Bello! Why gen Alpha subconsciously speaks the language of the Minions

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From global loanwords and garbled Italian, the slang of the children of millennials doesn’t just share elements with Minionese – it may have absorbed it I was four years old when Despicable Me was released in cinemas and the banana-coloured, overall-clad Minions took the world by storm. By the time I was seven, my siblings and I were using The Official Minion Manual to teach ourselves Minionese. Minionese is, of course, the made-up language spoken by Kevin, Stuart, Bob and company, which consists of a combination of melodic gibberish and variations on genuine vocabulary from a diverse array of world languages . When the Minions shout “kanpai” (“cheers” in Japanese) or “para tú!” ( a variation on the Spanish “para ti” ), it might remind you of how gen Alpha slang, which primarily consists of nonsensical words such as “cap” and “mogging”, also draws on world languages. Consider the Bulgarian scat origins of “skibidi”, for example. Continue reading... from Film | The Guardian https...
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Tod Browning: the film-maker who brought the carnival to Hollywood

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A new retrospective offers another chance to appreciate the daring and often deranged films made by a director who was once the centre of a moral panic

When a kid threatens to run away and join the circus, perhaps upon being forced to eat broccoli or go to bed, they’re fantasizing about more than just independence. The traveling carnival offered an alternative way of life that appealed specifically to those uninvested in the politenesses of the grownup world. No one can make a carny shower, wear a tie or go to church. This liberation from the strictures of civilized society was a must for an ethically spotty line of work reliant on a mix of trickery, hucksterism, prurience and morbid fascination, a low art form that attracted a certain kind of scuzzy personality. The tents of the sideshow provided a home to thieves, oddballs, creeps, chiselers, dope fiends, conmen, women of ill repute, leches, lushes and any other species of degenerate in need of a paycheck. If vaudevillians were the rock stars of the pre-cinema era, then circus folk were van-dweller punks cutting a swath of blithe misbehavior from gig to gig.

Just before the turn of the 20th century, at the ripe age of 16, a bricklayer’s son named Charles Albert Browning Jr decided that these were his people and abandoned his well-heeled family to join their grubby ranks. He would spend 10 years cutting his teeth as a barker, song-and-dance man, clown and contortionist before rechristening himself Tod, the German word for “death”, conferring a ghastly gravitas. Three years later, he’d take leave of the stage with sights set on the burgeoning silent film industry, but he’d carry the lurid spirit of the big top with him through the rest of an illustrious, disreputable career.

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