Teenage Boy Masturbate

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Is It Normal to Masturbate?
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I'd like to know if it's 'OK' to masturbate. Recently, when I'm by myself, I use it as a stress reliever, and I feel great afterward. But I see online sites that are saying it's 'wrong' and 'dirty.' I really want to find out whether it's normal or weird.
– Shea*
From a medical standpoint, there is nothing wrong with masturbation. It's perfectly normal for both guys and girls to masturbate. Masturbation can release sexual tension, as well as other tensions.
Masturbation goes against the beliefs of some religions and other groups. That's probably why you're finding conflicting information online. The TeensHealth doctors can only weigh in on the health effects: Masturbation cannot affect a person's physical health in any way.
Rumors about masturbation causing physical problems are not true. Masturbation can sometimes conflict with a person's religious beliefs or personal values. But it will not:
If you have questions about masturbation, consider talking to your parent or ask your doctor.
*Names have been changed to protect user privacy.
Note: All information on KidsHealth® is for educational purposes only. For specific medical advice, diagnoses, and treatment, consult your doctor.
© 1995-2021 The Nemours Foundation. All rights reserved.
Images provided by The Nemours Foundation, iStock, Getty Images, Veer, Shutterstock, and Clipart.com.

In Matt Kazman's short, a tragic coincidence convinces a teenager that his private time is a lethal weapon
Matt Pressberg | August 14, 2016 @ 9:00 AM
Matt Kazman wanted to make a film that got inside the minds of teenage boys. The obvious avenue: masturbation.
Kazman's "Killer," one of the finalists in TheWrap's ShortList Film Festival 2016, is a 20-minute look at a boy who believes his self-pleasuring is also a deadly weapon. But it's also about growing up in a society where most teens get their sex advice from each other.
"The logline definitely reads a little sillier than the movie plays," Kazman told TheWrap. "That was kind of intentional, because it's an inherently silly idea: a kid thinking that masturbating can kill someone."
In "Killer," young Dusty (Hale Lytle) is enjoying some quality time to himself when his mother suddenly drops dead in the next room. One of his school frenemies had told him that every time someone masturbates another person dies, and after the fatal moment, Dusty starts to believe he has that power and acts accordingly.
Kazman said the short came from an idea he had for a feature film about two brothers who felt different types of guilt when their mother died unexpectedly. The older one regretted being rude, and the youngest felt shame because he was masturbating at the fatal moment. Kazman decided to focus on the latter and make it a short, seeing a lot of himself in the character.
"When I was that age, I was quiet and awkward," Kazman said. "And surrounded by friends who would hear things from older brothers and family members about sex, and learning these things were not true. I liked the idea that in [Dusty's] head it was frightening, but as an adult it was really funny."
Kazman said one of the hardest parts of making the film was finding the right child actor to play an uncomfortable role, but with the right amount of levity.
"It took a while to cast, for obvious reasons," he said before finding Richmond, Virginia, native Hale Lytle, now 14. "I knew I wasn't going to make the film until I found that kid. I worked with a casting director for the first time who had worked with kids who were in 'dark' commercials. I wanted it to be honest and not feel melodramatic."
Kazman said he's heard from a surprising amount of people who've seen the film how much it reminded them about their experiences as teens, where they also got a lot of nonsense sex advice from peers. He would like to see that change for the better.
"If I'm promoting anything, it's to inspire kids to feel comfortable talking to parents and older adults about sex," Kazman said.
Watch the film above. Viewers can also screen the films at any time during the festival at Shortlistfilmfestival.com and vote from Aug. 9-23.
TheWrap honors the best shorts from around the world at YouTube Space LA
"The tone of this movie’s marketing is nostalgic for a ‘Ghostbusters’ movie that doesn’t exist," one commenter writes
Alex Noble | July 27, 2021 @ 12:25 PM
There’s something strange in the neighborhood - specifically, in the new “Ghostbusters: Afterlife” trailer, if you ask many fans of the 80s comedy classic. Some are ripping the reboot’s relatively serious tone as “bizarre” while others are questioning why a film in which “that’s a big twinkie” is uttered is held in such high regard in the first place. 
“Ghostbusters: Afterlife” came back to haunt us Tuesday, dropping a new trailer featuring more insight into the movie’s plot, hints at some of its nostalgic cameos and an unexpectedly reverent attitude toward its silly, sarcastic source material.
The film was directed by Jason Reitman, son of Ivan Reitman, who directed the original 1984 flick starring Bill Murray, Dan Akroyd and Harold Ramis. While the decision to keep the franchise in the family may have been Sony’s way of appeasing the fanbase, the latest sneak peek seems to be doing anything but. 
The trailer has YouTube film critics Patrick Willems and Jay Bauman wondering whether we're talking about the same "Ghostbusters" here. But they were not alone.
Now, this new look at “Ghostbusters: Afterlife” did spread its fair share of spooky cheer. It also drudged up the debate raised by the 2016 reboot as to whether the original film deserves such sacred status and therefore, why it would be impervious to creative changes. 
Does the original film’s “slapped together charm” justify taking it in a different direction or is it grounds for maintaining said charm as is? Will Paul Rudd bring the humor everyone is missing? Will a real Bill Murray cameo actually materialize? Or did he simply record his trailer line from Wes Anderson's basement?
Hopefully these questions and more will be answered when “Ghosbusters: Afterlife” hits theaters on Nov. 11.
Debut film by Megan Park swept the the jury and audience prizes at this year's SXSW
Brian Welk | July 27, 2021 @ 12:00 PM
Warner Bros. Pictures has acquired the worldwide rights to "The Fallout," a teen drama starring Jenna Ortega that swept the top prizes at the SXSW Film Festival this year.
"The Fallout" is director Megan Park's debut film and follows a high school girl's journey after the emotional fallout of a school shooting forever alters her worldview and her relationships with family and friends.
The film will be released exclusively through HBO Max where available globally, and distributed by Warner Bros. internationally. No release date has been set.
Ortega leads a cast that also includes Maddie Ziegler, Niles Fitch, Will Ropp, Lumi Pollack, John Ortiz, Julie Bowen and Shailene Woodley. "The Fallout" won both the Grand Jury Award and the Audience Award for Narrative Feature at SXSW, and Park won the Brightcove Illumination Award honoring a filmmaker on the rise.
"Making ‘The Fallout’ was a journey I never expected to take and one that has changed me forever,” Park said in a statement. “If by seeing this film just one teen feels less alone, less afraid, or somehow understood, that will make the journey worth every step.”
“The Fallout” was produced by Shaun Sanghani of SSS Entertainment and David Brown of Clear Horizon alongside Rebecca Miller, Cara Shine and Todd Lundbohm. Joannie Burstein and Giulia Prenna also produced. The film was financed by SSS Film Capital, Clear Media Finance and 828 Media Capital. 
“What Megan Park has created with ‘The Fallout’ is a sensitive and moving story, marking a stunning debut behind the camera, with an exceptional young cast led by a revelatory and powerful performance by Jenna Ortega and an emotionally impactful turn from Maddie Ziegler,” Carolyn Blackwood, chief operating officer of Warner Bros. Pictures Group, said in a statement. 
“We shot the film during the height of COVID and despite all the stoppages and setbacks, we knew we had to tell this story now. HBO Max is the perfect home for this film, and we are pleased to be working with the whole team at Warner Bros. to bring the film to audiences around the world,” producers Shaun Sanghani, David Brown, Rebecca Miller and Cara Shine said.
Park’s behind-the-scenes creative team included director of photography Kristen Correll, production designer Justin Dragonas, editor Jennifer Lee, costume designer Tasha Goldthwait and composer Finneas O’Connell.
You can check out a brief teaser trailer for "The Fallout" here that debuted ahead of its premiere at SXSW.
Kwame Kwei-Armah is writing the script
Umberto Gonzalez | July 27, 2021 @ 11:20 AM
"Bridgerton" breakout Regé-Jean Page will star in and executive produce a reimagined version of "The Saint" at Paramount, an individual with knowledge of the project told TheWrap.
Kwame Kwei-Armah is writing the script. Paramount is hoping "The Saint" could kick off a franchise, as the film is based on the globe-trotting 1920s novel series by Leslie Charteris.
Philip Noyce directed the 1997 film version that starred Val Kilmer as Simon Templar, a thief for hire also known as The Saint, who is hired to steal the secret process for cold fusion. But a new job ends up putting him at odds with a man bent on toppling the Russian government, as well as a woman who holds the secret. Noyce's film grossed $118 million worldwide.
Lorenzo DiBonaventura is producing, and Brad Krevoy and the late Robert Evans are also listed as producers.
"Rocketman" director Dexter Fletcher, who is currently directing and executive producing "The Offer" for Paramount+, was previously attached to direct "The Saint." It remains unclear if Fletcher will direct this new, reimagined version of the movie.
Page broke out as the Duke of Hastings on the Shonda Rhimes-produced period romance "Bridgerton," which is now Netflix's biggest series ever. According to the streamer, a record 82 million households around the world watched "Bridgerton" in its first 28 days of release -- the time period Netflix focuses on when sharing its viewership statistics -- making it the No. 1 show in Netflix history in that metric. Page recently wrapped "Dungeons and Dragons," which is also set up at Paramount.
Page is repped by CAA, Mosaic, The Artists Partnership and attorney Greg Slewett.
Kwei-Armah's other credits include the Spike Lee musical "All Rise, Liberty Road" and "Marked Man" at Amazon.
The Hollywood Reporter first reported the news.
Playwright Dave Harris is writing the script based on the 2003 novel
Brian Welk | July 27, 2021 @ 10:54 AM
Alfonso Gomez-Rejon, the director of "Me And Earl and the Dying Girl," will next direct a filmed adaptation of "The Fortress of Solitude," the acclaimed, best-selling novel by Jonathan Lethem, an individual with knowledge of the project told TheWrap.
"The Fortress of Solitude" is set at Amazon Studios and will be adapted by playwright Dave Harris for the screen. Gomez-Rejon will also produce.
The film is based on Lethem's semi-autobiographical novel from 2003 about two teenagers in 1970s Brooklyn, one white and one Black, who discover a magic ring with the directive to fight against evil. The book grapples with racial politics of the time, gentrification and music culture.
Lethem will also executive produce the film alongside Joshua Malkin. Celeste Holben will associate produce.
Gomez-Rejon is known for "Me and Earl and the Dying Girl" and "The Current War" with Benedict Cumberbatch, and he also directed the pilot of the Amazon series "Hunters" and is an executive producer on the series. He's also developing "Giant," a series adaptation of Edna Ferber’s novel. 
Harris won the Kennedy Center's Mark Twain Award and most recently adapted "Summertime," which premiered at last year's Sundance and will hit theaters next month.
Lethem has written 12 novels and his fifth "Motherless Brooklyn" was adapted into a film directed by Edward Norton. Two of his short stories have also been adapted to film, and he's a winner of the Macarthur "Genius" Fellowship.
Gomez-Rejon is represented by CAA, Ziffren Brittenham and ID. Harris is represented by Heroes and Villains Entertainment, UTA and Morris Yorn. Lethem is represented by WME.
Tiffany Haddish, Willem Dafoe and Tye Sheridan co-star in the drama opening Sept. 10
Brian Welk | July 27, 2021 @ 9:15 AM
Oscar Isaac might be the "strangest poker player" you've ever met in the first trailer for "The Card Counter." And knowing it's a Paul Schrader film, this might be the strangest gambling movie you've ever seen as well.
In "The Card Counter," Isaac plays an ex-military interrogator-turned-gambler who is haunted by his past actions. His luck changes when he meets a woman played by Tiffany Haddish who wants to make use of his gift at counting cards and a young man played by Tye Sheridan who suspects Isaac may have been made the fall guy by an officer (Willem Dafoe) who landed Isaac in jail.
Just like Schrader's "First Reformed" before it, "The Card Counter" is hardly just about a gambler, as it grapples with more existential themes in sometimes surreal ways. At the start of the trailer, we see Isaac wrapping every piece of furniture in a hotel room in a sheet as his symbolic way of the burden that he carries everywhere.
"There is a weight a man can accrue. The weight created by his past actions. It is a weight which can never be removed," Isaac says in the clip.
Schrader wrote and directed "The Card Counter," and Martin Scorsese is an executive producer on the film. Focus Features, which also distributed Schrader's "First Reformed," will release the movie in theaters on Sept. 10. It will also screen as a selection of the Venice Film Festival.
Check out the first trailer here and above.
This adaptation of a Disney ride overloads the CGI, but it's a breezy voyage
William Bibbiani | July 27, 2021 @ 9:00 AM
Those who are expecting something new, intriguing or memorable have entered the wrong theater. This screen is reserved for Jaume Collet-Sera’s “Jungle Cruise,” an adaptation of a popular theme park attraction that’s specifically designed to hit your brain’s retro pleasure centers with pulpy thrills, Adventureland references, and lots and lots of quips.
We’re not here to break the mold. We’re here to re-familiarize ourselves with the concept of molds.
The “Jungle Cruise” ride is familiar to many, of course. It was an opening-day attraction at Disneyland back in 1955 and, until relatively recently, little about it changed for around half a century. Inspired in no small part by the hit film “The African Queen,” the ride took park patrons on a guided tour of a variety of jungles throughout the world. On hand were animatronic animals, dorky jokes, and -- let’s be honest -- the unmistakable haze of smug imperialism.
Disney may be in the process of updating Jungle Cruise, the ride, but "Jungle Cruise," the movie, isn’t trying to reinvent much of anything. It’s a pulpy World War I–era adventure about dashing hero Dr. Emily Houghton (Emily Blunt), her foppish sidekick brother McGregor (Jack Whitehall, “Good Omens”), and their hunky Amazon riverboat guide Frank (Dwayne Johnson).
They’ve got a treasure map that will lead them to a legendary tree called the Tears of the Moon, whose petals can allegedly cure diseases and -- this will be important later -- lift all curses. It’s a bit like “Anacondas: Hunt for the Blood Orchid,” except the snakes are a bit smaller, the dialogue is a bit sillier, and Jesse Plemons is gnawing at the scenery. He plays Prince Joachim, the youngest son of Kaiser Wilhelm, who wants the Tears of the Moon because he’s a nefarious no-goodnik who’s up to no good.
All of that would be more than enough for most adventure movies, but “Jungle Cruise” takes a page from the “Pirates of the Caribbean” recipe book and adds a bunch of supernatural monster people, presumably because Disney had too much money lying around. These villains are a group of cursed conquistadors led by Aguirre (Édgar Ramírez), who probably regrets incurring the wrath of god, because after slaughtering an Amazon tribe hundreds of years ago, he and his men are cursed with superpowered, unnecessarily elaborate monster ailments like being made of snakes and being made of bees.
It’s ironic that Aguirre’s punishment for killing lots of innocent people makes it easier for him to kill lots of innocent people. Or maybe “insipid” would be the better word. Then again, this is a movie in which Jesse Plemons conspires with supernatural honeybees who know how to read a map, so maybe asking for a modicum of rationality is too much.
What “Jungle Cruise” seems to be getting at -- more than telling a story -- is vacationism, which isn’t quite the same as escapism. The amusement-park ride transports visitors to beautiful new locales filled with awesome effects and a little humor. Collet-Serra’s film has those locales, even though some of the CGI additions look more awesome than others. (Frank’s pet jaguar Proxima is never convincing, not for one second, but we’re happy to go along with it because awwww… pet jaguar.) It’s a fun place to visit, especially with this particular tour group.
Emily Blunt should have been headlining adventure movies for decades now. She balances silly humor and rugged adventurousness as nimbly as any action star on record. Dwayne Johnson can match her bicker for bicker, stunt for stunt. What they lack in romantic chemistry, they compensate for with “rivals who become best buddies” energy. And then there’s Jack Whitehall, who tenderly delivers Disney’s first coming-out scene in a blockbuster movie, just a few scenes before his character becomes the focus of multiple, embarrassing, sophomoric, regressive double entendres. (Sigh.)
The biggest surprise of “Jungle Cruise” -- besides composer James Newton Howard’s bizarre reliance on the theme from Metallica’s “Nothing Else Matters,” for no discernible reason -- is director Jaume Collet-Serra. The director has made a name for himself with harsh thrillers like “House of Wax,” “The Shallows,” and most vicious of all, “Orphan.” And yet with “Jungle Cruise” he proves himself capable of keeping the tone cheery for about two hours straight. If anything, it’s the horror elements that feel out of place in this film.
That “Jungle Cruise” feels insubstantial is no great shock. It’s got Dwayne Johnson making dad jokes and, again, a friendly CGI jaguar. Whatever thoughtfulness could have emerged from this story about the curse of colonialism tainting the future of the American continents for centuries has been washed away in computer-generated snak
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