#also DIANE LANE??

[broareweabouttoviberightnow]

slowly (REAL slowly) workin my way through the other s e Hinton media (finished near all the books onto the movies n the show) n I'm onto rumble fish rn n if I must be honest? enamored.

[ask-sherri-cherry-valance]

How you doin Cherry? Honest.

[cammie]

sad that michael schoeffling and matt dillon never played brothers in an 80s movie 😢

[judgeanon]

I am utterly obsessed with that blorbo's mom.

what are some of you guys woman/girl blorbos. like female characters your are utterly obsessed with

[wizzard890]

okay so picture this.

You're a man named Jim Steinman. You are one of the most prolific songwriters of the 80s. In your spirit, output and essence, you are eternally popping a wheelie on a motorcycle while a hot half-naked woman clings to you and bats wheel in the sky above.

You wrote a song in which Meatloaf plays a hideously disfigured hunk who steals a nubile lady back to his crumbling manor and introduces her to the pleasures of magic lesbian group sex.

You wrote a song in which Celine Dion sings as Heathcliff from Wuthering Heights, dancing with Cathy's corpse on a beach in the moonlight; a scene which you, Jim Steinman, believe should have been in the book. (The moors of Wuthering Heights are landlocked, but you, Jim Steinman, are too fucking real to care about that.)

You wrote the song for the opening scene of the movie Streets of Fire, in which evil leatherdaddy Willem Dafoe leads his malefic motorcycle crew into a concert to abduct Diane Lane while she's wearing a skintight satin jumpsuit.

You wrote a song in which Bonnie Tyler wanders a haunted boarding school as literal demon twinks gyrate at her out of the fog.

There is no peak of goth camp that you, Jim Steinman, have not summited, no horny energy you have not tapped. They say that Alexander the Great wept when he saw there were no more worlds to conquer. But you, Jim Steinman, are not Alexander the Great. You, Jim Steinman, are better. You, Jim Steinman, have vision.

You take your most successful song, the song everyone knows, the most big-haired, white dress, gothic arches, doves flying, possessed choir boys chanting, bombastic song you have, and think: what if this, but with vampires.

And so you change the lyrics to be about death and infinity and a powerful bloodsucking lord seducing a girl who is ALL ABOUT IT, and then toss off a whole musical for this song to be the centerpiece to, and the musical is bad but it's also a weird hit that's been staged in fourteen countries and revived seven times, because nothing has ever whipped as campily, as ridiculously, as perfectly as this:

It never takes off in America. A prophet is without honor in his own land. But that doesn't matter. How could it matter? You are perhaps the most creatively self-actualized man who has ever lived. Look at that vampire. He's coming in hot and a hundred Venetian nuns gave their lives to make his ludicrously capacious lace sleeves. Look at that girl. She was born in a fog machine. She wore her best red velvet cape. She's down bad. She's singing Total Eclipse of the Heart the whole time.

You are Jim Steinman, and you have reached apotheosis.

[tawked]

tbh I feel like almost all problems with "civilian girlfriend" superhero characters would be resolved by simply having the civilian girlfriend become an active part of the superhero's superheroing, ala Dian Belmont.

She's been an independent detective who's perspective on cases leads to their resolution as often as anybody else's, she's been Sandman's get-away driver and in-the-field assistant, she's been an informant using her access to places he can't reach ie. the district attorney's office, and she even uses Wesley's kit to investigate independently of him toward the end of Sandman Mystery Theatre.

Sandman Mystery Theatre #62

To be totally real with you, I dislike maybe 90% of fem superhero love interest stories (while liking most of these characters, let me be clear) pre-2005 or so, because they so often use women to present a conflict between the comfortable domestic life the male superhero could have, and the call to superheroism. But that conflict feels suuuper arbitrary to me when you remember that women can like

do stuff lol.

This is really apparent when you consider that the majority of m/m and f/f love interests that began appearing in the mid-2000s make both characters extremely active, with most m/m pairings usually being superhero/superhero, while f/f pairings usually feature a more active feminist play on pre-existing m/f or queered familiar friend dynamics. Kate Kane's girlfriends are a hardboiled cop (kind of a Jim Gordon, do you see the vision?) and The Question respectivey, so we have superhero / action archetype and superhero / superhero. I don't think this is a queerness thing so much as modern writers realizing that characters are more interesting when they do stuff, instead of complaining about the characters who are allowed to do stuff doing that stuff, and because queerness was basically illegal until 2005 or so writers were allowed to innovate and introduce new characters instead of sticking with the old.

But a lot of historied m/f relationships in comics have the baggage of a sexist history weighing them down, imo, in this weird repetition of "I can't let Woman know about my secret life..." concept. It's hard to really innovate on that formula when the formula by design usually doesn't allow women to be pro-active in these stories, they need to be kept separate from the action or imperiled by the action for the superhero to both rescue and maintain his secret life status quo. I think that's why the Batman love interests we remember and care about are the supervillain femme fatales like Catwoman and Talia al Ghul, and not like... Shondra Kinsolving or, as much as I love her for being the actual progressive who calls out Bruce to his face lol, Vicki Vale - the villainesses are by design characters who are allowed to engage in the action of the genre.

I think 100% of the reason Lois Lane is such an iconic character and why she immediately transcended this, is that she was often presented as an extremely pro-active badass. She was a careerist at a time when careerist women were not portrayed (even Girl Investigators were usually written as getting their one big scoop and retiring to marry some dickhead at the office), she was an open humanist who often wasn't written as weak or stupid for having feelings, and most importantly, she was always right there in the shit. Sure yes okay, she'd be distressed into damselry a lot, especially in the 1930s - 1960s, but y'know,

Fleischer's Superman, 1941, one of the best Loises.

she was allowed to do things like run toward danger and shoot at aggressors at a time when most women in comics were kinda not at all that.

I think, and I mean this super politely, that's kinda why PS5 Spider-Man's Mary Jane (one of my fav characters in the genre actually) is sooort of just Lois Lane but on a more down-to-earth Marvel "we need to pay the goddamn bills Peter" scale, while Ultimate Spider-Man or Reimi Spider-Man's Mary Janes are, well, not that really lol (I also really like Reimi MJ, her whole arc with her struggling acting career is top).

And you can't even pull that Mary Jane was a kid in Ultimate and therefore entitled to be boring because Peter was dating Kitty Pryde at one point, because Bendis has a problem and needs to be stopped. So, it's not like more pro-active fem love interests weren't around. Those stories just weren't being given to 90% of the women and girls in that run and he had to borrow a girl who by design is always doing intersting shit because she's already a superhero.

Y'know what I mean?

I don't really like modern comics all that much but I gotta admit that women being written as "part of the team" and not "the obstruction I need to dodge so I can do superhero shit" is one of the best things modern comics have going on.

[r0seb100d]

Streets of Fire soundtrack is actually so good I can’t I’ve listened to tonight is what it means to be young 5000 times, also Diane Lane hello?

[onlydylanobrien]

Live from New York, It’s Dylan O’Brien!

The 33-year-old plays Dan Aykroyd in Jason Reitman’s Saturday Night, and he’s not sure he hit it out of the park. But he’s okay with that.

DYLAN O’BRIEN HAS led movies that grossed hundreds of millions of dollars at the box office. He’s shared the screen in a thriller with Michael Keaton (2017’s American Assassin), exchanged jokes with Vince Vaughn and Owen Wilson (in 2013’s The Internship), been a long-running MTV teen heartthrob (in 92 episodes of Teen Wolf), voiced a Transformer (in 2018’s Bumblebee), and, hell, went toe to toe with Larry David while playing himself on Curb Your Enthusiasm. At 33, he’s accomplished a hell of a lot.

By the time we meet at Men’s Health’s New York City offices to chat on an early September Friday, I’ve already seen a lot of his work. I’ve always liked the way his relaxed demeanor on-screen fits with an undeniable movie-star look—and that holds true in his latest project, Saturday Night (in select theaters now and out nationwide on October 11), in which he stars as comedy legend and original Saturday Night Live cast member Dan Aykroyd; the movie is a depiction of the chaotic 90 minutes before the very first episode of SNL. But I wasn’t sold on his sheer determination—the pure conviction in his character—until I learned that, like myself, he’s a long-suffering fan of the New York Jets.

“I get psyched for the Jets,” he tells me, rocking a full beard, a T-shirt, and a pair of comfortable lacrosse shorts. As he finishes his thought, his eyes light up, but they maintain the slightest sense of eternal frustration behind them. “Even though it’s always like, Jesus Christ.”

Misfortunes of past football seasons aside, O’Brien is as hyped as he’s ever been for the season to come—he’s already done all of his fantasy drafts, though he feels better about some than others—but right now he has one potential problem: He’s going to be in Toronto, for the Toronto International Film Festival, on the night of the Jets season opener. But don’t worry, he’s got it figured out. Saturday Night’s premiere is on Tuesday, and his press schedule on Monday (when the Jets are set to play the San Francisco 49ers) concludes at 5:30 p.m.

“I’m like, I’m going to a pub. I’m getting out of the area, and I’m just going to sit and have some beer and watch the Jets on Monday night all by myself,” he says with a huge smile on his face. “It’s going to be awesome.”

It’s a relatable feeling—for most Jets fans, there’s no happier time than before the season starts, before the annual feelings of dread and doom start to set in. (The Jets would wind up losing to the 49ers, 32-19, in their Week 1 MNF matchup.) But, as Jets fans have learned so well to do over the years, we move on.

O’Brien has a long career behind him, but a long career ahead of him, too. In addition to his upcoming role in Saturday Night (which has earned strong reviews in the early goings), he’s also got the M. Night Shyamalan-produced Caddo Lake premiering on Max this month, and Anniversary, in which he stars alongside Diane Lane and Kyle Chandler, coming at some point in the near future. (It doesn’t currently have a release date.) O’Brien is the kind of actor who elevates the project he’s in, even when the project is already really, really good—but if there’s anything being a Jets fan says about someone, it’s that they know how to adjust, adapt, and bounce back. And in an industry as fickle as show business—which is put on full display in Saturday Night—that’s about as important a quality as any to have in your back pocket.

Ahead of the release of several of the biggest and most exciting projects of his career, O’Brien sat down with Men’s Health to discuss how he keeps himself sane and centered, prepping to play a comedy icon, and some of those casting rumors about him out there on the Internet.

MEN’S HEALTH: What kind of routines do you maintain for your mental and physical health?

DYLAN O’BRIEN: I don’t go to the gym. I’m not a gym guy, but that doesn’t mean I don’t exercise or train or anything. I would say I go in and out of that. I’m usually the type who’s either on a pretty consistent routine and trying to hit it hard and take care of myself for a period of time, and then I’ll let it go for a little bit. Some of that’s influenced by my schedule, too. When you go to work, it’s hard to keep up some kind of regimen. But when I’m home and I’m in between jobs, I’ve become a very domesticated individual. I love grocery shopping and cooking my own meals.

MH: What’s your favorite thing to make?

DOB: If I had to pick one thing, I love, to the soul, making a soup. It’s literally the first thing I’ll do when I go anywhere to settle in. Just a homemade chicken soup, with a chicken carcass, and get creative with the veggies.

MH: Do you have a mental health routine?

DOB: That’s typically what drives the eating and the exercising. I always feel best when I’m in a nice routine and taking care of myself. As I’ve gotten into my 30s, sleep is so important, and periods of laying off alcohol are so important. Just treating your body right and getting rest. I like to do a cold plunge session, and that’s very meditative for me. I’ll follow the simple program of “exhaust the body, relax the mind” when I’m going right.

“I was self-conscious that I DIDN’T LOOK LIKE HIM, that I DIDN’T SOUND LIKE HIM, that I thought people wouldn’t think me—Dan Aykroyd.”

MH: I totally understand the concept of using whatever levels us as therapy. Sometimes after work I just need to put the Yankees on and do absolutely nothing in order to fully detox and feel right.

DOB: That’s my soul. The Mets… obviously, baseball is a nearly every day thing. And even when the Mets are not going well, what’s soothed me since I was closely following them when I was a kid is [broadcasters Gary Cohen, Keith Hernandez, and Ron Darling]. Literally, even just throwing the game on in the background while I’m getting dinner ready and just listening to those guys talk baseball—that settles me to my core. I’m totally with you on that.

MH: Is watching sports your main way of decompressing at the end of a long day?

DOB: If it’s baseball season, yeah, nightly Mets is nice. If I’m working, I’ve been known to be on jobs and randomly be bingeing some reality show while I’m on it. It’s such a decompressor at the end of the day. I love reality TV.

MH: What’s your favorite?

DOB: Of all time?

MH: Yeah.

DOB: Well, it’s between Jersey Shore and Vanderpump Rules as far as the all-timers. I’ve been a longtime OG Vanderpump fan, pre-Scandoval, and I just think that show’s a masterpiece. And Jersey Shore is a masterpiece, too. I did a film, Ponyboi, that’s very Jersey-centric, and so I drilled all of the first four seasons of Jersey Shore. My whole routine for that movie, when I needed to decompress, was just working out and watching reality TV. I lost a lot of weight, too, for that movie, and I was just trying to make my little chicken breast, and eat my salad, and work out, and watch Jersey Shore.

MH: Let’s talk about Saturday Night. How would you describe your version of Dan Aykroyd?

DOB: It might be the thing most open to interpretation I’ve ever done. By that, I mean it really was just leaping out of the nest. I’m playing this real person, but [director Jason Reitman] had no intention of just copying the person coming in. He really wanted everyone to have their own spin on the person, which, if you’re overthinking it, can be tough to do because it can be very easy to do. If you’re like, I’m just going to watch my guy’s interviews and sketches, then you can kind of fall into imitation. As far as I know, I was just doing what I thought he was like. But I don’t fucking know. That instinct was that Jason was always telling me what to run with. He was big on not overpreparing, not overwatching things, and not impersonating. I’m curious to hear people’s take, because I don’t really know. I just went with my gut.

MH: Was there one signature quality of Dan you wanted to capture?

DOB: A very earnest intelligence—he’s so quick, it was exhausting. I would always say how exhausted I was, because I’m playing someone who’s way quicker than I am, and so I’m constantly operating at a speed I can’t operate at, because he’s so sharp and fast and he never fumbles and he never curses. He never bides time. You know what I mean?

MH: Absolutely.

DOB: He’s so precise with his improvisation and his comedic skills. I came away with such a larger appreciation than I even had for his genius. And he was so young—he was a kid. He was 23 on that first season of SNL. I never processed him as being too worried about too much, which was a funny contrasting energy to the very tense atmosphere of the film in the hour and a half before showtime. He’s so loose.

MH: It’s interesting you say that, because it’s something I totally clocked, too—Dan is kind of the calm part of a storm that includes people like Chevy Chase (Cory Michael Smith) and John Belushi (Matt Wood). How did you maintain that presence as the movie’s level head?

DOB: My way of achieving that, with permission from Jason, was to embrace this quality in myself that I didn’t originally associate to Dan—that I only then did after Jason pointed it out to me—which was to have an aloofness on set. I feel very relaxed in that space. In a way, I wasn’t too worried. But that comes with the caveat that I entered this process thinking I was so wrong for the part.

MH: Why did you think that?

DOB: I don’t know. I was self-conscious that I didn’t look like him, that I didn’t sound like him, that I thought people wouldn’t think me—Dan Aykroyd. And I guess it was an insecurity that I would be skewered for being miscast or something. But even with that insecurity, again, I’m still so happy to be there and, like, whatever, fuck it. I don’t care if that’s the response. I’m boned, but whatever. It’s great to be here and get to do this, and what a blast of a thing to get to be a part of. So, weirdly enough, that type of aloofness amidst other people having to handle some really tense stuff was what Jason was telling me to embrace.

MH: Have you met Dan?

DOB: No. Not yet. I’m supposed to meet him at TIFF. And apparently that will be both of our first times seeing the movie.

MH: That will be great.

DOB: There was a moment early on, when you go into something like this, you’re playing someone, you imagine that they might want to speak to you. They might be hell-bent on speaking to you, they might be crazy about getting their hands in it, or they might be totally hands off. And to hear that he was so not worried about it, if anything, was the first moment I was like, Oh, maybe we’re right. Because I would’ve met with him, too, but I also didn’t need it. I would have if he insisted. I’d be like, Of course—I’ve got to do that. But I vibe with the fact that he was like, no, let the kid go do it. That’s how I feel like I would react.

MH: What’s your favorite movie of his?

DOB: I was a big Blues Brothers kid. I did the Blues Brothers for my talent show in third grade. I was also a big Tommy Boy kid.

MH: I’ve loved a lot of the comedic stuff that you’ve gotten to do, including your Curb Your Enthusiasm guest appearance. What was working with Larry like?

DOB: Oh, it’s just a blast. He’s a Jets fan, too—I remember that was our first conversation we had. It was like I was just talking to a buddy, at [the popular TriBeCa bar] Walker’s, or something about the Jets. I’ve worked with a lot of comedians, and that space can be weird. The energy can be very overstimulating, and those personalities can tend to be really loud and competing. It can be a very odd atmosphere sometimes. Going to work with a guy like that… I was like, Who knows, he could be a fucking total narcissist tycoon, and he wasn’t. He couldn’t have been more generous, couldn’t have been quicker to laugh at someone else and let someone else have the spotlight. I couldn’t think more of the guy. He’s amazing.

MH: It’s been almost a decade since your accident on the Maze Runner set. When you look back at your recovery, how has that experience most impacted your life?

DOB: It was a life-changing incident. I’ve approached everything differently, you could say, particularly with regards to standing my ground on set. It’s very commonplace in the culture for young actors to be controlled, and the way they strive to do that is by always being like, Oh, don’t become difficult. Don’t be a pain in the ass. Or Are you complaining, are you being difficult? Things like that. I learned after the accident to not conflate taking care of yourself and looking after yourself. Don’t let them manipulate you into thinking that is being difficult, because I can look at that day and know I was a 24-year-old kid who was raising concerns about how we were approaching things, and they were not listened to, they were not respected. And then what happened happened. And by all accounts, it was all pretty gotten away with, I would say, as well. It’s taught me that, at the end of the day, in these spaces, you have your own back, and that’s the most you can rely on. I just turned 33. I’ve been doing this for 15 years. I know the person I am, and the character I bring to set, and the way I treat people and the way that I treat a workspace, and I know I’m not difficult. I know I’m not an asshole. I know I was trying to protect myself that day, and so I’ve just never forgotten that. That’s always rung true as being the thing to hold with me.

“It’s taught me that, at the end of the day, in these spaces, you HAVE YOUR OWN BACK, and that’s the MOST YOU CAN RELY ON.”

MH: And this is something that’s always in the back of your mind, just knowing that you’ve had this experience and it’s shaped where you are now.

DOB: It helps me. It’s a shame. It’s a shame that it had to be that for me. To build this armor for myself of just being like, No, man, I’m going to look after myself, I’m going to take care of myself, and there’s nothing wrong with that. There’s nothing wrong with asking questions. There’s nothing wrong with bringing ideas, even if we’re talking creatively. It’s our job to bring ideas. There’s nothing wrong with raising concerns. There’s nothing wrong with being like, “I think we could do this better, I think we could do this differently.” You know what I mean? That’s the process. It’s a collaborative process. It’s a creative process, but also you’re dealing with big dangerous shit sometimes, too.

MH: Throughout the years, you’ve been rumored to become the Flash and Spider-Man. Is there any truth to the rumors?

DOB: No, never.

MH: Nothing?

DOB: No, none of it. Yeah.

MH: Is that of interest if an opportunity ever came up? Are you a comic book person?

DOB: I never have been. But I wouldn’t rule out anything. Certainly, it’s not of interest to me as of now. Maybe when I was 20 and they were rebooting Spider-Man—I was excited about that. But I didn’t even get past the casting pre-call or anything. No, none of those rumors have ever been true. I didn’t even know there were rumors. I just thought they were people just putting it out there.

MH: People put a bunch of stuff out there and then places pick it up and then stuff snowballs.

DOB: None of anything I’ve ever read about myself is true. So, if you want to use that template, that’s my experience.

MH: So what is of interest to you? What’s your dream?

DOB: There are obviously filmmakers I’ve loved since I was a kid who I would love to work with. I always want to challenge myself, and I always want to go with my gut and trust when I respond to something, I’m responding to it for a reason. Trust that when I’m scared of something, maybe that’s a good thing I should lean into. Try to find the new filmmakers, and try to champion them, and be a part of the early parts of the careers of our new wave of filmmakers. Try to champion original things as much as I can, too. I feel like that’s obviously trending so much further and further away, and towards extinction, that I just feel like it’s important to lend yourself to those things when you can, as much as you can.

This interview has been edited for content and clarity.

Source: menshealth.com

[scrapyardboyfriends]

I'm asking this to all my fave robron accounts because I'm going through it with them being back and can't stop reminiscing down memory lane as well as absolutely quaking with excitement at what's to come - what are your top 10 episodes from each year? I never actually made it to the end of the sl (stopped watching just after the proposal in july 2018) and am basically looking for motivation to see it through to the end for my next rewatch because I started to find it a bit of slog post reunion

Top 10 from each year? That's a lot to think about. Haha. Hmm..I'll give it my best shot. These are not going to be in ranked order by any means, probably more chronological.

2014/2015 1. Pre Affair Era where Aaron interrupts the Sugden family meal in the back room of the pub 2. The first kiss episode 3. The Upstairs now episode with Aaron trying to use Finn to make Robert jealous 4. Katie and Andy's Wedding with the swaying outside in their suits 4. Hotel 2 (but also Hotel 1 and also Boxing Day...there are too many good things in affair era okay and I refuse to choose) 6. Can I count Robert's whole wedding to Chrissie as one episode? 7. The Portacabin sex episode where Robert and Aaron are both helping on the farm 8. The Lodge/Affair reveal 9. Who Shot Robert, the episode where Andy and Robert play chicken 10. The episode where Robert gets Doug and co to back off of Chas after she stabs Diane and they have that exchange in the back room where Robert says "I'm your man".

honorable mention to Who Shot Robert in general and the Helicopter Crash, which didn't really have Robron but were just good episodes, oh and the connor episodes

This is why I voted for 2015 for the best year

2016 1. The abuse reveal to Robert 2. The episode before the one with the reveal to Chas where she goes to see Robert about Aaron and he tells her he can't say what's going on but that she should talk to Aaron 3. The abuse reveal to Chas 4. The episode where they go find Liv with bench hair! 5. The episode where they fix Vic's van and Robert puts on a suit for their date that doesn't happen. 6. The trial episode where Robert gives his testimony 7. Reunion 1.0 8. The episode where Liv locks them in the back room together so they can work things out and agree to move in together 9. Their SSW episode plus the thursday/friday episodes (shut up it counts as one) 10. Christmas

Honorable mention to the episode where Bernice tries to shave Chrissie's head and makes it Robert's problem and the Andy goodbye episode

2017 1. The January Fight 2. Wedding 1.0 (both episodes...it counts as 1) 3. The Prison Goodbye episode (honorable mention to the special episode they had that was the day in the life while Aaron was in prison, also the first prison visit) 4. The ons reveal 5. The break up episode(s) 6. The episode after the boxing where they have that little pub date 7. The episode at the hospital after Liv drinks the spiked whiskey 8. I hope my husband makes you very happy 9. The episode before Christmas where Robert is singing in the pub 10. Christmas

Honorable mention to the episode where they agree to go to the festival together for a moment and the episode with Seb's birth purely for the face journey Robert has during the whole hotel scene with Lawrence, oh and the episode after where Robert tries to leave and Aaron reverse pscyhologies him into staying

2018 1. The White's car crash 2. Valentine's Day 3. The episode where Aaron looks after Seb at the scrapyard 4. The episode before the reunion where Robert chats with Vic and Bernice at the salon and Alex moves in 5. Reunion 2.0 6. Proposal 2.0 (plus the episode after with the couch cuddling and the party) 7. the Carbon monoxide poisoning 8. Wedding 2.0 (honorable mention to the stag do with the karaoke) 9. The episode where Robert brings Seb back for Aaron, which I believe was bonfire night (also just all of the week they lost Seb to Rebecca leaving) 10. The episode where Robert watches Nicola's kids at the scrapyard and then tells Aaron he does want to do the surrogacy

2019 1. The episode where they watch Kyle and Isaac and Seb and the pig 2. The episode where Natalie agrees to be their surrogate (RIP surrogacy storyline) 3. The episode(s) where Charity and Robert are trying to scheme against a haulage client and Vanessa steals a car...badly and Robert and Aaron have to step in and fix it 4. Robert's Birthday 5. The Big Night Out purely for the Johnny Versace comment and the flirting over the chips, which might be in one of the flashbacks? Not sure. 6. The plea hearing 7. The episode where they steal and wreck Al's car 8. The on the run episode(s) particularly for the scenes in the woods and Aaron trying to hurl himself into oncoming traffic to get to Robert 9. The sentencing 10. The last prison visit goodbye with the montage

Honorable mention to the episodes leading up to the plea hearing where Robert tries to start the surrogacy again and then finds out he's being charged with GBH with intent and might get life

Okay so I cheated a lot but I tried. I wish you well on your rewatch. Just remember even though it all ends sadly, he's back now and they're inevitable!

[lavaridgecookie]

Horror Movie Time with Sonic F/Os

General imagines for watching horror films with Sonic characters! What types they're into, what kind of movie watcher they are, etc. I originally wanted them to be able to be read as romantic or platonic, but eventually I just kinda went full romance.

Characters: Sonic, Shadow, Silver, Amy, Rouge, Omega

Spoiler warnings for Poltergeist and Alien, and a very minor spoiler warning for The Thing

Sonic:

Is more a fan of the 'campy' horror movies, although he'll also watch slashers - they get his blood pumping and his heart racing, and he lives for that. He doesn't like seeing you actually afraid, so he'll definitely take your tastes into account when picking a movie- if you say no to a specific thing, he'll tease you a bit but he'll pick something else.

Does NOT like supernatural horror. He will not watch ghost movies. He won't watch movies about doomsday scenarios. Basically, if he doesn't think he could fight it off in real life, it horrifies him and he can't stop thinking about it. What if that stuff happened to him? Happened to you? Haunts him for days or months afterwards. You made the mistake of watching The Thing with him, and for three weeks afterwards you had to talk him out of making you do the blood test every time you were apart for more than 5 hours.

He's fine with werewolf movies, for obvious reasons. Been there, done that, still tries to use his foot to scratch his ear sometimes.

All in all, he just wants to have fun with the movie, and with you. If you say 'tonight, we are watching a bunch of Disney Channel Original Scary Movies and eating our weight in popcorn,' he'll be just as happy as if you wanted to watch every Halloween movie.

Shadow:

Is a more all-around moviegoer, although since meeting you, he's found slashers are harder to watch. He can't help but think about you suffering through those scenarios, and ultimately dying.

Meanwhile, he loves sci-fi and supernatural horror. He's a product of science, he knows what it can do, so he can completely relax when watching movies like Alien.

In fact, and he'd never tell you this, he likes that one a LOT more after meeting you. He can easily see you in Ripley's place- resourceful, smart, trying to keep everyone alive. Going back for Jonesy seems like something you would do. He likes imagining you, triumphant, coming home to him.

Shadow likes it a LOT when you cling tightly to him- you can grab his arm as hard as you want, you can squeeze him like you're a boa constrictor, whatever. It doesn't hurt him, he's the Ultimate Lifeform! He likes the physical contact that he doesn't have to ask for, but he also very much enjoys knowing he makes you feel safe.

You should definitely expect him to start appraising the movie afterwards- he doesn't actually care, but he wants to talk to you and he's not great at conversations without a set topic. Please indulge him.

Silver:

is kind of a weenie and and doesn't really like actually scary movies all that much. He's been through enough, thank you. He's much more of a children's Halloween movie guy- your Mostly Ghostlys, your Scary Godmothers, your Cry Baby Lanes. Basically, nothing scarier than Tremors.

If you do make him watch a horror film, he's shaking in the first five minutes, and once bodies start piling up he's crying into your shirt.

There is one exception.

He loves Tobe Hooper's Poltergeist. Everything about it speaks to him, and he loves sharing it with you. He'll hold your hand whenever Steve and Diane are supporting each other, and he'll pull you into his chest and hold you during the scary parts. Afterwards, he'll tell you about how he hopes you two can be together like that someday- how he'll never abandon you when things get tough, and how he knows you'll stick by him, too.

He likes it because throughout all the horrible things, everyone is looking out for each other. He loves that everyone lives. And if you like the movie, too? He's the happiest hedgehog that ever lived.

Rouge:

Is a big fan of slashers- the gorier the better! She's the kind to cheer when some idiot gets murdered. But she also much prefers watching them at home, with you. She wants her head in your lap, taking sips of red wine in between mouthfuls of heart-stoppingly buttery popcorn, just having a great time with you.

But, and you won't find this out on the first date, she's also a huge film buff and adores the cult classics. If you so much as mention cult horror, she'll start trying to get you to watch her Criterion Collection DVD of Hausu, and wants to discuss the finer points of horror.

And she is trusting you not to spoil her reputation by telling anybody else about this. Especially you shouldn't tell anybody that she LOVES Them!

She also really likes horror films with a romantic bent, and she keeps saying that she'll tease you during them but honestly when the time comes her eyes are glued to the goddamn screen... it's the perfect time to slip your hands into hers.

Amy:

Likes two kinds of horror moves. She loves psychological horror- it keeps her guessing, keeps her engaged. When you watch with her, she likes to voice her theories out loud, and loves to hear your thoughts on it!

In the same vein, she also likes cult classics- her favourite is the 1962 film Carnival of Souls. Expect a lengthy discussion every time you guys watch a more 'cerebral' film- she really does like to hear how you felt about it! It helps her feel like she can see into your world a bit better.

But on days where she doesn't have that much brainpower to spare, she really enjoys a good horror/comedy. Her go-to is the Three Flavour Cornetto trilogy, but honestly she's not that picky. You guys watched Werewolves Within together and about died laughing. The genre is basically the mental equivalent of icecream to her.

Whatever you two watch, you are smushed up together in one corner of the couch. Doesn't matter who's in front and who's behind, one of you has your head in the crook of the neck of the other.

123-Omega:

He also like slashers, and he's kind of unbearable to watch 'em with. Every time anybody dies, he either says 'That would not have happened to me' or 'I would not let that happen to you.'

It's kind of cute, but once you're an hour and seven deaths deep, it can get a bit annoying. That said, you appreciate him for who he is, so you knew this was a bit inevitable and you love him anyway.

Once you asked him what he would do to protect you from 'unkillable' slashers like Michael Meyers, and after a second of thinking, he picked you up, took you out to the gun range, put you down behind him, and proceeded to absolutely obliterate everything in front of him one long, sustained round of heavy fire. Probably used up at least $6k of artillery. He then turned back to you and stated 'Michael Meyers could not survive being turned into a fine mist'

You were still in your jammies, and you couldn't help but laugh so hard you fell over. God bless your loving sentry turret.

~~~

Hope you all enjoyed! These were fun to write for, and I'd definitely be willing to do more for other characters if requested!

[broareweabouttoviberightnow]

some more disjointed rumble fish movie thoughts:

"why?" "🙄Why what?" "why?" "😑what?" "why are u always fucked up?" "😒I dunno" never in my life have I seen a man avoid eye contact harder

this man can't sit right to save his life. however. the unbuttoned rhinestone shirt kinda eatin. so pass.

OUGH. aough. unfortunately Matt dillion does an incredible job of playin scenes with the motorcycle boy. the admiration there. the constantly feelin like you can look up to a person your whole life n know you'll never be them. never know them. outsider in his own family. ough.

the movie can be heavily stylized at times n feel, well, disjointed. but I think the weird pacin adds a lil charm now n then

WHAT THE HELL THERES BOOBS ON MY SCREEN. sorry was halfway through typin that last bullet point. that was jarrin

walks into the office n is there for about one second before the lady goes hungover AGAIN? clocked his ass.

fuck ass earrin mention again. he kinda ate with that one.

I don't CARE! u think I give a shit!! u think I care??? (he says. as he cares deeply.)

diane lane stand on business. she said fuck ur lame ass n then marched her ass into the fog. that's my icon.

rusty still walkin his ass around in the shirt he got stabbed in. mama. do u have no other clothes.

the way the motorcycle boy talks in comparison to rusty. his accent compared to how the motorcycle boy has this soft liltin way of talkin. hmm. symbolism there. hmm.

"motorcycle boy." "THE motorcycle boy. THE.🙄" while THE motorcycle boy stands there just voguin.

the way they use shadows n light to convey transition n passage of time. hmm. I like it. makes those cut scenes way long but I fuck with em.

the extras lookin straight down the barrel of the camera.

rusty james who is so intensely jealous of his brothers gf. mama. stand up. good lord. very I don't wanna share my brothers attention. very wowwww so u like her more then me huh.

OH MY GOD. Just occurred to me that the movie is all from like. the motorcycle boys perspective. no color. n what we hear as the audience depends on what the motorcycle boy can hear. what the hell. hold on.

droppin the fact that their mother is alive in the middle of an arcade. Just. wham. Mas alive. anyways.

"Now I know why da says I always look like ma." "wow so I must look like her too huh!" "🤨 uhhhh"

[neufer]

Listen, I can understand wanting age accurate actors for movie adaptations (btw, Matt Dillon was 18, Diane Lane was 17, Rob Lowe was 18, and C Thomas Howell was 15 when filming the outsiders. Tom Cruise and Emilio Estevez were also 19, so a majority of the cast was not terribly older than their characters. But, that’s not the point of this post), but wanting appearance accurate actors can get into weird territory.

Personally, I don’t care if Soda and Dally are blond. And while I’m at it, I don’t care if Soda has brown or “scary blue” eyes (I really don’t like seeing “give him brown contacts.” It’s not that funny). These features are truly the least important parts of their characters. Who cares if an actor looks exactly like the description in the book. It’s cool, sure, but there’s so much more to a character than how they look.

Hope I don’t sound too harsh. Just kinda wanted to get that off my chest.

[avroravia]

⋆˚꩜｡ meet the writer - fun facts!

──── ୨୧ ────

biggest beyhive ever !! and yes, i do think cowboy carter deserved aoty come fight me about it tf? 🤨

gold jewelry > silver jewelry anyday i’m indian i was born for gold !!

i have terrible allergies to all nuts (except almonds), sesame seeds, shellfish, and a minor allergy for cats !! i have gone to the hospital because of my first ever allergic reaction lol

my dream job is to be a movie director

my fave tv show is abbott elementary

my fave movie is the house bunny

despite my super pink girly aesthetic on here my irl style is very masculine and i dress in jorts and baggy tees 24/7 i barely own any pink and most of my wardrobe comes from the men’s section LMAO

my biggest celeb crushes are matt dillon (duh! have you seen my blog?), dev patel, mike faist, jonathan daviss (pope from outerbanks), drew starkey & diane lane.

i’m a huge nerd and i have the worlds largest trinket collection ever !! i have a shelf full of random figurines and collectibles and just the most random shit ever!

my room has more wall covered by posters than wall that is visible i’m pretty sure 😭

i’m a big bollywood fiend i’m indian it’s kinda not shocking idk

i look like yasmeen ghauri with kareena kapoor’s face shape and nose !! i’m also 5’6

──── ୨୧ ────

[free-mark-from-reform]

HUNGRY for Diane Lane .........Also food I guess

[mrs-stans]

A Day in the Life of an Oscar Stylist

All the fashion savvy, industry connections and endless schlepping required to get Hollywood’s top names ready for their big night.

From left: Cristin Milioti (styled by Bailey Moon), Jake Gyllenhaal (styled by Michael Fisher), Diane Lane (Moon’s client) and Sebastian Stan (Fisher’s Oscar-nominated client).

By Max Berlinger

February 24, 2025

Once, the stylist Bailey Moon was dressing a female client for a major event, and moments before she left her hotel, a piece of tile, used as embellishment, fell off. Having handled hundreds of situations like this in his career, Bailey leaped into action with some hot glue.

The problem was, though he succeeded in reattaching it to the dress, he had also accidentally glued himself to the garment, too. And thus he found himself in the sleek town car with the actress, on the way to her engagement, desperately trying to get himself unstuck.

Suffice it to say, he managed to disengage from his client’s garment before she hit the step and repeat, but he didn’t relish the moments of mild panic. “My thing is to not have this chaotic atmosphere,” says Moon, who dresses actors Cristin Milioti, Diane Lane, and the married couple Rebecca Hall and Morgan Spector. He also works outside the entertainment industry, most notably with Dr. Jill Biden and other members of the Biden family. “I know some stylists who love that adrenaline rush of, ‘We have five minutes, and we have to sew the dress together.’ I refuse to do that.

“But,” he added, “it doesn’t always work out that way.”

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A post shared by Bailey Moon (@bailey.moon)

Welcome to the high-stakes and sometimes hectic world of celebrity styling. Although the result is undoubtedly glamorous, getting there can be anything but. Behind each million-dollar necklace, sleek custom dress and expertly tailored tuxedo there lies a lot of hard work: countless emails and phone calls to coordinate labyrinthine logistics, hours logged driving across Los Angeles or New York, negotiations for money and coveted one-of-a-kind gowns, numerous cross-country (or international) flights and more schlepping of overstuffed garment bags than seems humanly possible. And as Hollywood’s biggest night approaches, the ante gets nudged ever upward.

“If you have a nominee, it does get crazy,” says Michael Fisher, whose clients include Jake Gyllenhaal, Oscar Isaac, Bowen Yang and Sebastian Stan, who’s nominated this year for an Oscar for best actor. “If you have multiple, it’s even crazier.” Today, he says, it’s not just the Oscars or Emmys themselves, but the slog of events that lead toward them. “All the lunches, the breakfast, the teas, the festivals, the Q&As. You go through a really intense boot camp as they’re campaigning, and then once the nominations start locking in, it’s almost like resetting, going back to ground zero and starting all over again.”

Michael Fisher styled Sebastian Stan in Thom Browne for the CFDA awards last Fall.Source: Michael Fisher

“Have I cried? Yes,” says one stylist who prefers not to be named. “Have I been yelled at? Yes. It’s very rare that there’s really crazy drama, but I’ve definitely had moments where there’s a pile of couture on the floor of my studio, and I look around and think, ‘What is my life?’”

Dressing celebrities has become something of a cottage industry. Stylists at the top of their game can be well compensated, but much like the actors they work with, their incomes can vary dramatically depending on client or project. For example, it’s customary that stylists are paid “by look” when outfitting an actor for the press cycle of a movie or TV show, including premieres, interviews and talk show appearances, a fee that generally ranges from $1,000 to $5,000. These fees are often paid, at least in part, by the studio overseeing the project, though sometimes the actors subsidize them. In some cases, deals are struck for entire press cycles, or clients keep stylists on a monthly retainer.

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A post shared by Bailey Moon (@bailey.moon)

For high-profile events—the Oscars, Emmys, Grammys and Golden Globes—top-tier stylists dressing top-tier talent can make in the mid-five-figure range, with stories of $100,000-plus fees floating around. Brands have also been known to pay the talent to wear their clothes to these types of occasions—something that can bring in fees as high as the low six figures—an arrangement that extends to jewelry and, for men, the lucrative business of luxury timepieces.

“The fashion-entertainment relationship is more important than ever,” Moon says. “That’s why UTA [United Talent Agency] and WME [William Morris Endeavor] have fashion divisions now.” This recent push by major talent agencies to create fashion-specific departments is intended primarily to represent stylists, photographers and designers such as Loewe’s Jonathan Anderson, who created costumes for last year’s Challengers and Queer (both directed by Luca Guadagnino), and then outfitted these movies’ male stars for their buzzy press tours. But these agencies can also help broker deals between brands and talent. Moreover, the agencies can help the stylists and clients convert these red carpet relationships into something more long-lasting (and financially lucrative), such as spokesperson deals or brand ambassador roles—think of Zendaya’s association with Louis Vuitton and Harris Dickinson starring in this season’s Prada advertisements. These deals are, in many ways, the most desirable of all and can, under the best circumstances, yield seven-figure payouts.

Although awards season is their busiest time of year, stylists don’t work only for the superfamous. Up-and-coming actors can seriously boost the profile of their on-camera work with successful red carpet appearances, as Ayo Edebiri, of The Bear, has done with her stylist, Danielle Goldberg. Social media influencers or gadabouts with large followings may employ the services of a stylist. And there was a time when men were merely suited and sent on their way, but a new generation of rakish male celebrities, including Timothée Chalamet and Colman Domingo, require as much preparation as their female counterparts. Stylists themselves have become famous as well; for instance, Law Roach, who works with Zendaya, can now make brand deals for himself.

Despite all this pressure, several stylists stress that their work often lacks dramatic fireworks. Instead it requires meticulous planning and an almost militarized approach to organization. Take Fisher, who estimates he’s dressed Stan in almost 100 outfits over the past year as the actor has done press for both The Apprentice and A Different Man. The stylist put outfits together in “chunks,” he says, meaning he will try to call in clothing and create looks in batches that can then be used for a few weeks of appearances.

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A post shared by MICHAEL FISHER (@mjonf)

“Depending on the team surrounding the talent, you can get this well-oiled machine and plot it all out,” Fisher says. All of which is no small feat. He has a studio in New York with two full-time assistants, plus a space in LA with freelance help, and says he likes to overcompensate in his “pulls”—meaning he will request more clothing from brands than is necessary, so he can provide plentiful options to his clients. Those outfits must all then be sent back to the labels.

Still, no amount of organization can save a stylist from the moments of absurdity or stress that the job sometimes requires. “I’ve had people literally lay down on the floor of an SUV to not wrinkle a dress,” Moon says. “Or people use those standing buses now. But those are just tricks of the trade.”

“Awards day is always a stressful time,” Fisher says. “You have to pray that everyone is in the same radius. Sometimes you’re lucky, and they all get ready at the same hotel, and you’re just going between floors, but there’s always that one rogue person who wants to get ready at home in Malibu.” Fisher, like other stylists, often employs an additional platoon of assistants, full-time and freelance, on both coasts, who can help during the busier periods. “So then you’re just trying to prioritize everything, running on adrenaline and driving against traffic. I used to drive myself, but then I was just getting ulcers trying to get cars out of valets.”

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On paper, stylists are there to dress the client, but at least one notes that they’re often tending to emotional baggage as well. “I’ve worked with younger nominees who are newer to the game, and there can just be really high emotions on the day of a big show,” says a stylist who preferred not to be named. “It’s like a wedding. One detail can be thrown off, and they can spin out. All I can do is try to be a calm presence and overly prepared for any unforeseen disasters.”

And when all the awards have been bestowed and the Champagne has been sipped, remember the stylists—even those at the top of their game—who are doing the very unglamorous work of returning those designer gowns and preparing for the next event. “The other day I was at the 42nd Street [subway] stop with two Away suitcases waiting for a train to Brooklyn,” Moon says with a laugh. “That part never really stops—the picking up, the dropping off. And I have a great team, but it is not glamorous in that sense—in Ubers with garment bags and heavy gowns and at the FedEx store every fricking day. It’s an endless cycle.”

[onlydylanobrien]

‘SNL 1975’ Finds Its Garrett Morris, Dan Aykroyd, Chevy Chase And John Belushi

By Justin Kroll, Anthony D'Alessandro January 30, 2024 10:00am

Lamorne Morris playing Garrett Morris, Dylan O’Brien playing Dan Aykroyd, Cory Michael Smith playing Chevy Chase and Matt Wood playing John Belushi

EXCLUSIVE: Lamorne Morris, Dylan O’Brien, Cory Michael Smith and Matt Wood have joined the cast of Sony Pictures’ SNL 1975 that will be directed by Jason Reitman and based on the real-life behind the scenes accounts of the opening night of Saturday Night Live. Morris will play Garrett Morris, O’Brien will play Dan Aykroyd, Smith will play Chevy Chase, and Wood will play Belushi. The original screenplay is written by Reitman and Gil Kenan.

On October 11, 1975, a ferocious troupe of young comedians and writers changed television forever. SNL 1975 is the true story of what happened behind the scenes that night in the moments leading up to the first broadcast of NBC’s SNL. It depicts the chaos and magic of a revolution that almost wasn’t, counting down the minutes in real time to the infamous words, “Live from New York, it’s Saturday Night!”

The screenplay is based on an extensive series of interviews conducted by Reitman and Kenan with all the living cast members, writers and crew. Reitman, Kenan, Jason Blumenfeld, Erica Mills and Peter Rice are producing.

Morris can currently be seen in FX’s fifth season of Noah Hawley’s hit drama series Fargo as North Dakota Deputy Witt Farr. He joined the cast of Netflix’s Unstable for season two opposite Rob Lowe. Prior to this, he starred as the titular lead in the hybrid live-action/animated Hulu series Woke, inspired by the life and art of cartoonist Keith Knight.

O’Brien was most recently starring in Ponyboi, which premiered as one of ten films in the U.S. Dramatic Competition at the 2024 Sundance Film Festival. Up next, he will be seen in the feature films Caddo Lake, from the writing-directing team of Logan George and Celine Held and producer M. Night Shyamalan, and Anniversary, a thriller co-starring Diane Lane, Kyle Chandler, Zoey Deutch and Phoebe Dynevor. His other credits include Searchlight feature Not Okay from writer-director Quinn Shephard, the critically-acclaimed crime drama The Outfit, opposite Mark Rylance, Zoey Deutch, and Johnny Flynn; Paramount’s Love and Monsters and the popular Maze Runner franchise

Best known for his role on as the Riddler on the popular Fox series Gotham, Smith can currently be seen as Julianne Moore’s son in Todd Haynes’ May December. He most recently starred as Varian Fry in Anna Winger’s limited series Transatlantic opposite Gillian Jacobs and Corey Stoll for Netflix. Smith has also worked with Todd Haynes in both Carol (as private investigator Tommy Tucker) and Wonderstruck.

Wood has appeared in the original Broadway cast of Spongebob Squarepants and as husky kid icon Augustus Gloop in the Broadway First National Tour of Charlie and the Chocolate Factory. Television credits include Law and Order: SVU, Instinct and Difficult People.

Morris is represented by CAA, Entertainment 360, The Lede Company, and Myman Greenspan Fox Rosenberg Mobasser Younger & Light. O’Brien is repped by William Morris Endeavor Entertainment, Principal Entertainment LA, and Lichter, Grossman, Nichols, Feldman, Rogal, Shikora & Clark. Smith is repped by Circle of Confusion. Wood is repped by BRS/Gage Talent Agency.

Source: deadline.com