His nervousness over getting caught, combined with his desire to find the identity of the woman from The Royal, gradually unravels him. But since he and, he assumes, his partner were blindfolded, he leaves spent and glowing but with no real idea who just rode his pretty face for a substantial amount of time. Changing into sweatpants and sneakers but still in dress shirt and tie, the outfit of a paranoid man who will entertain the thought that forensic evidence of his misdeeds will most likely reside in the lower half of the body, he reluctantly enters the room and seems to get everything he’s bargained for (e.g., lots of face-sitting). So Jordan responds to the letter, filling out a checklist of his sexual preferences (“face-sitting” gets a double checkmark and a circle for emphasis), and soon receives a key card to a room at the hotel. Just any iota that someone gives about what he wants-that he matters. Are his fantasies even “OK” anymore? Why does no one seem to care when Raymond (Wilky Lau), a potential big international client, aggressively grabs Jordan’s crotch at a party? A white millennial man cornered by obsolescence-or worse, an obsolescence no one gives much of a shit about-will scratch and whine for scraps of satisfaction. As talent agencies battle the Writers Guild of America over “packaging deals” and his whole career’s culture shifts out from under him, Jordan receives a handsome purple invitation in the mail promising a “no-strings attached sexual encounter with an admirer at The Royal Hotel.” His marriage to Caroline (Virginia Newcomb) looms-as do all things in the white millennial man’s life-and, as he’s fit and attractive and not uncommonly met by temptation in public, he can’t help but fantasize about whatever validation the purple letter offers. In The Beta Test, his first feature with co-director/-writer PJ McCabe, Cummings is Jordan Hines, a Hollywood agent facing extinction.

Everything is terrifying, everyone is watching, and the least noble thing any of them can do as the teeth rot from their mouths is rage against a universe that no longer wants them. They find closure in slapping around a corpse ( Thunder Road), or they turn to folklore and cryptozoology to explain a world they no longer understand at all ( The Wolf of Snow Hollow). His characters feel similar, but then so do many white, cisgender, heterosexual, elder millennial men-unable to wield power over their domain, they flail belligerently through these, their End Times. Jim Cummings tends to play men who refuse to lose control.

Half life 1 beta