2017: the year in pop culture

A month-by-month digest of 2017s most memorable moments, from Trumps not-so-triumphant inauguration to Get Out resuscitating the horror genre, Love Islands surprise success and beyond

January

Trump’s inauguration

The year began with nobody RSVPing to Donald Trump’s inauguration invite. After reaching the end of his Rolodex, he eventually got 3 Doors Down to perform- so, crisis over.

The
Musical chairs … the extensive listing of musicians that shirked Trump’s big day. Photograph: Guardian Design Team

Meanwhile, in popular culture, 2017 started with a similar sense of aspiration and optimism, which soon turned into disappointment.

Twin
Going down … the listing of the lost: Twin peaks, Blade Runner 2049, the xx, Curb Your Enthusiasm and Mother !.
Photograph: Guardian Design Team
<iframe class="fenced" srcdoc="var" localurlvar='https://bookshop.theguardian.com/his-bloody-project.html'. icon thicknes: 36 px; height: 36 px; showing: inline-block; vertical-align: middle; svg fill: #FFF ; . left-rule: before,. right-rule: before content: ”; float: left; thicknes: 43%; height: 1px; border-top: 1px dotted #bdbdbd; margin-top: 12 px . right-rule: before content: ”; float: right svg display: block; margin: automobile p margin: 0px </p><div class="bookshop-button-wrapper" id="wrapper"> </div><p> “> </p><h2> <strong> February </strong> </h2><h2>The Oscar blunder fallout</h2><figure class="element"><div class="u-responsive-aligner"><div class="embed-video-wrapper"> </div></div><figcaption class="caption"> School of card knocks … Warren Beatty announces the wrong winner of the best picture Oscar. </figcaption></figure><p>We used to know the drill for awards ceremonies: some off-colour compere banter, winners reeling off their thank-yous, Jennifer Lawrence wearing vintage Dior, Helena Bonham Carter wearing vintage Edward Scissorhands. But all that was swept under the red carpet this year- the year that awards lost the plot.</p><p>Who can be surprised that it began with Meryl Streep, who has every reason to rebel against acceptance-speech protocol by now? Accepting her 8,000 th Golden Globe, <a href="https://www.theguardian.com/us-news/2017/jan/09/meryl-streep-donald-trump-feud-golden-globes"> she stood up against the yet-to-be-inaugurated Donald Trump</a>and his mockery of disabled reporter Serge Kovaleski, and the audience stood up in approval.</p><p>The tone was defined. For the rest of awards season, winners seemed out of place if they weren’t constructing some sort of political statement, and- in the unfolding Trump era- there were plenty of options: the Muslim ban; the border wall; LGBTQ, racial and gender discrimination.</p><p>Things turned a different shade of bonkers at the <a href="https://www.theguardian.com/film/2017/jan/29/sag-awards-2017-hidden-figures-stranger-things-political-speeches">SAG awardings</a>, when David Harbour’s barnstorming speech for Stranger Things (” We will shelter freaks and outcasts … We will get past the lies. We will hunt monsters !”) was undercut by the manic facial contortions of Winona Ryder standing next to him- confounded, astonished, defiant, suspicious, everything-at-the-same-time. Nobody realised she’d stayed in character as Joyce Byers between seasons.</p><p>Not even the wizened Adele could stick to the programme. At the Grammys she had her own mini-meltdown, starting her tribute to <a href="https://www.theguardian.com/music/2017/feb/12/adele-george-michael-tribute-grammys">George Michael</a> off-key( talking here a careless whispering ), then stopping the music, apologising for” fucking this up”, apologising for swearing, then apologising for starting again.</p><p>Then the Oscars the appropriately disastrous finale, with Warren Beatty handing the biggest award of the night to the incorrect movie. It was a plot twisting, or rather a plot loss, that no one insured coming- least of all Team La La Land, who were still going through their thank-yous as bewildered Team Moonlight took the stage. The painfully prolonged shambles uncovered just how bad improvisational skills are in Hollywood. Sticking to the programme has never seemed so appealing. <strong> <em> SR </em> </strong> </p><h2>The Nightly Show: five reasons ITV’s attempt at news satire didn’t work</h2><figure id="img-3"> <a href="#img-3" class="article__img-container"> </p><div class="u-responsive-ratio"> <img class="gu-image" alt="Gordon" /><figcaption class="caption"> Nice gag … Gordon Ramsay. </figcaption><p> <strong> 1 </strong> Chatshows are notorious for squint-inducing defines- portion lap-dancing nightspot, portion suburban soft play. The Nightly Show’s was especially weird, however, such as the desk that doubled up as a shelving division, complete with wilted plant.</p><p> <strong> 2 </strong> None of the guest presenters shone, but Gordon Ramsay breathlessly delivering a spit-or-swallow joke to Tv chef Gizzi Erskine during a taste test made an entire nation gag.</p><p> <strong> 3 </strong> John Bishop’s terriers straying aimlessly around a doggie assault course was one of many misfiring sketches, which in this case concluded with said pets looking at their master, as if to say:” Fire your agent. Now .” </p><p> <strong> 4 </strong> Monologues delivered by guest hosts tried to take a swipe at current events but failed. Note to producers: reading Trump’s tweets in a funny voice does not make for side-splitting comedy.</p><p> <strong> 5 </strong> Joe Pasquale getting his bumcrack waxed via video connect surely signalled the death knell for this lamentable attempt. The welts on his rear end were nothing next to the scars sustained by spectators. Help! My eyes! <strong> <em> FS </em> </strong> </p><figure class="element"> <iframe class="fenced" srcdoc="var" localurlvar='https://bookshop.theguardian.com/his-bloody-project.html'<title>. icon width: 36 px; height: 36 px; showing: inline-block; vertical-align: middle; svg fill: #FFF ; . left-rule: before,. right-rule: before content: ”; float: left; thicknes: 43%; height: 1px; border-top: 1px dotted #bdbdbd; margin-top: 12 px . right-rule: before content: ”; float: right svg showing: block; margin: automobile p margin: 0px </p><div class="bookshop-button-wrapper" id="wrapper"> </div><p> “> </p><h2> <strong> March </strong> </h2><h2>Get Out: how the film’s fresh take over horror took over 2017 </h2><figure id="img-4"> <a href="#img-4" class="article__img-container"> </p><div class="u-responsive-ratio"> <img class="gu-image" alt="Get" /><figcaption class="caption"> Get in … Daniel Kaluuya in Get Out. Photograph: Allstar/ Blumhouse Productions </figcaption><p>With so many film sectors having a terrible year- big-budget blockbusters, comedies, sci-fi, reboots , non-reboots- horror pretty much saved the box office. How did it do this? By an obscure, mystic process known as” constructing movies that do not suck “. </p><p>If there’s an emblematic horror movie of 2017, it would have to be <a href="https://www.theguardian.com/film/2017/dec/20/the-50-top-films-of-2017-in-the-us-no-3-get-out">Get Out</a>. It was accessible and arousing but also fresh and political, giving the good old they’re-all-out-to-get-me scenario a contemporary shot of racial paranoia. In a year that gave us Charlottesville and Colin Kaepernick, it felt right. But despite the States’s widening divisions, audiences had no problem identifying with a black human surrounded by creepy racists. Let’s not forget that Get Out only became possible in our current epoch- when an African-American film-maker( Jordan Peele) was at last entrusted with a mainstream horror movie.</p><p>It didn’t stop there, though. There were quality horrors across the board. We got huge makes such as It( which doubtless benefited from the Stranger Things effect ), <a href="https://www.theguardian.com/film/2016/sep/27/split-review-james-mcavoy-m-night-shyamalan-fantastic-fest-austin">Split</a>( with its all-star cast of James McAvoy, James McAvoy, James McAvoy and James McAvoy ), and Annabelle: Creation( admittedly a textbook franchise horror ). In the alternative margins were interesting new directions such as <a href="https://www.theguardian.com/film/2017/aug/10/a-ghost-story-review-rooney-mara-casey-affleck-david-lowery">A Ghost Story</a>and <a href="https://www.theguardian.com/film/2017/jun/08/it-comes-at-night-review-dystopia">It Comes at Night</a>. European cinema gave us the likes of <a href="https://www.theguardian.com/film/2017/mar/16/personal-shopper-review-kristen-stewart-olivier-assayas">Personal Shopper</a>, <a href="https://www.theguardian.com/film/2017/apr/09/raw-julia-ducournau-cannibal-fantasy-review-kermode">Raw</a> and <a href="https://www.theguardian.com/film/2017/nov/02/thelma-review-joachim-trier-telekenetic-lesbian-psychological-drama">Thelma</a>. The horrors that really bombed were autopilot duds such as Gore Verbinski’s A Cure for Wellness, Jigsaw( AKA Saw VIII) and Tom Cruise’s overblown The Mummy- which forgot it was supposed to be a horror movie at all. In other terms, movies that sucked.</p><p>If 2017 is a horror high point, though, it could well be downhill from here in 2018. As studios sift through the wreckage of their failings, they might start asking why they expended PS130m on King Arthur: Legend of the Sword when Get Out made more money( more than PS190m worldwide) on a budget of PS3. 3m. Numbers like that are hard to ignore, but horror has a nasty habit of sequelising and cannibalising its best ideas to demise. Next year we could be facing a horror glut. Be afraid. Be very afraid. <strong> <em> SR </em> </strong> </p><h2>Galway Girl: deconstructing one of the year’s most divisive singles</h2><figure id="img-5"> <a href="#img-5" class="article__img-container"> </p><div class="u-responsive-ratio"> <img class="gu-image" alt="Michael" /><figcaption class="caption"> Michael Flatley+ tin whistle+ Jim Corr+ fiddle- The Cranberries= Galway Girl by Ed Sheeran. </figcaption><figure class="element"> <iframe class="fenced" srcdoc="var" localurlvar='https://bookshop.theguardian.com/his-bloody-project.html'<title>. icon width: 36 px; height: 36 px; display: inline-block; vertical-align: middle; svg fill: #FFF ; . left-rule: before,. right-rule: before content: ”; float: left; thicknes: 43%; height: 1px; border-top: 1px dotted #bdbdbd; margin-top: 12 px . right-rule: before content: ”; float: right svg display: block; margin: auto p margin: 0px </p><div class="bookshop-button-wrapper" id="wrapper"> </div><p> “> </p><h2> <strong> April </strong> </h2><h2>One Direction: their solo careers assessed</h2><figure id="img-6"> <a href="#img-6" class="article__img-container"> </p><div class="u-responsive-ratio"> <img class="gu-image" alt="Louis" /><figcaption class="caption"> One-upmanship … <em>( from left) </em> Louis Tomlinson: no direction; Zayn Malik: ex-directory; Harry Styles: direct debit; Niall Horan: direct line; Liam Payne: directional derivative. Composite: Guardian Design Team </figcaption><p>This month watched the release of Sign of The Times, the debut single from Harry Styles. From Niall’s nan-friendly folk, to Liam’s pop pillaging, here’s the direction the chaps went in next.</p><p> <strong>‘ Ed Sheeran, but twangier’<br /> </strong> Zayn continued his endearing knack for mimicry, swapping the Weeknd of Pillowtalk for the Sia of Dusk Till Dawn( featuring Sia ). Also striding through the Stars in Their Eyes dry ice was Harry, who went to LA and is coming as a silk-suited hybrid of Mick Jagger and Green Man-era Mark Owen. The genre roulette wheel stopped at” Ed Sheeran, but twangier” for cosy knitwear fan Niall Horan, whose album Flicker looked like Fucker when written in capitals. Bear Payne’s dad Liam, meanwhile, regenerated as Justin Timberlake-lite, while poor Louis failed to be the main act on his own singles.</p><p> <strong>‘ Unnervingly normal’<br /> </strong> With Zayn’s moodiness cemented by fancy covers on fancy style publications, it was up to everyone else to play repositioning catch-up. <a href="https://www.theguardian.com/global/2017/jun/25/louis-tomlinson-one-direction-solo-album">Louis appeared in the Observer</a> and on the Noisey website applying his apparent uselessness as a selling tactic, while Niall was described as” unnervingly normal” in his Sunday Times Culture feature. For Liam, his change away from his boyband past involved the covering of the Telegraph magazine and a ludicrous amount of blue steel sulk. The real repositioning prize, however, was saved for Harry, who appeared on the cover of Rolling Stone in an elegantly preposterous profile written by Cameron Crowe.</p><p> <strong>‘ Unsexy sex romp’<br /> </strong> Zayn started the year cosying up with girlfriend <a href="https://www.theguardian.com/fashion/shortcuts/2017/feb/10/gigi-hadids-zayn-malik-white-bandana-political-statement-or-fashion-accessory">Gigi Hadid’s</a> bessie mate( and Harry’s ex) Taylor Swift in unsexy sexuality romp I Don’t Wanna Live Forever. Louis sang a couple of words near a mic being held by Bebe Rexha on Back to You, while Liam appeared on a Zedd song and danced weirdly near a non-plussed Quavo on debut solo single, Strip That Down. Niall is friends with everyone, the sweetheart, while Harry get Stevie Nicks- the mother lode for any authenticity-seeking serious musician- to appear on stage with him in LA.</p><p> <strong>‘ Styled by Gap’<br /> </strong> Since his departure, Zayn’s had a US and UK No 1 album and single, plus two other UK Top 5 hits. Liam’s Strip That Down was Top 10 on both sides of the Atlantic, Louis had some success at home but constructed little dent in the US, while Harry’s Sign of the Times topped the charts in the UK and his self-titled album did the double( ie it was a US and UK chart-topper, do keep up ). But it’s sweet Niall and his” styled by Gap” acoustic ditties that could be the real long-term success narrative; he’s had two UK Top 10 s, topped the US Adult Top 40 chart in America with the actually very good Slow Hands and merely missed out on a UK No 1 album to fellow ex-boybander George Michael. As the saying goes, it’s always the quiet ones lumbered with braces early on who come good in the end. <strong> <em> MC </em> </strong> </p><h2>Nicole Kidman: why the actor had a bonza year</h2><figure id="img-7"> <a href="#img-7" class="article__img-container"> </p><div class="u-responsive-ratio"> <img class="gu-image" alt="The" /><figcaption class="caption"> Yes, she Cannes … <em>( from left) </em> The Beguiled; Big Little Lies; Top of the Lake; at the Oscars; The Killing of a Sacred Deer. Composite: Guardian Design Team </figcaption><p>If a 50 -year-old woman is considered past it in Hollywood, then nobody told Nicole Kidman. She started 2017, the year of her half-century, with her fourth Academy Award nomination for Lion. In the event, she didn’t add to her tally( the Oscar went to Viola Davis for Fences ), but did win the evening’s arguably more important battle of the memes. What was that gif-tastic” seal clap” all about? An effort to protect expensive rings, on loan from Harry Winston, apparently.</p><p>Then onwards to the Cote d’Azur in May, where Kidman was dubbed Queen of Cannes before her private plane had even touched down. Her four entries in the festival’s official selection would have ensured she stood head and shoulders above other Hollywood -Alisters, even if, at 5ft 11 in, she didn’t also literally tower above most. Both Sofia Coppola’s The Beguiled and Yorgos Lanthimos’s The Killing of a Sacred Deer paired her winningly with Colin Farrell, with Kidman adding a cool grandeur to his unpredictable febrility.</p><p>On television, Kidman’s performance in <a href="https://www.theguardian.com/tv-and-radio/2017/dec/13/the-50-best-tv-shows-of-2017-no-5-big-little-lies">Big Little Lies</a>( which she also co-produced) won her an Emmy, kudo for revealing current realities of domestic violence and, in co-stars Reese Witherspoon, Laura Dern, Zoe Kravitz and Shailene Woodley, a ready-made squad to rival that of fellow willowy blonde, Taylor Swift. But perhaps Jane Campion’s second series of <a href="https://www.theguardian.com/tv-and-radio/2017/aug/31/top-of-the-lake-china-girl-finale-recap-uneven-and-bizarre-to-the-bitter-end">Top of the Lake</a> offered Kidman her most intriguing role of the year. As she revealed in interviews, playing Julia allowed for some oblique exploration of her own experiences of motherhood, adoption and surrogacy.</p><p>Does it add to Kidman’s satisfaction that while her career runs from strength to strength, ex-husband Tom Cruise goes from flop to embarrassing flop? <br />If so, she’s far too evolved to let on. <strong> <em> EEJ </em> </strong> </p><h2>Pepsi-gate: how the’ influencers’ stopped get likes</h2><figure id="img-8"> <a href="#img-8" class="article__img-container"> </p><div class="u-responsive-ratio"> <img class="gu-image" alt="Kendall" /><figcaption class="caption"> Coke bloat … Kendall Jenner brings peace. </figcaption><p>Ah, to be an “influencer”, paid bajillions of dollars to promote everything from makeup to flat belly teas to an audience of pleb. It all seemed so attractive- until 2017 came along to destabilise the world’s superstar selfie-takers.</p><p>First up, Kendall Jenner- the eldest of Kris Jenner’s non-Kardashian brood- who was the starring of a <a href="https://www.theguardian.com/lifeandstyle/lostinshowbiz/2017/sep/07/kendall-jenner-pepsi-moment-kardashians">tone-deaf Pepsi campaign</a>. In it, Jenner successfully diffuses police-protester relations at a Black Lives Matter-style protest by dedicating a police officer a fizzy drinking. If merely it were all that simple, Kendall! She and sister Kylie also launched- and then pulled- a <a href="https://www.theguardian.com/commentisfree/2017/jun/30/kylie-kendall-jenners-t-shirt-celebrity-instagram-fame-not-cultural-icons">controversial T-shirt line</a> that featured images of their faces superimposed on to unlicensed photographs of the likes of Biggie and Tupac.</p><p>Also perfecting her saccharine apologies this year was pal Gigi Hadid, who claimed to have” the utmost respect and love for the people of China” after a video circulated online of her squinting next to a biscuit shaped like a Buddha in February. Then in July, she and boyfriend Zayn Malik were the subjects of a much-ridiculed Vogue cover that claimed the androgynously garmented pair were” gender fluid “. Sister Bella Hadid was also ridiculed in October when a video of her chatting about trainers in an approximation of black slang spawned thousands of “homeboy” memes.</p><p>But, above all these examples of questionable influencer behaviour, two stand out. Video-maker PewDiePie lost contracts <a href="https://www.theguardian.com/technology/2017/feb/13/pewdiepie-youtube-star-disney-antisemitic-videos">with YouTube and Disney</a> after posting antisemitic videos, subsequently describing himself as a” rookie comedian” in something of a non-apology. Elsewhere, Ja Rule’s Fyre festival- promoted by the likes of, yes, you guessed it, Bella Hadid and Kendall Jenner- <a href="https://www.theguardian.com/culture/2017/apr/28/bahamas-drama-luxury-fyre-festival-turns-into-chaos">tanked</a> when festival-goers arrived at their “luxury” experience in the Bahamas to find disaster relief tents and cheese sandwiches. While the organisers were hit with legal action, the influencers- who hadn’t signalled that their social media posts were adverts- got out unscathed.</p><p>However, with this much controversy, perhaps 2018 will be the year the wheels truly come off their pristine social media vehicles. <strong> <em> HJD </em> </strong> </p><figure class="element"> <iframe class="fenced" srcdoc="var" localurlvar='https://bookshop.theguardian.com/his-bloody-project.html'<title>. icon thicknes: 36 px; height: 36 px; showing: inline-block; vertical-align: middle; svg fill: #FFF ; . left-rule: before,. right-rule: before content: ”; float: left; width: 43%; height: 1px; border-top: 1px dotted #bdbdbd; margin-top: 12 px . right-rule: before content: ”; float: right svg display: block; margin: automobile p margin: 0px </p><div class="bookshop-button-wrapper" id="wrapper"> </div><p> “> </p><h2> <strong> May </strong> </h2><h2>From Master of None to Insecure: how dating apps spiced up TV’s sex life </h2><figure id="img-9"> <a href="#img-9" class="article__img-container"> </p><div class="u-responsive-ratio"> <img class="gu-image" alt="Get" /><figcaption class="caption"> Get thumb action … Aziz Ansari in Master of None. Photo: AP </figcaption><p>Following on from the likes of Crazy Ex-Girlfriend and Broad City, 2017 was the year that TV took a swipe at dating app culture in wry, realistic style. The second series of Issa Rae’s dramedy <a href="https://www.theguardian.com/tv-and-radio/2017/sep/16/insecure-yvonne-orji-33-years-old-virgin">Insecure</a> opened with one such scene. Fictional Issa is sat with her ex in a restaurant. Except that he isn’t there. As the camera pans back from Issa to her date, we find a total stranger. And then another. And then another. She’s on a string of unsuccessful dates, answering the same tired questions from men she’s met on Tinder, Hinge and Bumble. Frustrated, she does some trademark rapping in the toilet (” My ex won’t take me back/ So my broken ass is here, small-talking over apps “), before accidentally spilling a drink over one of her suitors.</p><p>Elsewhere, Aziz Ansari’s <a href="https://www.theguardian.com/tv-and-radio/2017/may/15/master-of-none-season-two-review-aziz-ansari-italy">Master of None</a> offered the male perspective of the “revolving door” scenario in the episode titled First Date. Like Issa, Dev( Ansari) is on a series of dates, which- over the course of a 30 -minute episode- are spliced with one another as we confront awkwardness, fleeting connects and even racism, as Dev discovers a blackface “mammy” -style jar one date keeps her condoms in. It also emphasises the gamified nature of apps, with Dev firing off the same witty opener (” I’m going to Whole Foods, want me to picking you up anything ?”) to two more matches at the end of the episode.</p><p>And so, both proves succeeded in presenting the anonymous, restless and often shallow nature of post-Tinder dating, while remaining sympathetic to the people caught in its hold- and, perhaps, making audiences think twice about their own swiping etiquette. <strong> <em> HJD </em> </strong> </p><figure class="element"> <iframe class="fenced" srcdoc="var" localurlvar='https://bookshop.theguardian.com/his-bloody-project.html'<title>. icon width: 36 px; height: 36 px; display: inline-block; vertical-align: middle; svg fill: #FFF ; . left-rule: before,. right-rule: before content: ”; float: left; width: 43%; height: 1px; border-top: 1px dotted #bdbdbd; margin-top: 12 px . right-rule: before content: ”; float: right svg showing: block; margin: automobile p margin: 0px </p><div class="bookshop-button-wrapper" id="wrapper"> </div><p> “> </p><h2> <strong> June </strong> </h2><h2>Oh, Jeremy Corbyn: how woke was pop? </h2><figure id="img-10"> <a href="#img-10" class="article__img-container"> </p><div class="u-responsive-ratio"> <img class="gu-image" alt="Chants" /><figcaption class="caption"> Chants encounter … the crowd at Glastonbury. Photo: Matt Cardy/ Getty Images </figcaption><p>Not since the Red Wedge gigs of the 1980 s has there been such a boom in political pop, with the likes of Kendrick Lamar, Beyonce and Stormzy exploring issues such as structural racism and political corruption. <a href="https://www.theguardian.com/music/live/2017/jun/24/glastonbury-2017-saturday-jeremy-corbyn">Even Jeremy Corbyn went from embattled leader to Glastonbury Pyramid Stage star,</a>preaching collectivism and progressive taxation between Craig David and Run the Jewels.</p><p>The Trump presidency has now intensified an artistic importance that performers feel compelled to respond to. In fact, artists who didn’t have anything to say about the world fought: Taylor Swift is coming with a single that was all about her, and was roundly sniffed at for being too self-involved.” Simply commenting on her soured reputation does not a cultural critique construct ,” said USA Today.</p><p>This has put some artists in an odd stance, those who don’t really have anything worthwhile to say or don’t want to be so radical that brands or right-wing fans are scared off. The answer? Keep things vague( interestingly, 2017 saw a lot of press releases frame sad sungs as” challenging the stigma of mental health issues” and happy ones as” anthems of self-empowerment “). </p><p>The queen of the vague-pop movement is <a href="https://www.theguardian.com/lifeandstyle/lostinshowbiz/2016/nov/24/katy-perry-great-political-pop-realignment-2016-trump-brexit">Katy Perry ,</a> who changed her Twitter bio to” Artist. Activist. Conscious” and returned with lead single Chained to the Rhythm, with its refrain” So comfortable, we’re living in a bubble, bubble/ So comfy, we cannot see the difficulty, difficulty “. It sounds like it could be against consumerism? But crucially, only if you want it to be.</p><p> <a href="https://www.theguardian.com/music/2010/jun/13/pink-review">Pink</a>, a long-term veteran of vague pop, returned with What About Us, a kind of Earth Song of</p><p>Read more: <a href="https://www.theguardian.com/culture/2017/dec/23/2017-year-pop-culture">www.theguardian.com</a></p></p></div><p></a></figure></figure></div><p></a> </figure></figure></div><p> </a></figure></div><p> </a></figure></div><p> </a></figure></figure></div><p></a></figure></p></div><p></a></figure></figure></div><p></a> </figure></figure></div><p></a></figure></div><p></a></figure> </div> <footer class="entry-footer"> <span class="cat-links"><span class="fa fa-tags"></span> <a href="http://lascrucesccc.masseychiro.com/category/stress-effects/" rel="category tag">Stress Effects</a></span><span class="tags-links">Tagged <a href="http://lascrucesccc.masseychiro.com/tag/culture/" rel="tag">culture</a>, <a href="http://lascrucesccc.masseychiro.com/tag/film/" 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