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arenabreadandbiscuits · 7 months

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✨ Ashes Masterlist ✨

So just wanted to say that this will most likely be something that always updates so there's that but just so it's easier to find me other medias I'm going to list em here. If there are any questions or even commissions you want to send just inbox me! ;3

Wattpad - Arrow_of_Spite

Ao3 - AshesBreadAndButter

Discord - Ashes_Ashes_We_All_Fall_Down

Patreon - (Reworking)

Cashapp - $ArrowofSpite

Paypal - (Reworking)

Reworking meaning I'll have to set them back up again so currently unavailable but not likely to stay as such.

Last Updated: 02/20/24 @ 11:11

Pink = active link included

Dash with nothing = wip

White titles = Coming Soon

✨ = Fluff

🔞 = Smut

🫂 = Angst

👇🏾👇🏾👇🏾 MasterList Continues Below 👇🏾👇🏾👇🏾

Avatar

Avatar/Legend of Korra

🔞 Tarlok x Avatar Reader -

🔞 Amon x Avatar Reader -

Across The Spiderverse

🔞🫂✨ Miguel O'Hara x Reader -

The Arcana

🫂 Valdemar x Reader - Kissing the Night Away

🫂🔞 Nadia x Reader - Let's Run Away Together

🔞 Julian x Reader - Bark Lil Doggie

🫂 Julian x Reader - Sunlit Bliss

✨ Vulgora x Reader - Dancing In The Moonlight

🫂✨ Asra x Reader - It's Been So Long

✨Lucio x Reader - My Brave Warrior

The Arcane

✨🫂 Silco x Partner In Crime Reader - Watch The World Burn

🔞 Silco x Nemesis Reader - Lovers Quarrel

🫂 Jinx x Reader - With You to The Very End

Baldurs Gate 3

🫂🔞 Astarion x Reader - I want to Help You Thrive

Black Butler

🔞 Sebastian x Claude - You Know You Can't Live Without Me

🔞 Sebastian x Reader - How About A Little Game Of Hide & Seek?

🔞 Claude x Reader - Heat Of The Moment

✨🔞 Undertaker x Zombie Reader - You are Mine

Castlevania

🫂✨🔞 Alucard x Reader- I Need You To Help Me Forget

🔞 Olrox x Reader - I Might Bite

Creepypasta

🔞 Candypop x Reader - Funtime Wonderland

🔞🫂 Jason the Toymaker x Reader - Be My Doll

🔞 Slenderman x Reader - Cat & Mouse

🔞✨ Jeff the Killer x Reader - I Like Wanting You

Demon Slayer

🫂✨ Uzui Tengen - To the Moon and Back

🔞 Muzan x Reader - Master's Prince/cess

🔞 Douma x Reader - Say That You Can Take It

🔞✨ Hangenki x Reader - Wife of My World

Detroit Becomes Human

🔞✨ Connor x Reader - Let's Break The Rules, Fuck It

🫂🔞 Ralph x Reader - Heated Hotspots

🫂🔞 Marcus x Connor - Nuts & Bolts

🔞✨ Marcus x Reader - Curiosity Killed The Cat

Diabolical Lovers

🔞 Reiji x Reader - Pets Are Meant To be Loyal

✨ Shuu x Reader - Come Cuddle

✨ Ayato x Reader - I Don't Like Sharing

🔞 Laito x Reader - Tastes Like Candy

Elnea Kingdom

Fnaf/Fnaf Security Breach

✨ Sundrop x Reader - Rose Colored Glasses

✨🔞 Moondrop x Reader - Kisses As Hot and Bright As The Stars

Genshin Impact

🔞 Kaeya x Reader - Midnight Lockdown

🔞 Zhongli x Reader -

🔞 Diluc x Reader - Drunken Promises

Gravity Falls (Mostly focused on Bill)

Harry Potter

🔞✨ Severus Snape x Reader - Can't Stop the Attraction

Hazbin Hotel

✨ Alastor x Reader - Just A Taste

🔞 Vox x Reader - Pay Your Dues

🔞 Lucifer x Reader x Alastor - Best Man Wins

🔞 Alastor x Reader x Vox - She Will Be Mine

Hellsing

🫂🔞 Alucard x Reader - The Blood You Shed

🫂✨ Integra x Reader - Come Lay With Me

🫂✨ Seras x Reader - I Feel Safe With You Around

🔞 Alucard x Alexander Anderson - Opportunities At Their Fullest

Helluva Boss

Hunter X Hunter

🔞 Illumi x Reader - Feeding the Wolf

🔞 Hisoka x Reader - A Taste of His Own Medicine

🔞 Hisoka x Reader x Illumi - Where Are You Going?~

🔞 Chrollo x Reader - A Loving Weapon of War

Jujutsu Kaisan

🔞 Gojo Satoru x Reader - A Heated Season To Remember

🔞 Geto Suguru x Reader - My Precious Pet

🔞 Gojo x Reader x Geto - She's Mine

🔞 Nanami x Reader - Boss's Orders

The Lorax

✨ Onceler x Reader - My Heart Sways For You

🔞 Greedler x Reader - You Owe Me

Mandela Catalog

🔞🫂 Gabriel x Reader - Good Enough to Eat

Mortal Kombat

🔞✨ Raiden x Reader - I Can't Get Enough of You

🔞 Kollector x Reader - I Want My Prize

🔞 Johnny Cage × Reader - Tell Me You're A Good Boy

✨ Baraka x Reader - Love Like No Other

Mystic Messenger

🔞 707 x Reader - Stalker's Obsession

🔞 Jumin Han x Reader - Pretty Little Kitty

🔞 Zen x Reader - Pretty Boy

My Hero Academia

🔞 Aizawa x Reader - Don't Make Me Put You In Your Place

Naruto Shippuden

✨ Itachi x Reader - Sun Kissed Smooches

🔞✨ Orochimaru x Reader - Worshipping His Greatness

✨ Sasuke x Reader - Shut Up Before I Make You

Obey Me

🔞 Lucifer x Reader - Pissing Him Off

🔞✨ Asmodeus x Reader - Sun Shine and Sun Lit Smiles

🔞 Leviathan x Reader - I Can't Wait Any Longer

🔞🫂 Simeon x Reader - I'll Sacrifice It All For You

Records of Ragnarok

🔞 Poseidon x Reader - Devotional Acts

Resident Evil

🔞 Leon Kennedy x Reader - Not The Best Time

🔞 Lady Dimitrescu x Reader (FEM) - A Loyal Pet Is A Good Pet

Rise of The Guardians

🔞 Pitch Black x Guardian Reader - I Could Be Convinced

SCP Foundation

🔞🫂 SCP 049 x Reader - Crave Your Touch

Stardew Valley

🫂 Elliot x Reader - Would Be Nothing Without You

Steven Universe

🔞🫂 Garnet x Amethyst - Make Me Shut Up

🔞🫂 Pearl x Amethyst - It's So Good It Hurts

Tokyo Revengers

🔞 Kokonoi x Reader - Pay Up Buttercup

🔞 Hanma Shuji x Reader - I Want You Near Me

🫂 Older Baji x Reader - Put Your Hands In Mine

Twilight Series

🫂✨ Sam Uley x Leah Clearwater (Commissioned! :3)

Undertale

🔞✨ Mettaton X Reader - Time Of Your Life

Vampire Hunter D

✨🔞 D x Vampire Reader - Come Here Often?

✨ D x Werewolf Reader - Pets & Cuddles

NOTE: Some characters I write for and others I don't, some of these series I need to catch up on, and OCS and such ARE allowed.

If you have any questions that you feel should be asked should be asked directly and be easy to understand. I am an open book, don't be afraid to ask me anything if you are looking for a commission.

Once you send in your money refunds will NOT be available.

More notes and info on commissions...

--> HERE (not clickable RN but it will be)

Like I said I'm working on saving money while I rehabilitate so I can order things I could use to make things better.

To anyone and everyone in advance who will be buying, I thank you!

I also want to start taking in ART COMMISSIONS which can be found...

--> HERE. (I will add a link soon :3)

✨✨✨

-A

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gallawitchxx · 11 months

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🚑 weekly tag wednesday 🚑

weeeee! i was tagged by @deedala @metalheadmickey @energievie @tanktopgallavich @sam-loves-seb & @iansw0rld to play deanna's super fun & cute mystical adventure through space, time, and reality (in ian and mickey's ambulance of course) ✨ thanks pals!

- - - - -

name: bee 🐝

zodiac Sign: cancer 🦀

personality type in enneagram, myers-briggs, or both: enfj 🤷‍♀️

before we hit the road, what snack are you gonna bring for our trip? gummy bears 🐻

navigator gets to pick the music so what song are you turning on? young hearts run free by ralph ❤️

what is a universe from a fantasy tv show you would like to visit? doctor who 100%. take me through time & space PLS ⏰

and what about a fantasy movie? i'd love to go to the shire! let's say lord of the rings 🌱

okay, how about a scifi tv show? does stranger things count? let's head to hawkins! 🙃

and a scifi movie universe? star wars! rebels forever! 🌟

any other tv show or movie universes you'd like to swing by before we move on? yes yes, i'd love to play for a day in any wes anderson universe! let's go to the grand budapest hotel 🏨

okay hold on to your butts we're switching gears to fanfic universes. Tell me which fanfic universe we're visiting first? i would love to go to a ball game in the love is a ballfield universe! how fun to see them play & smooch ⚾️

cool, do you have one more you'd like to stop at before we head home? can't not visit the magical world of weaver of fate (to your will i won't fold) by @purplemagpie 🥧

alright, on our way out of fanfic land you get to snag some tropes to bring home and apply to your own life, think fast!

soulmates or enemies to lovers // coffee shop or flower shop // fake relationship or slow burn // amnesia or time loop // body swap or miscommunication // love triangle or arranged marriage // sharing a bed or drunken confession

wow okay, hope those tropes work out for you!! our adventure has finally come to an end, where in the world am I dropping you off? at home with my wife & pup, please 🥰

- - - - -

this was fun! i'm feeling tag shy, but if you want to play -- do it! tag me! tell me which universes you wanna hang in! xx

#deanna good job with this one bud!#how fun!#weekly tag wednesday #tagged #tag games

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jabbage · 10 months

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#Letters from Watson #lettersfromwatson

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detroitbecomeonline · 6 months

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Wait, Puma is living with Jeffry?? How come? How are her relationships with his kids and wife? And how many cameras are in his house?

(And how did he found about her little secret?)

One of my many headcanons is that post-canon, androids would have varied living situations. A lot of "professional" personelle would have to seek refuge in abandoned buildings (Rupert, Ralph), in slums or community areas (Pirates' Cove equivalent or poor conditions), in established houses/apartments with or without humans, and the list goes on.

In a specific universe, Puma lives temporarily with Fowler and his family like a couch surfer because these are the best conditions she has available to her. (Much like Connor living with Anderson.) Her relationships with the family are generally positive. Puma's a little awkward with the two girls, but that's due to lack of experience and her original programming. How many cameras in Fowler's house???? Like. A normal amount lmao just a basic security system.

If you're referring to this fic, Fowler found out her little secret because [redacted]! Also Connor can't hide his feelings very well like "What? No. Nothing." with that Stratford Tower face auhsfiugasf

#ianswer #mydbhfics #dbh #dbh pm700 #dbh puma #pm700

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latenightcinephile · 11 months

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Film #911: 'The Grand Budapest Hotel', dir. Wes Anderson, 2014.

Wes Anderson is a director that, if you listen to the general tone of pop culture criticism, has rapidly descended into a parody of his own style. The hallmarks are instantly recognisable: symmetrical shot compositions; pastel colours; Bill Murray; endless lists of items; unusual heroes; Owen Wilson. It's even reached the point that a travel site, Accidentally Wes Anderson, collates lists of locations by colour, retroactively applying the director's name to them as though this idiosyncratic style somehow predates the architecture itself. His is a style that is easily parroted and frequently sneered at as being too artificial. How do you make a film that speaks to real life, if reality isn't allowed anywhere near your films?

Until I really paid attention to The Grand Budapest Hotel, I felt similarly. This film has a seventeen-person ensemble cast, with characters completely disappearing from the narrative after a few scenes, and this approach always runs the risk of feeling gimmicky. Wes Anderson's works are often reduced to silliness, and can feel like they have replaced narrative purpose with zany setpieces that don't contribute to anything. And then something caught my eye: 'Inspired by the works of Stefan Zweig'.

The Grand Budapest Hotel starts with a framing device inside a framing device: a girl goes to a cemetery (labelled in block letters on the exterior wall - a motif that will get used a lot in this film) to pay her respects to a writer. The writer (Tom Wilkinson and Jude Law) has written a book called 'The Grand Budapest Hotel', in which he recounts going to the hotel of the same name and having dinner with the hotel's owner, now faded into obscurity. The owner, Zero (F. Murray Abraham and Tony Revolori) started work as a bellhop, and he tells the author of the hotel's former concierge and their escapades together in the time immediately before a 1930s fascist regime took hold. The concierge, Gustave (Ralph Fiennes), is notorious for starting affairs with rich dowagers, including the secret owner of the hotel. When the dowager dies abruptly, Gutave and Zero, his new hire, go to pay their respects and are quickly embroiled in the arguments surrounding the deceased's estate. Gustave is surprised to learn that he has been bequeathed a famous Renaissance painting, 'Boy with Apple', but the dowager's heir, Dmitri (Adrien Brody), refuses to let this happen. Undeterred, Gustave and Zero steal the painting. Shortly afterward, Gustave is arrested on suspicion of murdering his benefactor, following the testimony of the woman's butler.

Zero takes over many of Gustave's duties, while scheming with his girlfriend Agatha (Saoirse Ronan) to break the concierge out of prison. They do this by hiding tools in the pastries that Agatha makes during her work at a bakery. Despite the pastries being suspiciously tool-shaped, their decoration makes them too valuable to inspect for contraband. The scheme works and Zero and Gustave are reunited. Gustave calls upon the assistance of a secret society of hotel concierges to facilitate a meeting with Serge, the dowager's butler and the person whose testimony was responsible for Gustave's arrest. Serge confesses that he was pressured to implicate Gustave by Dmitri, the real killer, and that the dowager has a second will which is to come into effect if she happened to be murdered. Serge is killed by Dmitri's hitman, Jopling (Willem Dafoe). Zero and Gustave flee back to the hotel, only to find it converted into a headquarters for the fascist regime. Nonetheless, they are able to retrieve the painting, which has the second will hidden behind the canvas where Serge placed it for safe keeping. The second will grants the hotel to Gustave, and Dmitri flees the country.

Overall, the story is quite complex and swift-moving, and some of the connections between events seem arbitrary. For instance, the audience is shown that the will is concealed in the painting right after the painting is introduced, when Serge packages it for Gustave and Zero to take. However, neither Zero nor Gustave know this, and it is Agatha who discovers the will. This means that Zero and Gustave take several actions which directly lead to the discovery of the will without having that as their specific intention. After the murder of Serge, the protagonists pursue Jopling on a sled, resulting in a surreal chase scene - mostly conducted through stop-motion - at the end of which the characters launch from a ski jump. Throughout this film, it often feels like the characters are just doing things that just happen to be the things required to move the plot forward. This tendency is what makes Anderson's films feel artificial and immature: they're not closely-knitted narrative structures but rather the net results of a random assemblage of characters and events. And yet, this film was purportedly inspired by one of Austria's most famous novelists, famed for his simple storytelling. What gives?

Stefan Zweig's novels - especially Beware of Pity (1939) and The Post Office Girl (1982), which Anderson has explicitly said he borrowed from for this film - are deeply fatalistic, which does seem to mirror Anderson's perspective on the setting of The Grand Budapest Hotel. Zweig was writing during the advent of the Second World War, a period mimicked by the film's establishment of an unnamed fascist regime. In The Post Office Girl, his protagonist feels an intense nostalgia for her stay at a hotel, and the theme of nostalgia is common to many of Zwieg's novels, and Anderson's films as well (Moonrise Kingdom (2102) is perhaps the most evocative of his musings on nostalgia). Perhaps the most relevant stylistic similarity between the two is their fixation on surface details, and how these act as indicators of character. Writing in the Paris Review, for example, Kevin Nguyen observes that we understand Anderson's characters through the details of their appearance and locations. He cites a passage from one of Zweig's novellas that similarly catalogues every item of clothing a character is wearing, and points out that each of these descriptions is "larded with an assessment of his character." The description of the hotel in The Post Office Girl is similarly detailed, and we learn most of what we do about the title character from how she thinks about these items.

The nostalgia, too, is the sort of thing that Anderson could have borrowed directly from Zweig's novels if he had discovered the author earlier in his career - again, it's a situation where we have to be careful about implying a direct inspiration, as the nostalgia in Anderson's works definitely predates his stated interest in Zweig's work. In this film, Anderson refers explicitly to the idea that the nostalgia that Gustave felt for the hotel, and that Zero has felt ever since, might have been a longing for a time that neither of them actually experienced - that the idyllic past never existed, and the hotel itself is an attempt to artificially invent such a time. Zweig felt this dislocation sharply: Richard Brody in The New Yorker discusses a passage from Zweig's memoir where Zweig is confronted with the differences in mood between the front lines of the Second World War and the civilian life of, coincidentally, Budapest. Perhaps, Zweig considers, the happy life of Budapest is not the way things usually are, with the war being an aberration in the normal state of affairs. Perhaps the keen edge of the happiness was a result of the war, a last grab at pleasure. This resonates with the Hotel Budapest: while the memories of the place are perfectly coloured, by the 1970s the decor has been replaced with drab orange walls and mildewy grout. Was it ever really this way?

Zweig also used framing narratives, and this structure is what helped me meet Wes Anderson's films on their own terms. The story-within-a-story structure has clearly helped Anderson make sense of his own films - after this, he used it again in his two most recent films, The French Dispatch (2021) and Asteroid City (2023). I think this might be the film in which he first fully embraced it. The artificiality of his earlier films is easier to comprehend and to stomach when we think of it as a representation of something in a book, rather than a depiction of real lived experience. In The Grand Budapest Hotel, the characters are unusual in the sense that they are fully-known by the audience. With a story as complicated and disparate as this one, the only way in which we can follow what's going on is by the characters repeatedly directly expressing how they feel and what they think. This is internal monologue, made external through lists of objects and through weirdly open dialogue. And if artificiality is required to make this world comprehensible, why not lean into it? Thus, the characters don't speak the way normal human beings do; they speak in a sort of polished third draft of human speech. They constantly sound as though they're quoting from another work. Likewise, why not reduce the sets and cinematography only to those details that help us understand the world - only just obtrusive enough for us to register that this is not meant to be a depiction of the real world?

I keep thinking of the chase scene on the sled, and thinking of how Anderson does something even more bewildering with a similar chase scene in The French Dispatch. The scenes are heightened and artificial; they beggar belief at the types of chaos that unfolds. But then I wonder what is happening in the 'book' that we are reading. Early on in the film, the camera movement and acting feels directed by a narration that, for once, we're not explicitly hearing - something like 'Gustave heard a knock at the door, and moved smartly towards it'. But what would this chase scene be written as, in the retelling of it by Zero, in the novel by the Author? Probably something as simple as 'A chase happens'. So why not have fun with it?

#1001 movies #wes anderson #the grand budapest hotel #genuinely good films

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bracketsoffear · 2 months

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The Outsider (Stephen King) "An eleven-year-old boy's violated corpse is found in a town park. Eyewitnesses and fingerprints point unmistakably to one of Flint City's most popular citizens. He is Terry Maitland, Little League coach, English teacher, husband, and father of two girls. Detective Ralph Anderson, whose son Maitland once coached, orders a quick and very public arrest. Maitland has an alibi, but Anderson and the district attorney soon add DNA evidence to go with the fingerprints and witnesses. Their case seems ironclad.

As the investigation expands and horrifying answers begin to emerge, King's propulsive story kicks into high gear, generating strong tension and almost unbearable suspense. Terry Maitland seems like a nice guy, but is he wearing another face? When the answer comes, it will shock you as only Stephen King can."

Last to Leave the Room (Caitlin Starling) "The city of San Siroco is sinking. The basement of Dr. Tamsin Rivers, the arrogant, selfish head of the research team assigned to find the source of the subsidence, is sinking faster. As Tamsin grows obsessed with the distorting dimensions of the room at the bottom of the stairs, she finds a door that didn’t exist before - and one night, it opens to reveal an exact physical copy of her. This doppelgänger is sweet and biddable where Tamsin is calculating and cruel. It appears fully, terribly human, passing every test Tamsin can devise. But the longer the double exists, the more Tamsin begins to forget pieces of her life, to lose track of time, to grow terrified of the outside world. As her employer grows increasingly suspicious, Tamsin must try to hold herself together long enough to figure out what her double wants from her, and just where the mysterious door leads…"

#stranger poll #the stranger #poll #the magnus archives #leitner tournament #the outsider #stephen king #Last to Leave the Room #Caitlin Starling

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mylifeincinema · 11 months

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My Week(s) in Reviews: October 21, 2023

It's been a while... Here's what I've been watching.

The Wonderful Story of Henry Sugar (Wes Anderson, 2023) The Swan (Wes Anderson, 2023) The Rat Catcher (Wes Anderson, 2023) Poison (Wes Anderson, 2023)

I dropped the ball and didn't get around to reading Roald Dahl's stories before watching these, but it was hard enough waiting for all four to release on Netflix, so I definitely wouldn't be able to wait to get my hands on the stories. From my understanding of the source material, though, these are all perfectly peculiar adaptations, staying true to Dahl's voice and heart. All four short films shine unique light on Wes Anderson's strengths as a filmmaker and storyteller, and it was a pleasure to witness. The Rat Catcher is very likely my favorite of the bunch, with a bizarre story and characters, including an award-worthy turn by the always fantastic Ralph Fiennes. Second best would easily be The Wonderful Story of Henry Sugar, which highlights Anderson's knack for idiosyncratic storytelling, grabbing hold of the viewer and honoring the source material by keeping it intact. Poison was an experiment in suspense, and both Anderson and the cast delivered completely. I definitely wouldn't mind seeing him venture into more tense material in the future. And, despite the jaw-dropping performance from Rupert Friend, The Swan was probably my least favorite, over-utilizing its narrator storytelling to the point where I felt detached from the story. There's just so much to love throughout the four of these shorts, though. Unsurprisingly, the production design in all four is brilliant, and I especially loved how interactive Anderson & Co. got with it all, here. The stagehands and creative handling of props stoked the imagination. Robert D. Yeoman's (and even Roman Coppola's) cinematography was singularly stunning. And the cast was pure perfection. The aforementioned stand-outs are only the beginning; everyone here was working at the top of their game. I know they're shorts, but don't be surprised if you see Fiennes and Friend - as well as Dev Patel and Ben Kingsley - popping up in My Best of 2023 lists. I really wish I could've experienced these in a cinema, but when it comes to Wes Anderson, I'll take whatever I can get, whenever and however I can get it. The Wonderful Story of Henry Sugar: 9/10 The Swan: 7.5/10 The Rat Catcher: 8.5/10 Poison: 8/10

Totally Killer (Nahnatchka Khan, 2023)

The overreactions to the way the teens in the '80s behaved got annoying real fast and shone a horribly unflattering light on just how disinterested people of her character's generation are with taking context into consideration when spouting their attention-hungry pontifications. Then again, that's probably the point? So, good job? The cast was okay. The kills were dull. The horror wasn't scary. The comedy wasn't all that funny. The writing in general is lazily paper-thin, and the stakes damn-near nonexistent. - 3/10

The Creator (Gareth Edwards, 2023)

I gets some extra points for being an 'original' sci-fi film in a landscape of sequels, reboots and additions to the MCU, but sadly those wind up being pretty much the only points it ends up with. Despite being 'original', every single aspect of this film feels like a tired rendition of a significantly better film. And worst of all, it's all just completely forgettable... I literally forgot Allison Janney until checking IMDb, just now. Sturgill Simpson was a standout, though. I look forward to seeing him again in Killers of the Flower Moon, this week. - 4/10

Fear Street: Part One - 1994 (Leigh Janiak, 2021) Fear Street: Part Two - 1978 (Leigh Janiak, 2021) Fear Street: Part Three - 1666 (Leigh Janiak, 2021)

They function a little too much as more a limited series than even a trilogy, so they lose some points for that. However, all three are quite good. The best is the first, of course, working the most as a standalone. It also has the best kills and characters, and a tone that most successfully mines the scares out of the material. The second has a good setting, but the extremes of the characters detract from the tone. And while the third works best in its back half, when it completes the storyline set up in the first film, the 1666 section is enjoyable enough in its depiction of just how absurd the 1600s puritan belief system was. 1994: 8.5/10 1978: 7/10 1666: 7.5/10

Enjoy!

-Timothy Patrick Boyer.

#film #the creator #the wonderful story of henry sugar #fear street 1666 #fear street 1978 #fear street 1994 #fear street trilogy #movies #my week in reviews #movie #cinema #film review #movie reviews #wes anderson #horror movies #etc.

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reasoningdaily · 1 year

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this is the link to the video

Green Party 2024 presidential candidate Cornel West responded to criticism from Democratic strategist David Axelrod that his candidacy could be a "spoiler" that helps former President Trump win during an interview with CNN's Anderson Cooper.

"Brother David Axelrod looks at the world through the lens of the establishment. Well, of course, from the lens of the establishment, he is concerned about reproducing the establishment," West said.

Cooper suggested: "David Axelrod, he seems more interested in preventing former President Trump from getting re-elected more than I'd say recreating the establishment."

"No, I'm talking about the Democratic Party establishment though, brother. Axelrod, you see what I mean? You would agree. You're very much part of the Democratic Party establishment," West said.

ANDERSON COOPER, CNN: I want to ask you, Senator Manchin, up in New Hampshire tonight, he seems to be testing the waters there. He says the parties are too far to the left, and to the right. What do you think of his politics?

CORNEL WEST: Well, you know, I just read the pamphlet "Common Sense." And my God, they had the audacity to rename that after the great Thomas Payne's revolutionary pamphlet of January 10, 1976, that was critical of all forms of hierarchy in the name of the dignity of those last, don't call everyday people.

I don't think that the No Labels party with their hundred million dollars flowing already, fundamental focus on what I'm concerned about, which is the plight of poor and working people trying to come to terms with the cop cities. Why do the critiques of the cop cities trying to come to terms with striking workers, be there in Hollywood, be there on Amazon, be there at UPS, coming to terms with the eco side, with the fossil fuel companies, steel, corporate greed running out-of-control.

You know, we're at a moment now, my brother, where if we don't come to terms with this massive callousness and indifference to the plight of poor and working people, we're going to lose everything -- the planet, democracy, our qualitative relations with each other. That's how life and death like our situation is, my brother, very much so.

COOPER: You know, the concern, certainly. I mean, you've been asked this question a million times from a lot of Democrats and Republicans against Trump that a third party candidate like yourself could siphon votes away from President Biden. David Axelrod, recently tweeted, saying: "In 2016, the Green Party played an outsized role in the tipping of the election to Donald Trump. Now with Cornel West as their likely nominee, they could easily do it again. Risky Business."

Now, I know you've said you don't believe Jill Stein made that big a difference in the vote count in 2016. In Michigan, Pennsylvania, and Wisconsin, her votes did exceed Trump's margin over Clinton. So how do you answer that critique that you will be siphoning votes away and potentially leading to a Trump victory?

WEST: Well, a part of it is, it is that nearly 40 percent of our precious citizens every two and four years decide not to vote at all, and we know that the so-called spoilers, which is a category you can imagine, I don't accept at all, it was two-thirds of those who voted, it could be a Gary Johnson, assistant Jill Stein, brother Ralph Nader, whoever -- people say they would never vote for the two parties.

And I can understand those two parties become too corrupt. Their politicians are too conformist, too many of the policies themselves are just cowardly, will just say anything. What about truth? What about justice?

Truth and justice is bigger than all of us, bigger than every party, every race, every person. If you're concerned about truth and justice, then you can't be cowardly, complacent or conformist.

And especially if you're looking at the world through the lens of those who are incarcerated, those who are in ghettos and hoods and barrios.

Brother David Axelrod, he looks at the world through the lens of the establishment. Well, of course, from the lens of the establishment, he is concerned about reproducing the establishment. My God. My God. There is no doubt about that.

In the 1850s, both parties supported slavery, like he does with the Labor Department.

COOPER: But I think he is probably -- I think he seems more though -- I mean, you know, David Axelrod, he seems more interested in preventing former President Trump from getting re-elected more than I'd say recreating the establishment.

WEST: No, I'm talking about the Democratic Party establishment though, brother. Axelrod, you see what I mean? You would agree. You're very much part of the Democratic Party establishment.

COOPER: I mean, his interest -- and I don't want to speak for him, but you criticize the president.

WEST: Absolutely.

COOPER: You criticize President Biden saying recently that he contributed, in your words, I'm quoting, "contributed to a crime against humanity when he became the architect of the mass incarceration regime in the 1990s." You're referring to the 1994 Violent Crime Control and Law Enforcement Act that then Senator Biden sponsored.

You also said it is: "... very clear that his cognitive powers are in decline." You have had a remarkable career. You've championed those whose voices have been silenced all your life, we've had you on the program a ton of times talking about that.

You've never run a large bureaucracy or had any major governmental leadership role. Isn't that important to actually governing as president?

WEST: Oh, absolutely. I'd have to bring in people who are experienced, but the important thing is your vision and the lens through which you view the world. Policy is something that can be worked out in light of vision. If your vision is one of militarism abroad, then you're going to be preoccupied with wars and militaristic adventures. We've known Biden has got a long history, I don't think he has actually seen a war that he hadn't supported.

I think the invasion and occupation of Iraq was a crime against humanity. How many precious hundreds of thousands of Iraqis were killed based on a lie? Well, Biden was running interference in that regard.

I think mass incarceration in the United States in the last 40 years is a crime against humanity. I've taught in prison for 41 years. I've stayed in contact with the rich humanity of my brothers and sisters who have been incarcerated and many have done things they didn't and shouldn't have done. Many are there because they're innocent.

But the important thing is, it is sites -- they are sites of barbarity. We ought to be ashamed to live in a country when you look at the conditions of our brothers and sisters who are incarcerated.

It is not just the 1994 crime bill. You can go back to the Biden-[Strom Thurmond] bills of '84 and 86, and '91, and then '94. You see what I mean? So it's just a matter of trying to be truthful.

I'm not trying to trash brother Biden, I am really not. I'm trying to make him accountable for his actions in light of how the wretched of the earth are treated in this nation and around the world. And that's true for any politician, be it Obama, Biden, Clinton, Bush, Trump -- all of them have to be measured by the same standard of truth and justice.

#Cornell West #presidential candidates #anderson cooper #2024 #Cornel West To CNN's Anderson Cooper: “You're Very Much Part Of The Democratic Party Establishment”

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raybizzle · 9 months

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"The Green Pastures" (1936) is a fantasy film directed by Marc Connelly and William Keighley and written by Connelly and Sheridan Gibney, who based the film on the novel "Ol' Man Adam an' His Chillun" by Roark Bradford. Marc Connelly adapted the story into a Pulitzer Prize-winning stage play in 1930. The movie has an all-black cast film produced by Warner Brothers and stars Rex Ingram, Frank Wilson, Oscar Polk, Eddie 'Rochester' Anderson, and George Reed.

Unlike Race Films made by Oscar Micheaux and Ralph Cooper during this period, "The Green Pastures" was a major Hollywood production. The film received substantial advertising as the nation was already familiar with the play's success, so people were anticipating seeing the motion picture version. Rex Ingram was the lead in the film as the character "De Lawd."

The film features several up-and-coming actors, like Ingram, Eddie 'Rochester' Anderson, Oscar Polk, and Edna Mae Harris. For many, this was their breakthrough film. For example, George Randol, who played the high priest in the movie, started a production company with Ralph Cooper, where they released the first film produced with an all-black capital called "Dark Manhattan" in 1937. The film also featured the Hall Johnson choir. Mr. Johnson was a black composer known for his arrangements of African-American spirituals. Throughout the 30s and 40s, many films featured the ensemble, including "Dimples" (1936) and the controversial movie "Song of the South" (1946).

"The Green Pastures" is a fantastic film with wonderful music and charming characters. However, there are, without a doubt, stereotypical portrayals of black people within the movie. As a result, some people may find the film challenging to watch if they need help seeing past the 1930s attitude. Nevertheless, the movie is a remarkable production, and Rex Ingram will be unforgettable after you watch his performance. It's a personal favorite and one that I watch every year. I highly recommend it for viewing.

Directors: Marc Connelly, William Keighley Writers: Roark Bradford, Marc Connelly, Sheridan Gibney

Starring Rex Ingram, Oscar Polk, Eddie 'Rochester' Anderson, Frank H. Wilson, George Reed, Abraham Gleaves, Edna Mae Harris, James Fuller, George Randol, Hall Johnson Choir, Billy Cumby, Ivory Williams, Dudley Dickerson, Ida Forsyne, Myrtle Anderson, Charles Andrews, Ernest Whitman, Reginald Fenderson

Storyline A preacher in a small Black church in Louisiana tells his Sunday school class stories from the Bible as if the characters were part of a local fish fry. He starts with the creation of the world by God, known as "De Lawd" (Rex Ingram), and tells how God went on to create heaven, which is just like their farmland, and then created man and woman, followed by their fall and finally the coming of Jesus Christ.

Available on DVD and streaming services. https://www.amazon.com/Green-Pastures-Eddie.../dp/B00B6OECDK

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theivorybilledwoodpecker · 1 year

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Who was Emmet Till?

I wanted to post this because Carolyn Bryant Donham just died, and people will be seeing Emmett's name in the news. While I hope most people know his story, I know not everyone does. I remember in college the professor mentioning his story as a topic people could write an essay on, and two other students, both at least 10 years older than I, not knowing who he was.

Emmett was a 14-year-old African American boy from Chicago. In 1955, he was visiting relatives in Mississippi. He and some friends were in a grocery store.

The owner's wife, a white woman named Carolyn Bryant, alleged that he grabbed her by the waist and propositioned her. Some people say he merely wolf-whistled at her. And other say absolutely nothing happened.

Four days later, Carolyn's husband, Roy Bryant, and his brother, John Milam, drove to Emmett's relatives house and kidnapped him. They beat and mutilated him before shooting him and throwing Emmett's body in the river.

When his relatives notified his mother Emmett was missing, Bryant and Milam were questioned by police and admitted to the kidnapping...but said they had let Emmett go.

When Emmett's body was found days later, the men were put on trial for murder. Decades later, an arrest warrant for Carolyn Bryant would be found, but it was never served. The all-white male jury deliberated only a little over hour, and they admitted it only took that long because they stopped for a drink at one point. They voted to aquit both men of murder. A separate jury later voted to aquit them of kidnapping.

Jurors would later admit they believed the men to be guilty, but did not think they should be punished.

After the trial, Roy Bryant and John Milam sold their confession for $4k to a newspaper. That was a huge amount of money back then.

There was never any justice done for Emmett. They lived the rest of their lives without serving a day in jail for his murder.

In 2008, Carolyn Bryant allegedly told a writer that she had lied on the stand about what had happened. This was not caught on tape, and she later denied it happened....but I mean...multiple witnesses have said either that nothing happened or that all Emmett did was whistle. I'm inclined to believe she was a lying cunt who made it all up.

Now, Carolyn Bryant is dead, may she burn in hell.

But it's important that no one ever forget Emmett Till. You see, it's not just that he was murdered, suffering what no child should ever need to go through. But these things are still happening today.

James Craig Anderson. Trayvon Martin. Tamir Rice. Ahmaud Arbery. George Floyd. Elijah Mcclain.

And recently, Ralph Yarl could have very easily died.

We've come along way. Some of the murderers get convicted now. But what happened to Emmett Till could all too easily happen again.

#Emmett Till

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dear-indies · 1 year

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Hi Cat! I hope you had a nice weekend. Could you please help me with faceclaims I’ve been struggling with? I’m trying to think of actors and actresses that could fit both the screwball comedy and the noir aesthetic of movies from the 30s/40s. Thank you so much!

Non-binary:

Sara Ramirez (1975) Mexican, some Irish - is non-binary (they/them) - Madam Secretary.

Janelle Monáe (1985) African-American - is non-binary (she/they) and is pansexual - Glass Onion, Hidden Figures.

Women:

Anna Chancellor (1965) - The Hour.

Miranda Otto (1967) - Chilling Adventures of Sabrina.

Queen Latifah (1970) African-American - is openly dating a woman but hasn't publicly labelled her sexuality - Bessie.

Luisa Ranieri (1973) - 7 Women and a Murder.

Christina Hendricks (1975) - Mad Men.

Ruby Lin (1976) Chinese - Phantom of the Theatre.

Ginnifer Goodwin (1978) Ashkenazi Jewish / English, some Welsh, distant German - Why Women Kill.

Kelly Macdonald (1976) - Swallows and Amazons.

Juliet Rylance (1979) - Perry Mason.

April Bowlby (1980) - Doom Patrol.

Zhang Jing Chu (1980) Taiwanese - For a Few Bullets.

Allison Tolman (1981) - Why Women Kill.

Kate Siegel (1982) Russian Jewish, Moldovan Jewish, Polish Jewish, German Jewish - is bisexual.

Ruth Wilson (1982) - His Dark Materials.

Natalie Dormer (1982) - Penny Dreadful.

Emily Blunt (1983) - Mary Poppins.

Kerry Bishé (1984) - Penny Dreadful.

Andra Day (1984) African-American - The United States vs. Billie Holiday.

Nathalie Kelley (1985) Argentinian, Peruvian [Quechua, possibly other]

Chasten Harmon (1985) African-American - Damnation.

May Calamawy (1986) Jordanian, Palestinian / Egyptian.

Janet Montgomery (1986) - Dancing on the Edge.

Natasha O'Keeffe (1986) - Peaky Blinders.

Rachel Shenton (1987) - All Creatures Great and Small.

Evan Rachel Wood (1987) - is bisexual.

B.K. Cannon (1990) - Why Women Kill.

Julia Garner (1994) Ashkenazi Jewish / English, Cornish, Scottish, Irish, German, Scots-Irish/Northern Irish.

Anya Taylor-Joy (1996) - Peaky Blinders.

Sadie Calvano (1997) - Why Women Kill.

Benedetta Porcaroli (1998) - 7 Women and a Murder.

Men:

Burn Gorman (1974)

Chiwetel Ejiofor (1977) Igbo Nigerian - Dancing on the Edge.

Matthew Goode (1978) - Dancing on the Edge.

Oscar Isaac (1979) Cuban-Guatemalan-Spanish - W.E.

Vinny Chhibber (1980) Indian.

Ben Barnes (1981)

Fawad Khan (1981) Pakistani.

Utkarsh Ambudkar (1983) Marathi / Tamil.

Oliver Jackson-Cohen (1986) Egyptian Jewish / English - The Haunting of Bly Manor.

Nikesh Patel (1986) Indian - Indian Summers.

Hale Appleman (1986) Ashkenazi Jewish / Irish, English - is queer.

Ludi Lin (1987) Chinese.

Nicholas Ralph (1990) - All Creatures Great and Small.

Dominic Sherwood (1990) - Penny Dreadful.

Jacob Anderson (1990) Afro-Caribbean, English - Interview with the Vampire.

Daniel Zovatto (1991) Costa Rican - Penny Dreadful.

Freddy Carter (1992) - Shadow and Bone.

Jeremy Pope (1992) African-American - is gay - Hollywood.

David Corenswet (1993) Ashkenazi Jewish / English, Irish - Hollywood.

Anirudh Pisharody (1994) Indian.

Eli Goree (1994) Black Canadian.

Jonah Hauer-King (1995) Ashkenazi Jewish / English.

Hey! I'm not that helpful when it comes to time era asks but I hope you find some suggestions useful!

#fc help #rph #rpc #period fc

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msclaritea · 1 year

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Wes Anderson on his new Roald Dahl film: ‘No one who is not the author should be modifying somebody else’s book’ – The Irish Times

Wes Anderson, the director of The Royal Tenenbaums and Asteroid City, has a celebrated eye for detail – right down to the choice of instruments for each score, according to the composer Alexandre Desplat, his regular collaborator.

The film-maker selected glockenspiel, triangles and other puppet-sized noisemakers for the percussion for Fantastic Mr Fox, and traditional taiko drums for the Japanese-set animation Isle of Dogs. When he made The Grand Budapest Hotel, he hung pictures of the characters, created by his partner, the costume designer Juman Malouf, around the hotel where the cast and crew were staying.

But even the best-laid plans can be meaningless when it comes to moviemaking, according to Anderson, who tells a story about The Darjeeling Limited, his Indian odyssey from 2007.

“You try to take control of it, but when you make a movie you’re saying, ‘I’m going to invite chaos into my life.’ When we made The Darjeeling Limited in India, we prepared everything very, very carefully. But it took us to strange places. We visited this little village, and we wanted to do a shot there and we needed a hut. And the elders of the village said, ‘We can build you the hut.’

“So we came back two weeks later and the hut was perfect, and we said, ‘Thank you very much. We’ll see you on Tuesday.’ And when we came back on Tuesday the hut had been decorated with all these flowers and swirls, and they painted it pink and blue. But the scene we wanted to shoot was a funeral.”

Anderson has certainly paid attention to detail today. We are at a hotel on the Venice Lido, during the city’s film festival, to hear about his new movie. When the director arrives he is wearing a tailored shirt the colour of the Adriatic Sea outside. Like the candy-coloured pinstriped suit he wore on the red carpet the day before, it’s a very Andersonian hue.

Dev Patel (left) as Dr Chatterjee, Ben Kingsley as Imdad Khan and Richard Ayoade as Dr Marshall in Roald Dahl's The Wonderful Story of Henry Sugar. Photograph: Netflix

The Wonderful Story of Henry Sugar, which stars Ben Kingsley, Benedict Cumberbatch, Ralph Fiennes and Dev Patel, is the first instalment of an anthology of Roald Dahl adaptations; three short films based on the short stories Ratcatcher, The Swan and Poison are in various stages of production.

“Henry Sugar is one of the friendlier ones,” Anderson says. “The others are the more familiar darkness of Dahl. Ratcatcher is very strange and a bit disturbing. I think The Swan is one of his best stories, and it’s extremely dark and quite brutal. Poison has an emotional brutality to it that’s pretty striking. It’s very early. We’re adapting stories that are from another time, with dated language. We’ve kept it how it is.”

This is not new terrain for Anderson – that big-screen interpretation of Fantastic Mr Fox dates back to 2009. He had been planning to adapt The Wonderful Story of Henry Sugar since a sojourn at Gipsy House, Dahl’s family home, in Buckinghamshire, some 20 years ago. The Dahl family, represented by Felicity Dahl and Dahl’s grandson Luke Kelly, set the rights to the story aside until Anderson could figure out a way to untangle the nested stories of his childhood favourite.

“I was planning this for a long time – years and years and years,” Anderson says. “I probably wouldn’t have done it except that I realised, reading the story to my daughter, that what I liked about the story is how Dahl tells it. I like his voice, his description, his metaphors and the way his words bring it to life. And I thought, well, maybe I can do that with a movie. That’s how I figured out that it had to be a short and that we had to use Dahl’s words.”

Benedict Cumberbatch as Henry Sugar in The Wonderful Story of Henry Sugar. Photograph: Netflix

That Fiennes, an Anderson regular, plays Dahl in a replica of the author’s study adds another layer to the mise en abyme of this 39-minute film. Its plot, or plots, run thus: the rich, idle man of the title (Cumberbatch) happens upon a journal detailing a guru (Kingsley) who can see without using his eyes. Sugar sets out to emulate that skill so that he might cheat at cards. Things do not go according to plan.

Following on from the stylised Asteroid City, the film swaps out scenery, casts actors (including Rupert Friend and Richard Ayoade) in multiple roles, plays with dollies and camera movement, and engages in Brechtian high jinks as Fiennes rattles through a slavishly faithful framing script.

“We loved making it,” Anderson says. “We loved working with Benedict Cumberbatch and the wonderful Ben Kingsley and Dev Patel and our old friend Ralph Fiennes. For this movie we needed actors who could take pages of text and bring them to life. Some actors are great at moments, but you would not ask them to go perform this play on stage. It’s not their thing. Their thing may be spontaneity, but it’s a different kind of work. English actors tend to be able to do everything. At the last play I watched in the West End, I sat down at the end to make a list of names on the playbill.”

Benedict Cumberbatch as Henry Sugar and Ben Kingsley as the croupier in The Wonderful Story of Henry Sugar. Photograph: Netflix

Anderson’s fidelity to Dahl’s text runs counter to the recent move by Dahl’s publishers to edit language gauged as offensive out of his work, a revisionism that Anderson has repeatedly denounced.

“I really don’t like it,” he says. “If I bought a painting – let’s say a Titian – and Titian called me up and said, ‘You know, I always thought there should be a little girl in the background of the painting; if I could just come over and fix that.’ I would say, ‘I’d rather you didn’t; this is my Titian.’ I feel that if somebody writes a book or somebody makes a film and it goes out into the world, then it’s ours. It’s too late to change it. And if I don’t believe that the artist or the author themselves can change his or her work, then the idea of somebody else changing it? I don’t even want to start that conversation. But, certainly, no one who is not the author should be modifying somebody else’s book.”

[ Yes, Roald Dahl sometimes got it wrong. But it isn’t up to us to make it right ]

That said, he has reservations about some of his own completed works, notably The Life Aquatic With Steve Zissou, a pretty failure that remains a source of disquiet for its creator.

“I’m a little bit obsessed with what I should have done differently,” Anderson says. “This goes to, like, the scheduling of the movie, the budgeting. It was a very, very big movie. It was very complex. It was the kind of movie where if you’ve made it once then you really know how to do it. We went 20 days over schedule. We went $10 million over budget. We struggled. I have got so many ideas about how we could have improved it in the cutting room. Maybe let’s just leave it at that.”

The layered storytelling of The Wonderful Story of Henry Sugar fits neatly with the director’s similarly complex recent features, notably The Grand Budapest Hotel, The French Dispatch and Asteroid City. That’s hardly accidental.

“I read it when I was probably eight years old, and it was doing a thing I had never seen before. There’s a story within a story. You meet a character and he says, ‘Let me tell you something,’ and then he tells a story inside of the story. I think my recent films all probably come from Henry Sugar in the first place.”

Anderson grew up in Houston, in Texas, the son of a writer and an archaeologist. He was a huge fan of Dahl and of the New Yorker film critic Pauline Kael. (He organised a private screening of his movie Rushmore for the critic on the eve of her retirement. Her response? “Did the people who gave you the money read the script?”) After graduating from the University of Texas he relocated to California, where he and his friend Owen Wilson wrote Bottle Rocket, which Anderson now describes as “the film that’s least like me”.

“I wanted to be like Spike Lee,” he says. “He’s one of the reasons why I became a film-maker. I was so inspired by She’s Gotta Have It. And I read his book Spike Lee’s Gotta Have It back in 1987. I tried my best to just follow his roadmap, which didn’t work at all. I didn’t even get into NYU. So I had to find another way.”

Wes Anderson not Spike Lee

His other way has brought together a regular troupe of actors and collaborators. Owen Wilson, his former roommate, has featured in seven films; Willem Dafoe, Anjelica Huston, Tilda Swinton, Edward Norton and Adrien Brody have appeared in five apiece. Desplat has composed every Anderson film since Fantastic Mr Fox. Robert Yeoman has served as director of photography for all of Anderson’s live-action films. Adam Stockhausen, his production designer, has been on board since Moonrise Kingdom, his 2012 film. These recurring credits coalesce into a recognisable style even though Anderson says he always believes he’s making something completely different from before.

“The idea of not doing things as they are normally done – you’ve got to find out how it’s normally done first,” Anderson says. “And that has happened over the course of making the movies. The best people to ask are the people I work with. People like Sanjay Sami, my key grip. He has expertise and irony. He has watched us deconstruct the way people make movies and find our own ways. And that’s fun.

“Each of the collaborations is so different. With casting it’s almost like a recipe: how are these people going to mix together? With Bob Yeoman the preparation is quite simple. We used to watch a lot of movies together before each movie, but now we’ve communicated about all these things so much, we have a well of shared references. He knows where I’m going. With Adam Stockhausen, we work mostly by email. We go scouting. The process tends not to be very preconceived. It’s a discovery process and research.”

In 2005 Anderson relocated from New York to Paris, where he has remained ever since. He loves being an American abroad, even if his French is not all that it could be.

“Until I was 23 years old my life was only in Texas. I had travelled a little bit in America. But the parameters of my life were compact. The people I knew lived in a small visible space. But I was always interested in movies. And movies were from everywhere. They were my way to get out and see the world. And the more I saw, the more I wanted to get out and see. I like the idea that having breakfast can be an adventure. And when you’re in a foreign country sometimes that’s exactly what it is. In Paris, just walking in a different neighbourhood is like going to the movies. I like the feeling of being a little bit outside of the place where I live.”

The Wonderful Story of Henry Sugar is on Netflix from Wednesday, September 27th

It's too bad that Wes Anderson feels the way he does about Life Aquatic. That's the only one I like. So weird! I was also studying Brazilian music at the time. Seu Jorge became a favorite.

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