Deadstream, all over the world. Deadstream, he’s going crazy

A nice poster

Parodìa, feminine noun from the Greek: πυππαφορτη, or letters in an alphabet that only those who made the classic can read, composed of para- and ode because if you are not careful you think you hear an ode and instead it is a parody, meaning: burlesque disguise of a work of art for satirical, humorous or even critical purposes. With a more generic meaning: deliberate imitation, with a more or less caricatural intent, of the characteristic style of a writer, a musician, a director and so on, achieved by inserting steps into the new composition that immediately recall his manner.

Here he is the professor who has come to pick his nose and dot his i’s

Now: I, like all those present, imagine having seen, read and heard countless parodies, from Divine Comedy of Mickey until Fascists on Mars. Many were raucous, raunchy, and had a blast looting, bombing, and deconstructing their source material and then putting it back together in the shape of a totem pole that resembles the original as much as Moira Orfei’s driver’s license photo looked like when she was 60. . Others were thin and brainy, made to be studied in university courses on the theory and technique of the language of anything and then impress the busty female students of DAMS by quoting Proust’s pastiche. However, despite all the related preparation, a little surprise like Deadstreams I didn’t expect it. Deadstreams wrote it, made it and half acted it the couple, on set and in life, made up of Vanessa And Joseph Winterin their debut as directors of a feature film (they will repeat themselves shortly, even if clearly only with one episode, in V/H/S/99). Deadstreams has made all the rounds of big festivals and small festivals that still do the job of supporting independent cinema, starting with South by Southwest in Austin and reaching as far as Frighfest from London. DeadstreamsHowever, it is above all a horror comedy that takes the above academic rule of parody and carries it out literally. Moreover. Exclamation point. Deadstreams manages to be three times a parody, without ever getting lost along the way admiring one’s navel or doing the mamamasenzamani; that is, without ever forgetting that it is a genre film. Of those who play Serie B with honor and won’t participate in the World Cup in Qatar, but at least in the morning he can look in the mirror and be sure he hasn’t actively contributed to slavery in the Middle East. Out of control similarities aside, me Deadstreams recalled another parody, which has nothing to do with genre and which undertakes to be a little more over the top of the case, but which nonetheless shares that deliberate intent to imitate a characteristic style by inserting in the new composition passages which recall its manner, and that if you’re not careful they seem like an ode. Surprise signature!

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A couple of happy directors

Shawn Ruddy is precisely what we deserve as a species: a youtuber barra streamer who has stepped on a demonetizing shit and to get back in the good graces of the public (and sponsors) he invents an exaggerated stunt. Imagine Logan Paul making videos of him with his buddies, stepping on the giant shit of the Forest of suicides and then he tries to make himself terrible by inventing himself as a boxer and/or wrestler to recover lost ground and money. Exactly the same thing. Only Ruddy is a little less masculine alpha(beta) by the Paul brothers, and all his quid as a content creator lies in the fact that he sells himself as the biggest shitty guy in history who, in order to satisfy the thirst for ignorance and sadism of his viewers, is willing to be the protagonist and victim of some of the ideas of stupidest, most useless and self-serving stunts in the world. His channel Wrath of Shawn hosted some truly colossal crap – the initial montage is fun, I personally collapsed at the Baby Moses Challenge – but one too many is enough to be deleted from YouTube, demonetized and abandoned by sponsors. Disaster. Especially for a 30-year-old who has invested everything in that kind of career.

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Other than a competition to enter the public

After making a public apology without conviction and serving his time in detention, Shawn’s channel is back on track, he gets the sponsor of a ubiquitous random energy drink back, and Ruddy prepares to do the very stupid thing his followers not only expect, but they almost demand, in a relationship dynamic that is much more reminiscent of that between bully and bullied than between follower and content creator. Shawn has decided that he will spend an entire night inside Death Manor, haunted house by the spirit of a failed Mormon spinster poet, where several people are said to have already died. Not only. To avoid running away with his tail between his legs in fear – losing his sponsor and having to definitively give up his career as a streamer – Ruddy throws the spark plugs of the car away and locks himself inside the villa with a padlock whose key he hides. Needless to say, the villa’s curse is absolutely true, the ghost exists and is rather vicious; only he’s never had to deal with the stupid stubbornness of a live streamer that he won’t give up his empty stardom, even if it costs his life.

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Deadstreams it is above all an excellent parody of the landscape of social media professionals, those content creators who have forced themselves to live trying to exploit our attention disorder to their advantage: the more mess they make, the more people they will turn towards them, the more money they will earn and above all there is no going back. In the sense that the accumulation curve cannot reverse, unless one wants to give up part of the ephemeral popularity it has acquired. But that’s not how capitalism works, honey. In this case, the very palpable and real terror of going back into social oblivion is the engine of all the rambling, masochistic or simply stupid actions of Shawn, whose life hangs on the whims of the sponsors and, above all, of the spectators who are commenting on the direct.
And then Deadstreams it’s also an apt parody of found footage. The other selling point of Shawn’s channel is that it offers audiences the best cinematic experience in live streaming. For this reason, Pirlotti shows up at the haunted manor loaded with more equipment than a service for a wedding in Sant’Antonio Abate, looking at the house as if it were the set of a Big Brother any and, effectively, setting up the found footage with the most possibilities of reverse shots in history. But it is also a parody of the genre when, in the second part of the film in which the ghost is unleashed and Shawn tries to survive, the nightmare villa is transformed into an escape room with the clues hidden in plain sight and the precise useful object found in the moment precise to the precise place to do the precise thing to advance the story with perfect timing. Or to be more precise, precise. I’ve always found the idea of ​​writing a screenplay for found footage that takes place in real time funny and complicated: how many things have to fit together by chance to allow us viewers to have a salient and rhythmic narrative experience? Mr and Mrs Winter play delightfully with this idiosyncrasy of the genre, at one point even making me wonder if I should expect a paradigm shift like Zombies against zombies.

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Not zombies but good works and slenderman

And then and finally and fortunately and how beautiful, Deadstreams it is also and above all a homage – much less parodic, in this case, and much more literal – to the first Sam Raimi. A triumph of properly made latex demons; but also of blood, pus, stagnant water, eyeballs and other various liquids that spray and spurt from everywhere; of severed limbs, filthy nails, weeping wounds, kicking monsters in the balls and many other things and fluids and gelatinous substances between funny and disgusting, and funny because it’s disgusting – but not disgusting because it’s funny, that I would say no . There’s really something to amuse yourself, in fear, to watch Deadstreams; and get advice from someone who usually looks at horror films as a justification for being able to torture cats with cuddles as a form of pet therapy while suffering from scares. Also let me be old: it’s a very beautiful thing that Deadstreams has found international distribution thanks to the streaming service Shudder, but peck me chicken if it’s not exactly the kind of film there that should be seen in the cinema with a lot of annoying people laughing with their mouths full of popcorn and throwing sodas at the screen.

Shudder quotes:

“Don’t throw drinks at the TV, which then breaks”
Toshiro Gifuni, i400calci.com

>> IMDb | Trailer

Deadstream, all over the world. Deadstream, he’s going crazy