their gaming skills and fight the pixelated aliens as if they were playing a real life version of their childhood games.  The final battle is with Donkey Kong but deviates a bit from the actual play of the real classic game.

The movie has gotten poor reviews on the news, but I personally enjoyed it.  It is a great movie for nerds and children. There are some bad words used such as "b*tch and sh*t" and a few sexual innuendos, other than that the movie is watchable.  The dialog can be off at times possibly due to bad delivery.  However, Kevin James' and Josh Gad's characters are hilarious.

The movie has many themes in it such as the possibility that extraterrestrials may in fact misinterpret our greetings.  This is something Physicist Stephen Hawking has warned about.  The movie also reminds viewers of the "good old times" when kids actually socialized and played innocent games, unlike today where games are violent, have sexual themes and kids have become anti-social zombies due to cell phones, tablets and computers.   The movie teaches kids how to be real kids, have fun and play fair.  As I mentioned before, Peter Dinklage's character 'Eddie' uses codes to cheat against the pixelated version of Pacman.  Because of this, the aliens declare that Earth would be annihilated for not playing by the rules of war.  The movie also makes fun of the British and their verbiage mixed with an accent that makes their speech unintelligible.

One of my favorite scenes was the battle in Manhattan against Pacman. The story line in this movie is very original and entertaining. The audience was constantly laughing and clapping indicating that the movie was in fact "easy on the eyes."  This movie is a good way to introduce quantum physics to children via the use of pixels. It is also a good way to introduce the classic games of the past which are innocent and fun to play.  I recommend this movie for older children ages 9 and up.  Reviews given online and on the news by critics are based on their bias for films that are overly sexual and immoral. They do not know what a good movie is. The images here are some that I took with my phone during the film for this blog post.  

"La India Maria" Dead at 74

It seems God needs some comedy in Heaven. First Robin Williams, then Mexican comedian Roberto Gómez Bolaños and now another popular Mexican comedian commonly known among Hispanics as "La India Maria."

Her real name was Maria Elena Velasco and she passed away at the age of 74 from stomach cancer. Velsaco often portrayed a clumsy and dimwitted Native Mexican.  She exaggerated known stereotypes of Mexico's indigenous popular making the character lovable and funny. In her films, she was always accompanied by her donkey "Filemon." She would always find herself in the "big city" completely aloof on its ways and finding herself in trouble.  Apart from movies, she also did shows and also directed films.  In many of her films, she often incorporated Catholicism with deference. Her "India Maria" character was fond of "La Virgencita" or the Blessed Virgin Mary.

Velasco was born in Publa, Mexico on December 17 in the year 1940 to Tomas Velasco and Maria Elena Fragoso.  She had three siblings, Gloria, Tomas, and Susana. After the death of her father, she moved to Mexico City.  There, she would work as a dancer at the Teatro Tivoli. As a showgirl there, this is when she began her comedy sketches which made her famous.  She later married Julian de merich whose real name was Vladimir Lipkies Chazan.  Both had three children, Goretti, Ivan, and Ivette.

May Maria Elena Velasco "La India Maria" rest in peace.    

IMCINE lamenta el fallecimiento de la actriz María Elena Velasco "La India María" http://t.co/eo7GvjHGxH pic.twitter.com/I2nECBWaw3

— IMCINE (@IMCINE) May 1, 2015

Source:

http://www.dailyprogress.com/mexican-actress-best-known-for-la-india-maria-dies/article_65aeeb82-83e1-5099-8585-e7a2973a5ca3.html

http://www.startribune.com/mexican-actress-best-known-for-la-india-maria-dies/302187121/

http://www.hollywoodreporter.com/news/mexican-slapstick-comedy-icon-la-792782

http://www.huffingtonpost.com/2015/05/01/la-india-maria-dead_n_7189188.html

http://www.latintimes.com/la-india-maria-dies-maria-elena-velasco-dead-mexico-74-313199

http://www.huffingtonpost.com/2015/05/01/la-india-maria-dead_n_7189188.html

Roberto Gomez Bolanos dead at 85

This summer we lost a comedic genius in the person of Robin Williams and now the world has lost another one from Latin America.  Roberto Gomez Bolanos passed away today at the age of 85 after suffering heart failure.  Bolanos was known for his comedy program which featured him and other actors taking on different roles.  Some of the well known roles he was known for was "El Chavo del Ocho," "El Chapulin Colorado," etc.

These characters are a staple in Latin culture.  Recently, an animated version was produced as well as a toy line of "El Chavo del Ocho." The death of Bolanos made social media news, even becoming the number 1 trending topic on Twitter. This shows how Bolanos has touched the lives of many throughout the generations that have passed.

Bolanos was born on February 21, 1929 in Mexico City to Francisco Gomez Linares and Elsa Bolanos Cachos.  As a youth, he loved to box.  However, dues to his short stature, his boxing career did not go professional. During his college years at the Universidad Autonoma de Mexico, Bolanos studied engineering.  However, he worked in advertising and not in engineer.  This is where he would learn how to do script-writing.  His amazing acting skills would earn him the nickname "Chespirito" which means "little Shakespeare."  

Later on, he would star in his own program where he would get into character playing several personalities which would become iconic in Latin America.  Generations of people would grow up watching this program which is still aired in syndication on Spanish networks.  His comedy was clean, funny and original.  This is lacking in today's comedy program both in American and Spanish networks.

Rest in peace!


   





Source:

http://www.latimes.com/local/obituaries/la-me-roberto-gomez-bolanos-85-20141128-story.html

http://www.latintimes.com/pulse/11-chespirito-tribute-memes-will-leave-you-tears-279160

http://blog.chron.com/tubular/2014/11/comedy-legend-chespirito-dies-in-mexico/#28805101=0


http://www.chespirito.com/

http://www.tmz.com/2014/11/28/chespirito-dead-dies-mexican-comedian-chapulin-colorado/

http://abcnews.go.com/Entertainment/wireStory/iconic-mexican-comedian-chespirito-dies-85-27240401

http://www.huffingtonpost.com/2014/11/28/chespirito-quotes_n_6238736.html

http://www.cbsnews.com/news/roberto-gomez-bolanos-latin-american-tvs-chespirito-dies/

http://www.huffingtonpost.com/2014/11/28/chespirito-quotes_n_6238736.html

http://www.latintimes.com/chespirito-death-reactions-fellow-cast-members-and-friends-say-farewell-roberto-gomez-279065

My Thoughts on Robin Williams' Suicide

I like many others are still taking in the news of the death of Robin Williams.  He was a great actor and a genius in comedy.  His ability to improvise in any situation was admirable and very rare.  This type of acting is second nature, not taught.  

Robin Williams brought many laughs and tears to all of us who watched his movies and programs.  However, the question remains: How can someone who seemed so jovial be so depressed?  There are no simple answers to this question. Perhaps the fact that he always seemed to have a need to make a joke of something was his way of masking the inner pain he had.  

We may never know what was going on in this man's mind.  He suffered from alcoholism, drug abuse and had a heart surgery.  These factors can weigh in on the stability of one's brain. Alcohol and drugs are known to alter how the way the brain works.  Many philosophers describe the brain as the hardware while the mind is the software.  If this is true, then if the hard drive is damaged, then the software cannot operate in its total capacity. This was probably why Mr. Williams took his own life.  He brain and mind were just not working right together.  It is obvious that he had no real reason to "opt out."  He loved his family, especially his three children.  He seemed to love his career and according to his neighbors, was a very humble man.  That being said, it was most likely his altered state of mind that caused him to see reality differently bringing him to committing suicide.

His children should not feel like they weren't important enough for him to stay.  I've read that one of his kids wrote something to that effect.  Again, drugs, alcohol and biological issues does alter the way the human brain and mind work.  There is no way around this.  Drugs and alcohol rewires the brain.  They make you perceive things differently than others who don't use those substances. Growing up in New York City, I saw alcohol and drugs all around me.  Some in my own family have abused those substances and are suffering the effects now.  As a kid, I vowed never to imitate what I saw around me.  Instead, I relied on books, music, video games, sports and especially family and good friends in order to keep me focused.  I cannot stress enough the harm drugs and alcohol abuse does to the user and those around him.  It pains me to see on social networks photos of people at clubs or even house party holding up red plastic cups or liquor bottles as if it were something to be proud of; an accomplishment.  Some even take pictures holding weed in their mouth or blowing smoke as if it were "cool."  This mentality has to stop.  These things are not cool.  They are not things to be proud of.  These things can kill you one way or another.

Drugs and alcohol distort the flow of neurotransmitters in the brain.  They create false connections in the reward center of the brain linking the use of them seems as a "good."  When deprived of them, the brain goes into a chaotic mode of withdrawal.  This extremely alters a person's psychology and can cause all kinds of illnesses in the body as well.  These are testament to the power these substances have over the human brain and why they are dangerous.  Again, there is nothing "cool" about being "high" or drunk.  There is nothing "cool" about being "out of your mind," so to speak.

Mr. Williams obviously was going through this chaotic mode in his brain.  I can't even imagine what the man was going through as he struggled with his brain's attempt to cope with the rewiring done from his substance abuse.  This man was so funny.  He could make those British soldiers guarding Buckingham palace crack a smile.  The fact that these substances triggered depression in him that was so strong that he committed suicide should be a loud message to all of us.  If this can effect a funny man like Robin Williams to the point of forcing him to end it all, then imagine what it can do to anyone else.

It pains me to hear some Christians say that he is in hell for taking his life.  While killing is a mortal sin, suicide is different and must be looked at carefully.  A person who commits suicide just for the heck of it obviously was in his/her right mind and fits the criteria for mortal sin.  However, if a person is not in his/her right state of mind, then it is this chaotic mode of the brain that is killing the person, not the person himself.  Williams was not himself.  He was not thinking rationally.  We must not judge whether or not he went to hell or not.  The catechism puts it well:

Suicide 

2280 Everyone is responsible for his life before God who has given it to him. It is God who remains the sovereign Master of life. We are obliged to accept life gratefully and preserve it for his honor and the salvation of our souls. We are stewards, not owners, of the life God has entrusted to us. It is not ours to dispose of. 

2281 Suicide contradicts the natural inclination of the human being to preserve and perpetuate his life. It is gravely contrary to the just love of self. It likewise offends love of neighbor because it unjustly breaks the ties of solidarity with family, nation, and other human societies to which we continue to have obligations. Suicide is contrary to love for the living God. 

2282 If suicide is committed with the intention of setting an example, especially to the young, it also takes on the gravity of scandal. Voluntary co-operation in suicide is contrary to the moral law.
Grave psychological disturbances, anguish, or grave fear of hardship, suffering, or torture can diminish the responsibility of the one committing suicide.

2283 We should not despair of the eternal salvation of persons who have taken their own lives. By ways known to him alone, God can provide the opportunity for salutary repentance. The Church prays for persons who have taken their own lives. 

Source:  http://www.scborromeo.org/ccc/p3s2c2a5.htm

If you are reading this now and are thinking about suicide or have thought about it, please reconsider.  You are needed in this world.  You exist for a reason.  You were not a mistake nor a creation of chance.  There is no one in the world like you and there will never be one like you. You are unique and have a lot to offer to this world.  If you are feeling depressed, hopeless as if there is nothing more to do than to end it all because you feel you are losing the battle, then reflect on this: You are winning the battle!  The fact that you are there thinking further delaying suicide shows that you are winning and capable of defeating depression or whatever it is that is making you feel hopeless.

SNOWFLAKE
Moreover, each one of us is like a snow flake.  No two snowflakes are alike.  Each snowflake is

unique with its own pattern and symmetry.  A snowflake begins in the clouds as condensation. It falls and begins to crystallize due to the cold weather.

As these crystallized droplets of water fall, some of the water evaporates and creates the flake's pattern based on how its molecules are formed. Each flake is unique because each falls into a different path with different atmospheric conditions effecting it.

Once it reaches the ground, these flakes collect and create a beautiful scenery worthy of a postcard.  The scene of snow on trees, bushes, mountains with its appearance as crystals sparkling is breathtaking.  When it's time, the snowflakes melt, evaporate and return to the sky from whence they came.  You and I are like these snowflakes.  God sends us down to Earth. We have our own unique patterns due to our molecules and DNA.  Each path we're on alters us a bit making us unique flakes.  Once we are on Earth, we decorate this world and give this world meaning and beauty.  Then when it is time, God calls us back to Himself up above.

You are special, you are unique!  Please don't deprive our world of your unique presence and existence.  You exist because you are important and God wanted you here.  There will never be anyone else like you ever again.  You are irreplaceable so continue to bless this world with your presence.  Seek out the help of family, friends, priests and psychologists.  There is always hope!

Eternal rest grant to Robin Williams o' Lord and let perpetual light shine upon him.  May through the mercy of God, may he rest in peace.  Amen


O captain my captain, rest in peace!